The Artificial Intelligence Innovation Center by Dalal Alabdlei

ARTIFICIAL

2 0 1 2 2 0 4 0 0 UNDER THE SUPERVISION OF DR. MOHSEN ELFADL TEACHING ASSISTANT: MS. NADA

Innovation

BY DALAL ABDULAZIZ ABDULLAH

INNOVATION CENTER

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INTELLIGENCE iii COURSE: GRADUATION PROJECT I 2 9 0 4 0 1 0 ACADEMIC YEAR: 2016-2017

AJMAN UNIVERSITY

COLLEGE OF ENGINEERING INTERIOR DESIGN DEPARTMENT

THE ARTIFICIAL INTELLIGENCE INNOVATION CENTER Â© January 2017 JUSTIFICATION This is a publication within the graduation year. Graduation project i course. SUPERVISERS Dr. Mohsen Elfadl - (The Course Instructor) Ms. Nada - (Teaching Assistant) AUTHER & DESIGNER Dalal Abdulaziz Abdullah ID: 201220400 Dalal.Alabdlei@gmail.com AJMAN UNIVERSITY College Of Engineering Interior Design Department P.O.Box: 346 Ajman, United Arab Emirates Tel: +971 6 748 2222 Fax: +971 6 743 8888 ajman.ac.ae

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THE KEY TO CORPORATIONS’ REJUVENATION, CIVILIZATIONS’ EVOLUTION, AND HUMAN DEVELOPMENT IN GENERAL IS SIMPLE: INNOVATION. His Highness Sheikh Mohammed Bin Rashid Al Maktoum

A C K N O W L E D G E M E N T Praise to ALLAH, his majesty for his uncountable blessing, and best prayers and peace be upon his best messenger Mohammed and his family and his noble companions. First, I would like to thank my Parents. Without their support, encouragement, quiet patience and unlimited love over the years none of this would have been possible. They have always been there for me and I am thankful for everything they have helped me achieve. Special thanks to my Brothers and Sisters for their unconditional love and who pick me up when I fall and encouraged me to do what I love. Next, I would like to gratefully and sincerely thanks Dr.Mohsen Elfadl, for his guidance, understanding patience and assistant during my graduation studies at interior designing. And Very special thanks to Ms. Nada for her support, patience, and ability to create clarity out of chaos. Also, I would to express the deepest appreciation to : Dr.Gamal El Samanoudy, Dr Naglaa Sami, Dr. Abdulmuniem Taha, Dr. Eman Farah, Mr. Wael Hamdan, Mr. Yousif Dwaik, Mr. Ivan Parati, Ms. Ema Corti, Mr.Taher , Ms. Dina, Ms. Raghad, Ms. Manju and Ms. Hadeel; For help and guidance over the years which is unmeasurable and without it I would not be where I am today. Thanks, all for the knowledge you have passed on and I will always be grateful for having the opportunity to study under you. Thanks to my best friend Rawan, who celebrated every milestone and reminded me to “stay calm…and carry on.”

Dalal.

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And Praise to Allah, Lord of the Worlds

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Finally, l would like to thank HH Sheikh Humaid bin Rashid Al Nuaimi Member of the Supreme Council, and Dr. Fahar the dean of engineering college, and all faculty members of interior design department, Colleagues, friends and All those who contributed and helped me to get here .

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As we know, Academic life is not easy and its often not entertaining or amusing. nevertheless, it is lucky for me to meet some friends who inspirit my effort to overcome these difficulties. Those friends who color my life, Thank you.

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D E D I C AT I O N To my inspiration leader H.H. Sheikh Mohammed bin Rashid Al Maktoum vice president and prime minister and Ruler of Dubai; With his visionary foresight, unyielding desire to win, and contagious energy. His vision for Education and Innovation in 2016 was a key inspiration for this project .

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Whose affection, love, encouragement and prays of day and night make me able to get such success and honor.

Father & Mather;

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My humble effort I dedicate to my sweet and loving

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Every challenging work needs self-efforts as well as guidance of elder especially those who were very close to our heart..

Table of content INTRODUCTION

What is the innovation Center? What, Where, and Why? Building Information Problem Statement Project Content

CHAPTER 1: ESTABLISHING GOALS A N D O B J E C T I V E S

1.1 Client Goals 1.2 Design Goals 1.3 Activity/Limit goals

C H A P T E R 2 : D A T A C O L L E C T I O N 1 8 2.1 Historic Precedents

2.2 User’s Needs and Characteristics

C H A P T E R 3 : D E S I G N P H I L O S O P H Y 3.1 Design Motives/Messages 3.2 Design Concept 3.3 Visual Vocabulary

CHAPTER 4: FF&E AND MATERIALS

4.1 Furniture, Furnishing and equipment 4.2 Material selection

C H A P T E R 5 : A N A L Y Z E F A C T S

5.1 Charts & Matrices 5.2 Structural Needs 5.3 Contextual Needs

5.6 Economic Needs

CHAPTER 6: EVALUATE, DECIDE A N D C O N C L U D E 6.1 Evaluation 6.2 Design decisions 6.3 Conclusion

5.5 Human Needs

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5.4 Sustainability Needs

INTRODUCTION

What Is the Innovation Center «Learning by Creating», the new breakthrough model in modern education now being adopted by colleges and universities empowering students to discover, innovate and create as they transition from the traditional educational institution to a more entrepreneurial focused system fueled by students› ambitions and discovery aiming to reach unprecedented practical and scientific achievements. The new generation of facilities being practically adopted in colleges and universities globally are innovation centers known by: «innovation + incubator + maker centers.» The ultimate goal of these colleges and universities is to foster fresh talents and facilitate an environment equipped and able to produce leaders who can innovate solutions for the challenges of our time and the future ahead. They contemplate doing this through by focusing on multi-disciplinary inquiry that can foster successful partnerships with both private and public organizations and fully leverage available grants and funding for research. However, you quickly find that it›s no easy task to introduce «innovation centers». There are three different and very specific types of innovation centers where academic leaders must make key strategic decisions to ensure they select the suitable, relevant and powerful model that can succeed for their own institution in facing the growing complex challenges of our society.

1. INNOVATION CENTERS PROMOTING MULTI-DISCIPLINARY LEARNING This type of innovation center recognizes the power of crossing over traditional academic lines in order to develop relevant solutions. This recognition is triggering the creation of innovation centers that drive cross-pollination and fuse creative fields like computer science, math, design, engineering, and others to expand potential for developing new products and real-world applications. These centers are focused on accelerating discovery through problem-based, multi-disciplinary learning that addresses 21st-century challenges. Texas Christian University (TCU) is focused on this type of innovation center with the introduction of Rees Jones Hall, an incubator facility designed to maximize social and intellectual connectivity. The building houses the TCU IdeaFactory, a unit of the College of Science & Engineering—and CannonDesign project—where students can develop ideas, advance prototypes, conduct market analysis and test.

Texas Christian University (TCU)

Commonwealth Center for Advanced Manufacturing (CCAM) Prince George County, Virginia

University of Utah, Lassonde Studios, Salt Lake City, Utah

It has become easier than ever for students to use ideas to launch new companies through the transformative growth of our technological connective tissue. Universities are responding by developing incubator programs along with facilities that harness these creative passions and entrepreneurial ambitions. Institutions like Iowa State University and the University of Utah are creating these types of innovation centers focused on bringing the energy of startup companies to collegiate campuses. These centers, which CannonDesign has also worked on, are often highly flexible and work to blur the lines between life and work in way that gives students 24/7 access to technology and support as they seek to live, learn, and launch companies. Whether we choose to name them Innovation, incubator and maker centers or not; wheat her we call it multi disciplinary, partnership and entrepreneurship or not.....at the end they share the goal of breaking down historical silos and creating new partnerships. It goes far beyond just a name or a title, universities and colleges seek becoming immersed in design thinking; libraries are not just «delivering» service, but becoming fully immersed as partners in research endeavors; educational institutions are actively seeking collaborative engagement with the world of industry to address real-world issues.

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Penn State Behrend is focused on this model with the creation of the Advanced Manufacturing and Innovation Center. The result of a partnership between the college and the Greater Erie Industrial Development Corporation, the facility reflects the «open lab» initiative, where regional business and industry leaders, faculty members and students engage in research

3. INNOVATION CENTERS ENCOURAGING ENTREPRENEURSHIP

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Universities can also leverage innovation centers as a powerful means for enhanced industry partnership. Under this model, institutions create facilities where enterprising business entities and organizations can be embedded and work in tandem with university business and engineering schools to create new products and services. These partnerships create mutual benefits: providing valuable learning experiences for students who, in turn, lend their talents to solving challenges facing business and industry.

and development as teams. Industrial tenants will occupy nearly half of the new building and have access to university research space and equipment. This learning model will promote collaboration between academia and industry, offer students real-world experience and support the growth of manufacturing in the region.

2. INNOVATION CENTERS FOSTERING INDUSTRY PARTNERSHIPS

What and Why ? The vision of HH Mohammed Bin Rashid Al Maktoum, UAE Vice President, Prime Minster and Ruler of Dubai has always been focused on establishing strong foundation for education as he quickly realized that it is the weapon which he can use to change the future of his nation as he once stated: “The youth should be equipped with science and knowledge as they are the sole, constant, dominant weapons in this life.”

The coming years will witness a complete transformation in the roots of education systems presented in the way we teach as well as the way we learn; therefore this transformation will encompass development of academic material and courses across different schools like design, technology, science, health, vocational guidance, practical skills development and business administration. The goal here is instill and develop the principle of critical thinking and team work as well as utilizing computer science, programming and technology for the sake of innovating and problem solving.

H.h. Sheikh Mohammed Bin Rashed, The Ruler Of Dubai said: “ the future illiteracy is the illiteracy of programming and computer science”. Yes, we reached a stage where everyone can read and write, so what›s next?» Going forward from these words of wisdom, we are proud to establish the first innovation center for artificial intelligence in the united arab emirates and the Middle East. This center will not only shed light on youth inventions and support their creativity, it will adopt their ideas until it sees the light and have presence in the real word. This center will be the main destination for everyone and everything supporting innovation and invention in artificial intelligence and robotic science which comes as a part of the UAE commitment to the innovation strategy launched by HH Mohammed Bin Rashid Al Maktoum whilst introducing a first of its kind world wide, innovation platform, focusing on the scientific aspect of artificial intelligence in all fields related to community service like health, education and social services. This innovation center facilitates and enhances innovation by adopting gifted students and distinguished apprentices to build and invest in our national manpower. The center includes a unique state of the art mix of tools of education, ultra speedy technology, interactive sites and multimedia to engage students, connect the dots together between thoughts and information and this is to to serve their needs and aid them in their journey of discovery to ultimately elevate the overall comprehensive level.

Where? Designed by: architect. Foutoun Daabour.

- Location: United Arab Emirates, Ajman. -

Building type: Educational building.

Square meters: land: 15,000 m2, interior scape: first floor: 2329 m2

Number of stories: total of six stories including ground floor.

Completion date: proposal.

- Region: middle east, GCC.

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- Site: located in Ajman at sheikh Ammar bin humaid street, surrounded by an educational area, near to ajman university of science and technology, Gulf medical university, and in front of the national school.

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Ajman public library designed by the architecture student: Foutoun Daabour. Which located in Ajman at sheikh Ammar bin humaid street. The strategic location of the project allows it to be one of the main educational Destinations to all students and people in general, that because it is surrounded by an educational area, near to Ajman University of Science and Technology, Gulf medical university, and in front of the national school. The structure is a 15000 m2 educational building, with six floors dedicated to admiration, library and theater. Standing like a unique typography inserted by another one.

BUILDING INFORMATION

First Floor Plan

Second Floor Plan

Third Floor Plan

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Ground Floor Plan

Fourth Floor Plan

Fifth Floor Plan

• Project: Artificial intelligence innovation center. Strategic partnership with local and international supportive companion’s. • Client: Ministry of Education, higher educational affairs. Top View

Section A-A

10 Section B-B

Project content

Problem Statement The transformation of the overall design from a public library into innovation center, and how far will it affect design decisions. Changing the function of the building facilities from a library into an innovative smart center. The implication of high-technology interfaces with the given project. Prepare, design and equip the given space with all needed equipment and technologies in order to reach the users’ needs. key

Public

Semi Public

Semi Private

Private

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Limits of Study

C H A P T E R 1

ES TAB LI SH I NG

GOALS & OBJECTIVES

Programing is an integral part of the overall design process, it has been considered as a separate phase preceding the design phase. we are going to analyze facts, develop hypothesis, and attain and translate evidences into design. During this process, it is important to start by establishing goals and objectives that will link our design to the desired outcome.

1.1 C L I E N T Goals & objectives

1.2D E S I G N

Design

Goals & objectives

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1.3A C T I V I T Y/ L I M I T Goals & objectives

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Figure 1:GE Calgary Innovation Centre

1.3 A C T I V I T Y/ L I M I T Goals & objectives

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Figure 2: Innovation center for Canon

C H A P T E R 2

DATA COLLECTION

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Historic

PRECEDENTS

2.1 H I S T O R I C

PRECEDENTS

Case study 01

MERCK INNOVATION CENTRE A N D C O M P A N Y R E S T A U R A N T , DARMSTADT, GERMANY BRIEF:

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Architects: HENN

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Client: Merck KGaA

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Location: Darmstadt, Germany

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Area: 22000.0 sqm

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Project Year: 2017

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Arched ramps link the three levels of the center, each is leading to the next level, making them a high frequently meeting points that encourage employees to inspire, meet and exchange information. Team communication takes place in the spacious internal area on each floor. Single-person office cells along the façade provide spaces for activities requiring concentration and intensive thought. On several levels, the restaurant Is connected to the center, so that It will assume essential functions of the currently decentralized staff canteens, some of which are to be dissolved. An outside view is provided for the seating areas which are situated along the glass façade.

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The Innovation Center at the pharmaceutical company Merck›s corporate headquarters and factory, is built to cooperate temporarily in interdisciplinary teams and to communicate both internally and externally.

SITE AND ORIENTATION: Located in Darmstadt, DE, Germany. The Center follows the site’s pre-established master plan, also designed by HENN, placing the new building complex between two existing company buildings and at the end of what is to become a spacious public square. The masterplan is a strategic initiative to guarantee the future viability of the Darmstadt location and for it to evolve towards a global plant and Group headquarters. The intricate, detailed building infrastructure of the site, which has developed over a century, is divided into zones for research and development, production, support and access. The aim is to strengthen the perception of the individual business areas, link complementary disciplines together and make it much easier for people to orientate themselves intuitively within the complex. In the long-term, this is intended to produce a homogeneous appearance with a new, more compatible look for the older buildings and improved sequences in the functional and working areas. Interdisciplinary dialogue and social interaction are promoted by new communication zones and urban meeting places, which encourage informal, spontaneous gatherings of employees and permit cross-departmental exchanges of views and information. Appropriate building typologies also allow flexible use by more than one discipline.

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PRECEDENTS

The Frankfurter Straße, opposite the Hauptwerkstraße (main facility street) which runs parallel to it, is to be enhanced by the extension of a public square on a level with the Pützer Tower. With the new Emanuel-Merck-Platz, a public forum is being developed as the centrepiece Merck global brand. The city area opens to both sides of the street and its urban development is defined at both outer edges by the new Innovation Centre and the “modular building”. The company sees its new centre as a public sphere.

ENTRANCE An innovative smart ground at the entrance of the building that precursor to the experience on the interior. (Figure-1) A wide lobby with smart screens and walls, smooth reception, and sitting areas, that serves the need of such innovation center. (Figure-2,3) Noticeable attention of the landscape design beyond the entrance, to reflect the minimalism and modernism of the design, in addition to implementing the demands of creating a connected social area, with the proper facilities. (Figure 4,5) A twin staircase which is the connecting path of the former main factory street runs between the company restaurant and the Innovation Centre. Entrances to both buildings can be found at the apex of the stairs.

Figure 6 entrance main lobby

Though separate, the two buildings are aesthetically linked by their faรงades, as well as a joint upper-level landing

Figure 6 landscape design beyond the entrance

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Figure 6 ENTRANCE MAIN LOBBY

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Figure 6 landscape design beyond the entrance

Figure 6 smart ground at the entrance of the building

PRECEDENTS Historic

SRUCTURE The layout of the Center is based on a four-leaf clover, with elliptical, cylindrical atria that allow for views from the top of the building onto floors below. Concurrently, “stairs in the form of stepped ramps loop upwards and link the different floors and project areas into a continuous, vertically and horizontally staggered space continuum. The internal areas of the open floors are divided into various zones for communication and team working, [and] the zones along the façade are spaces for activities requiring concentration and intensive thought.” The geometric forms of the design were well respected in plans, sections, and elevations, which make a Coherent design that has a secretin concept and message to be delivered.

The restaurant will become a meeting place for numerous employees from the various parts of the plant. There is a Food Court on the ground floor as well as six distribution points on the top two floors. The seating areas are situated along the glass façade and have excellent outside views. A twin staircase which is the connecting path of the former main factory street runs between the company restaurant and the Innovation Centre. Entrances to both buildings can be found at the apex of the stairs.

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There are three levels which are set back from one another so that they are to a large extent visually linked. Levels can be changed using arched ramps. These connections, like the bridges joining the segments at individual levels, are highly frequented meeting places where the direct exchange of information among knowledge holders is encouraged. In passing, building users can be inspired by the work of their colleagues and prompted to engage in discussions. Different demands on the workplaces – concentration, communication, cooperation – find spatial expression in a flowing transition. Team communication takes place in the spacious internal area on each floor. Single-person office cells along the façade provide spaces for

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activities requiring concentration and intensive thought.

CIRCULATION

VIEWS The dynamic glazed facade allows a good ventilation and view for the hall building. Most of the facilities are lightened by the day light in most of the day.

Historic

PRECEDENTS

The elliptical staircase is giving the interior space a dramat-

ic, smooth and fluid look. That creates a fluid surfaces serving as interfaces. The interior focal point is the main lobby, and all the stories have an opening to it. This point is over looking to the outdoor smart ground that connects the innovation center to the main company building.

As perceived in the previous case study, we can conclude that the innovation center is a place where interaction communication, information exchange is encouraged, because of that, designer should take care about social contact, eye communication, as well as the personal spaces these are affecting the design. the fluid circulation and easy guided layout are one of the most important features that should be in the successful design. another thing must be considered is respecting the layout and the nature of the structure, which affect the overall harmony and ambience of the space. A well-designed space is that which studied the usersâ&#x20AC;&#x2122; needs and fulfill those needs to give them the space that keep them belonging to it and reach a certain comfort level.

Playful Color scheme that not spoil the minimalism spirit of the space, but it is reinforcing it.

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Materials, furniture and details are related to the whole project concept. Organic and Geometric forms are combined together in order to reach a pleasant atmosphere.

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CONCLUSION

MATERIALS AND DETAILS

Case study 02

SAP INNOVATION CENTER

BRIEF:

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PRECEDENTS

The SAP Innovation Centre, designed by SCOPE as a laboratory for IT developments of the Walldorf-based software company SAP, is a think tank for the creative collaboration between clients, researchers and students. It combines the best of both worlds: the creativity and agility of a startup with the backbone of a world market leader in business software, connects teams around the globe working on a diverse range of projects, while following the same approach to innovation. The center’s architecture is characterized by; flexibility, openness and transparency.

POTSDAM, GERMANY

Design philosophy

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The atmosphere breathes flexibility, openness and transparency is clear in this center, by the wall elements that are made of untreated maritime pine or glass move in the direction of the rails, folding walls always open up new possibilities for structuring the rooms according to size and needs of the teams.

Figure 7 Flexibility: folding walls always open up new possibilities for structuring the rooms according to size and needs of the teams.

Consistent flexibility also in furniture and workplaces: steel tubes were mounted on castors, connections hang like in production halls from the ceiling. Ideas and concepts of the teams are held on whiteboards, which are built into the movable walls and easily move along.

Think tanks for concentrated individual work and micro-meeting rooms for close-ups also integrate into the ensemble as well as lounges, playful offers and the staff restaurant opening spectacularly to the landscape. Throughout the building, seemingly separate areas flow effortlessly into each other, arrangeable windows allow for a wide variety of tailor-made workplace configurations.

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Figure 8 Flexible furniture: Hanged seats that encourage the productivity and the enjoyment.

Figure 9 Flexible movable White boards walls

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Figure 10 diffrent group meetings configurations

31 Figure 11 An amphitheater like enable users for small seminars

Figure 12 Restaurant: An open view directly to the landscape, and maximizing the daylight benefits in the interior.

Materials and details:

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Agile working is the foundation of this architecture. The rooms are intended to enable constant changes in perspective and to make communication. This overarching idea is also used for the consistent use of authentic materials such as exposed concrete, natural wood or ground screed. Together with the accentuated color concept and a control system consisting of large-area markings and typography, the puristic materials create a fine-minded workshop character, which can be understood as a reminiscence of the pioneering period of software development.

Figure 13 Exposed ceiling, and pure pared materials finish such as concrete and wood, with the use of large and accent guiding typographies and inspirational quotes. These elements are enhancing the philosophy of the center, and Indicates the pioneering period of software development.

Figure 15 Simple forms and straight lines are used in order to harmonize the space and encourage users to focus at their goals.

A flexible interior that allows different possibilities of configuration and structuring is always the best choice in such centers that have a variety of group and individual workers. Breath taking, openness, transparent and energizing space was achieved by minimizing the use of fixed and solid walls, using movable partitions, maximizing windows and daylighting, the use of untreated materials, accent colors, simple forms, and direct connection to the nature through outdoor views and indoor landscaping.

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Figure 14 Green walls and elements that linked to the nature are energizing the space with the power of nature and refreshment, to enhance the concept of the Sustainable environment.

ARCITECTURAL AND INTERIOR CRITERIA

SITE & ORIENTATION Ajman public library designed by the architecture student: Foutoun Daaboul. Which located in Ajman at Sheikh Ammar Bin Humaid street. The strategic location of the project allows it to be one of the main educational Destinations to all students and people in general, that because it is surrounded by an educational area, near to Ajman University of Science and Technology, Gulf medical university, and in front of the national school. The structure is a 15000 m2 educational building, with six floors dedicated to admiration, library and theater. Standing like a unique geometrical typography inserted by another one.

Historic

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The existance of such buildings, adds to Ajman a unique

Cultural and educational value as part of the cityâ&#x20AC;&#x2122;s redevelopment and sets a high standard for the next to come. The building is well considering the outer factors such as sun, wind, heat, reflection, and view. As it observed from the givin materials, all the openings are designed to be directed to the north direction. Which derease the heat and allow the day light to entre the space smoothly. Water features are considered also as one of the fectors that lessen the heat in summer season.

ARCITECTURAL AND INTERIOR CRITERIA ENTRANCE A ramp that leads you to the main entrance of the building, and the approach is appropriate precursor to the experience inside. But the entrance here is lacking to the visual attraction and connection to the experience inside, for example: along the ramp and the main entrance plaza, the visitor is expecting to see landscape pleasing features specially with the sharp multi angles of the building. The entrance view must be improved and worked on to be relevant to the experience inside.

STRUCTURE

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According to the provided technical drawings and materials, we can find a strong relationship between plans and elevations in the outer view of the building, but in terms of the space planning in the interior environment, a linier arrangement is used which is not relevant to the outer facade. In addition to that, the interior space arrangement is not fuctional and not focusing on the views as an important part of the overall design development

ARCITECTURAL AND INTERIOR CRITERIA

CIRCULATION As exterior circulation, A fluid circulation provided through the design in a logical sequence of space. But as interior circulation there are some problems in the fluidity and how was the circulation managed through the space, as an example, the circulation is static and rigid rather than dynamic.

VIEWS

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Garden and some of the fountain features are viewed from the interior space, specially the theater building, an open terrace is in the second floor, that gives the atmosphere pleasant touch. Although there was a good view, but there is no connection between the interior functions and the exterior view. I suggest to have an outdoor activity, such like an open working space, workshops and refreshing sitting areas.

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2.2 U S E R S N E E D S A N D CHARACTERISTICS

Users needs and characteristics

Collecting evidences and facts about the project is an important phase to understand the intricate relationship between humans and their environments. The better a designer understands this process, the better they are able to understand the effects of environmental design decisions they make.

This session will seek to gain an understanding of the different types of physical environments experienced by users and employees and how people respond to both abstract and actual environments in this center to be able to make design decisions about those settings while controlling behavioral effects.

22.1 Environment and Experience Asking questions is allowing us to discover people’s existing opinions, and assess their knowledge about their environment, that is helpful to understand people’s values and ideals. The more we know about how people see environments and what

they know about environments, the more we understand behavioral and emotional reactions to them. The research methodologies we used is interviews, and questioners.

Interviews Interviews have been done in the Emirates robotic club (Higher colleges of technology, dubai) and specially with Mr. Mohammad Al-Shamsi, the founder of the club.

A B O U T Mr. Mohammad Al-Shamsi

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Mohammad is a holder of many awards: he won the First Prize at the Dubai Men’s College Robot Competition 2007, and was named one of the Top 100 Arab inventors in Star of Science competition. He also won a Gold Medal in the 11th GCC Scientific forum in Dubai 2009. Mohammad won the First Place in the Unmanned Rodeo Systems in Abu Dhabi 2011, and the Third Place in Tomohat Shabab competition in Sharjah 2011. He was recently ranked second in the UAE Innovation Challenge 2012.

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Mohammad Al-Shamsi’s life significantly changed when he competed in the Mobile Robotics on WorldSkills Shizuoka 2007 in Japan. Back in the UAE, he established the Emirates Robotics Club to teach and support those who are interested in robotics. He also set up his own Robotics Company, called RoboHiTec.

Interviews

Summary: •

A wide welcoming visionary lobby, that reflects the center’s philosophy and idealism.

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Basic lobby layout, FF&E, and space requirements.

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Attention to View, natural day light, and integration of technology.

Users needs and characteristics

Summary: •

Functional flexible design and Integration of technology and smart interfaces.

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Smart guiding and security systems.

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To be the first smart exhibition in the region.

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Excellent acoustics for a variety of purposes.

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A space to stimulate deep thinking, with helpful supportive tools and equipment

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Functional flexible exhibition design spaces, with the Integration of technology, smart interfaces, Smart guiding and security systems.

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300m2 Auditorium with excellent acoustics for a variety of purposes.

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A café for socializing and eating purposes, should have daylighting and flexible open layout.

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Informal Casual meeting space that enhance interaction and communication. A flexible design and furniture configuration is recommended.

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A space to stimulate deep thinking, with helpful supportive tools and equipment.

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Library and research studio with all basic ff&e and integration of technologies are recommended.

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A wide welcoming visionary lobby, that reflects the center’s philosophy and idealism with Basic lobby layout, FF&E, and space requirements, Attention to View, natural day light, and integration of technology.

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Basic main Client and users needs are summarized in the following:

Users survey and questionair A web-based survey questionnaire was done by 15 student in the UAE who have impressive talents and the passion and ability to invent in the artificial intelligence and robotic fields, this questionnaire was done in the Emirates Robotic Club- Higher Colleges Of Technology- Dubai.

Users needs and characteristics

Questionair Sample Form

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Questionair Sample Form- Cont.

Questionair Result Analysis

Users needs and characteristics

Talent field and interest in AI

Perspective about the future of the relationship between human and artificial intelligence

Highest education level

Practicing Hours

Questionair Result Analysis

Color Scheme Preference

Summary :

O U T C O M E S â&#x20AC;˘

According the previous results, we can conclude that our targeted group of students are between 15-30 years old, males and females. So, that will be considered in selecting design elements, and principles, and to be considered when taking design decisions. An open plan layout with flexible design configurations to fulfill the variety of activities, personalities, and nature. A Balanced harmonies visionary design that reflect the philosophy of the center and the optimism of the members.

Innovation

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62% of the targeted slice of people are males, while 38% are females, between the ages of 13-34 years old, undergraduate from college and graduated. Most of them are optimistic about the future of the artificial intelligence and they see it as a new destination to improve the life and physical and mental abilities of humanity, Help the human in performing certain tasks, and Provide medical solutions. The majority are interested on the areas of the AI such as Education, Healthcare, Environment, Humatarian aids and trans-

portation. As talented, innovators, and passionate students, they spend about 3-5 hours daily in developing their projects and ideas. So, they recommend computer/programming labs, 3d modeling workshops, microchip labs, simulation labs, and digital stations. They see that the balanced and harmonious looks will be achieved by dramatic elements, having different shades, colors, and textures on the walls, floors, and ceiling with an open plan layout, and a theme of cold and neutral colors.

Organization & communication Patterns

Users needs and characteristics

Organizational Profile

Innovation

Center

Organization & communication Patterns

Communication moods

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Functional Adjacencies

At the administration department, employees are working sequence. Starting from the director of the center, and the scientific directors, going through secretary which is the link between directors and staff. The laboratory management, substantive and technical support, safety and security management, Library support staff, human resources, public relations, and financial affairs, all are forming the administration department of the organization. While the educational

In a such center, the importance of determining the communication moods is big, due to the complexity and overlapping of functions and rolls. The majority of spaces needs telephone systems and computers. While the need of paper transition is shifted to electrical communication in order meet the centerâ&#x20AC;&#x2122;s philosophy.

Innovation

staff consist of professors, senior researcher and lectures-researchers, and scientific collaborators.

The space is operating in sequence of spaces each is leading to the other. From the entrance user can access the lobby and reception desk, he can move to either exhibition or the auditorium, and he can pass to the cafĂŠ. From the reception he can get the permission to enter the educational facilities and administration to start his journey in innovation and research.

Center

O U T C O M E S

C H A P T E R 3

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DESIGN PHILOSOPHY 52

Center Innovation AI

â&#x20AC;&#x201C;(Rusell and Snodgrass 1987)

â&#x20AC;&#x153;

Places do not control emotions, but they do influence them

Design Motives (Messages)

3.1 D E S I G N M O T I V E S ( M E S S A G E S)

Each Design in any space is influencing human emotions and behaviors in a way or another, encouraging them to act in a specific way, or discouraging them to act in a way else. Seeing things and live with things that stimulate your emotions are combined in order to create a common mood or impression. Your impression toward a space is encouraging you to act in a certain way. And that what the design of the space plays the primary role on it. And this is what was identified by Reiss as Design Basic motives. This space can motivate people beings through their lives, and propel their emotions. These motives can be related to physical places, some more, some less closely, they should guide space design. In this project, there is/are general primary motif/motives (Message/s), and there are secondary motives, that tells the overall vision and message that the client want users to feel and live (nonverbally) physically and psychologically in the all areas of the project. On the other hand, there are messages that are specifies for each limit or space in the project. All of these messages are combined to create the overall experience of the space.

Secondary Motif/Motives: SOCIAL CONTACT Responding to the client and design aims to encourage innovation, scientific research by teamworking and exchanging ideas between different students and professors. So, controlling privacy and social contact is very important in such centers. Because of that the design secondary motif or message is Social Contact, and that will be controlled clearly in the overall environment, through the use of all design elements and principles.

Secondary: Social contact.

2. Exhibition: a.

Vengeance and curiosity as primary motives.

Secondary: Status, honor.

3. Multipurpose Auditorium: a.

Primary motif: Power.

Secondary: Order.

4. CafĂŠ: a.

Primary motif: eating.

Secondary: Social contact

5. Informal Meeting Areas a.

Primary: Acceptance

Secondary: Social Contact.

6. Brain-Storming Room a.

Primary: Social Contact, Tranquility.

7. Library & Research Studio. a.

Primary: Curiosity.

Secondary: power.

Center

Since the primary goal of the AI innovation center is Empowering and developing genius and talented students to realize their full potential, and give them material and moral support by providing an appropriate environment to train develop and showcase their talents. The designer roll here is to provide a well-designed effective learning environment, that is visionary, inspirational, and convenient, to stimulate studentâ&#x20AC;&#x2122;s passion and curiosity to create, grow, develop and innovate, a space that replenish the need to understand, the strong desire to know or learn something. Because of that the design primary motif or message is curiosity, and that will be clear in the overall environment, through the use of all design elements and principles.

a. Status and curiosity as a primarily motives, to create a prestigious and luxurious impression, that identify the artificial intelligence future from the first sight, and to stimulate the curiosity to discover more about this center.

Innovation

C U R I O S I T Y

â&#x20AC;&#x192; Special Motives: 1. Lobby:

General Motif: Primary Motif/motives:

3.2 D E S I G N C O N C E P T A successful design begins with a good design concept. While the designer is trying to solve the projectâ&#x20AC;&#x2122;s problem, his concept will lead the way and give him direction for his design decisions. Concept is the idea behind a design, itâ&#x20AC;&#x2122;s the underlying logic, thinking, and reasoning for how we are going to solve the design problem, it will lead the choice of colors and shapes, forms, and all design decisions, choose the aesthetic and determine the grid. The most suitable concept for this project, its important to select the type of concept as a starting point for brainstorming to discover and create our own concept.

Mood Related concept Based on the idea that interior design has the power to evoke emotions. The desire to innovate, the passion to discover and learn will be inspired through this project. The design will stimulate, inspire users to innovate and socialize in a comfortable, controllable way. My role as a designer is to Create a space that encourage the mood of learning, discovering innovating, and connect minds.

Concept generation

Design

concept

Brain storming

The innovation starts from connecting Minds and transmitting ideas to build a better future.

Concept philosophy

Connection and transition are the common denominators between human brain intelligence and the artificial intelligence. And are the mood that we would like to emphasis in this project. Since innovation needs connecting minds and transition of ideas between people. Connection and transition are the starting points to build a better future. Figure: approximatefield.wordpress.com

Innovation

These analytical operations could be performed by the human brain specially in Neurons by less than a second. They process and transmit information through electrical and chemical signals. The artificial intelligence machine is consist of microchip/s, which is a set of interconnected electronic components such as transistors and resistors, that are etched or imprinted on a onto a tiny chip of a semiconducting material, such as silicon or germanium.

The Artificial intelligence (AI) is an area of computer science that emphasizes the creation of intelligent machines that work and react like humans. It is the science that programming computers to mimics the human mind intelligence, for certain traits such as: Knowledge, Reasoning, Problem solving, Perception, Learning, Planning and Ability to manipulate and move objects.

Center

CONNECTION & TRANSITION

Architecture, design et sculpture by Ora Ito

Design

concept

Figure: http://lemanoosh.com/

58 Figure: http://lemanoosh.com/

Figure: Drift Concrete - bench detail

Innovation

Center

Stuart Weitzman flagship store by Zaha Hadid

59 Figure: Drift Concrete - bench detail Figure: benjamin hubert / layer design conceives â&#x20AC;&#x2DC;scaleâ&#x20AC;&#x2122;

3.3 D E S I G N S T O RY

The Artificial Intelligence Innovation Center

Main Entrance

Receotion & Info. Desk

3 The Exhibition Of Artificial Intelligence

Design

Story

6 Reception Lobby- Circulation & Quick Meetings

Audotorium

Meeting Adminstration for regestration and coorboration

Formal Meetings (student &/or Adminstration)

Laboratories & Working studios

Brainstorming and ideas generation sessions

Studentsâ&#x20AC;&#x2122; lounge

Center

Innovation

Informal casual Meetings (students, professors, and employees)

Library and Research Studio

Cafeâ&#x20AC;&#x2122;

C H A P T E R 4

FF&E AND MATERIALS

4.1 F U R N I T U R E , FURNISHINGS,AND EQUIPMENT

4.1.1 Lobby

Innovation

Center

Furniture

4.1.1 Lobby Furniture- Cont.

FURNITURE, FURNISHINGS,and EQUIPMENT

Furnishing

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4.1.1 Lobby Equepment

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Innovation

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Innovation

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4.1.1 Lobby

FURNITURE, FURNISHINGS,and EQUIPMENT

4.1.2 Exhibition Furniture

4.1.2 Exhibition Furnishing

Innovation

Center

รถ

FURNITURE, FURNISHINGS,and EQUIPMENT

4.1.2 Exhibition Equepment

4.1.2 Exhibition

Innovation

Center

Equepment , cont.

4.1.2 Exhibition

FURNITURE, FURNISHINGS,and EQUIPMENT

Equepment , cont.

4.1.3 Auditorium Furniture

Innovation

Center

Equepment

FURNITURE, FURNISHINGS,and EQUIPMENT

4.1.3 Auditorium Equepment , cont.

4.1.4 é Cafe’

Furniture

ö AI

Innovation

Center

é 4.1.4 Cafe’ Furniture- Cont.

FURNITURE, FURNISHINGS,and EQUIPMENT

Furnishing

Ø Ø Ø

é Cafe’ 4.1.4

Furnishing- Cont.

Ø Ø Ø

é Equepment

Innovation

Center

FURNITURE, FURNISHINGS,and EQUIPMENT

é Cafe’ 4.1.4 Equepment- Cont.

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é Cafe’ 4.1.4 Equepment- Cont.

Innovation

Center

   

é Cafe’ 4.1.4 Equepment- Cont.

4.1.5 Informal Meeting Areas

FURNITURE, FURNISHINGS,and EQUIPMENT

Furniture

4.1.5 Informal Meeting Areas Furniture, Cont.

Innovation

Center

4.1.5 Informal Meeting Areas Furniture, Cont.

FURNITURE, FURNISHINGS,and EQUIPMENT

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4.1.5 Informal Meeting Areas Furnishing

Innovation

Center

Equepment

4.1.5 Informal Meeting Areas Equepment, Cont.

4.1.6 Brain-Storming Area

FURNITURE, FURNISHINGS,and EQUIPMENT

Furniture

4.1.6 Brain-Storming Area Furniture, Cont.

Innovation

Center

Furnishing

4.1.6 Brain-Storming Area

FURNITURE, FURNISHINGS,and EQUIPMENT

Equepment

4.1.7 Library & Research Studio

Innovation

Center

FURNITURE

4.1.7 Library & Research Studio

FURNITURE, FURNISHINGS,and EQUIPMENT

FURNITURE, CONT.

4.1.7 Library & Research Studio FURNITURE, CONT.

Innovation

Center

Furnishing

4.1.7 Library & Research Studio

FURNITURE, FURNISHINGS,and EQUIPMENT

Furnishing, CONT.

Equepment

4.1.7 Library & Research Studio Furnishing, CONT.

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Innovation

Center

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4.2 M AT E R I A L S E L EC T I O N

4.2 MATERIAL SELECTION

traffic.

Finish high

 Finish: Paint ready, field

 Resistant to UV rays and harsh

 Materials are polymer free.  Custom Fabrication

01. Lobby

weather conditions.  Manufactured with low environmental impact because it is formulated on the basis of water.  The

Carpet roll seamless.

      

02. Exhibition

    

Polymeric-cement coating system seamless surfaces.

material is woven vinyl flooring backed with glassfibrereinforced vinyl. Recyclable. Thermal resistant. Impact sound insulation: 12 dB Reaction to fire: Bfl-s1 Critical radiant flux: Class 1 Emission: <20µg/m2 h Thickness: 2.4 mm Excellent adhesion. Excellent resistance to high traffic. Retards the penetration of water and de-icing salts. Resistant to UV rays and harsh weather conditions. Manufactured with low environmental impact because it is formulated on the basis of water.

Glass fiber reinforced gypsum (GRG)

Exposed ceiling (Mainly) GRG patched areas.

03. Multipurpose Auditorium

Carpet roll seamless.

 Excellent adhesion.  Excellent resistance

Polymeric-cement coating system seamless surfaces.

(to be used in proscenium,Wings, Costume shops, scene shops, theater studios and dressing rooms)

Glass fiber reinforced gypsum (GRG)

 Custom fabrication.

 Surface Burning

Characteristics (ASTM E84): Flame spread 25 or less, Class A.  Finish: Paint ready, field finished.  Materials are polymer free. Custom Fabrication

 organic,

Glass fiber reinforced gypsum (GRG) to high traffic.  Retards the penetration of water and de-icing salts.  Resistant to UV rays and harsh weather conditions. Manufactured with low environmental impact because it is formulated on the basis of water.

Characteristics (ASTM E84): Flame spread 25 or less, Class A.  Finish: Paint ready, field finished.  Custom Fabrication

Glass fiber reinforced gypsum (GRG)

(to be used in the seating area)

Specifications  Surface Burning

finished.

 The

      

Finish

(ASTM E84): Flame spread 25 or less, Class A.

 Retards the penetration of water

and de-icing salts.

Polymeric-cement coating system seamless surfaces.

Specifications  Surface Burning Characteristics

shapes; used in auditoriums both as overhead canopies, in order to better blend the direct and reflected sound, and along walls to provide scattered sound to the audience.  Surface Burning Characteristics (ASTM E84): Flame spread 25 or less, Class A.  Finish: Paint ready, field finished.

Glass fiber reinforced gypsum (GRG)

 Comprised

Acoustical transverse Grooved membrane with a natural wood veneer finish.

(to be used on the two outer sides of the ceiling.)

of a sandwich construction of the following: A face sheet of selected real wood veneer laminated to medium density fiber board perforated, acoustically absorptive core material, and perforated hardboard fully bonded to the core material.  Acoustical and Fire Performance Characteristics as per as specifiesd in the Specification sheets.  Finish, Form, and color are as specified by Architect / Designer.

 organic,

uniform and ‘desirable’ ceiling finish, held in place by a grid of metal channels suspended on wires from the slab/beams above.

04. Café& restaurant

 a

Acoustical transverse Grooved membrane with a natural wood veneer finish.

(to be used on the rear wall and some spots of the seating areas.)

Characteristics (ASTM E84): Flame spread 25 or less, Class A.  Finish: Paint ready, field finished. Custom Fabrication

High Performance Concrete Tiles

TEXTURE sleek / porous THICKNESS 20 mm GROUT 6 mm or 3 mm FINISHES bespoke surfaces upon request.  SUITABILITY interior & exterior use for floors and walls.  fire resistant Al MSZ-EN 135011:2007+A1:2010  THERMAL EXPANSION COEFFICIENT 10 x 10-6K-1    

Concrete Exposed ceiling.

Glass fiber reinforced gypsum (GRG)

Center

Specifications  Excellent adhesion.  Excellent resistance

Walls

Innovation

Material Finish

Ceiling

Limit

Flooring

e Auditorium

Carpet roll seamless.

 Emission: <20µg/m2 h  Thickness: 2.4 mm

(ASTM E84): Flame spread 25 or less, Class A.  Finish: Paint ready, field finished.

Glass fiber reinforced gypsum (GRG)

(to be used in the seating area)  Excellent adhesion.  Excellent resistance

of a sandwich construction of the following: A face sheet of selected real wood veneer laminated to medium density fiber board perforated, acoustically absorptive core material, and perforated hardboard fully bonded to the core material.  Acoustical and Fire Performance Characteristics as per as specifiesd in the Specification sheets. Ceiling  Finish, Form, and color are as specified by Architect / Specifications Designer.

4.2 MATERIAL SELECTION, CONT. Polymeric-cement coating system seamless surfaces.

Limit

(to be used in Flooring proscenium,Wings, Costume shops, scene shops, theater studios and dressing rooms) Material Finish

04. Café& restaurant 01. Lobby

Polymeric-cement coating system seamless surfaces.

02. Exhibition Polymeric-cement coating system Polymeric-cement seamless surfaces. coating system seamless surfaces.

Finish

to high traffic.  Retards the penetration of water and de-icing salts.  Resistant to UV rays and harsh weather conditions.  Manufactured with low environmental impact because it is formulated on the basis of water. material is woven vinyl with glassfibre flooring TEXTUREbacked sleek / porous  reinforced THICKNESSvinyl. 20 mm  Recyclable. GROUT 6 mm or 3 mm  Thermal FINISHESresistant. bespoke surfaces upon  Impact request.sound insulation: 12 dB  Reaction to fire: Bfl-s1 SUITABILITY interior & exterior  Critical flux: Class 1 use for radiant floors and walls.  Emission: <20µg/m2 h 13501fire resistant Al MSZ-EN  Thickness: 2.4 mm 1:2007+A1:2010 THERMALadhesion. EXPANSION  Excellent COEFFICIENT 10 x 10-6K-1  Excellent resistance to high  Excellent traffic. adhesion.  Excellent resistance to high Retards the penetration of water traffic. and de-icing salts.  Retards of water Resistantthe topenetration UV rays and harsh and de-icing salts. weather conditions.  Resistant to UV rayswith and harshlow Manufactured weather conditions. environmental impact because it Manufactured withon lowthe basis of is formulated environmental impact because it is water. formulated on the basis of water.

03. Informal Multipurpose Auditorium 05. Meeting Areas

  

Carpet roll seamless.

           

product EN 15114. flooring standard backed with glassfibreThickness: mm reinforced 2,2 vinyl. Thermal resistance: Suitable for Recyclable. underfloor heating Thermal resistant. Impact sound insulation Impact sound insulation:12 12dB dB Airborne 0,05 Reaction sound to fire:absorption Bfl-s1 Reaction to fire Bfl-s1 Critical radiant flux: Class 1 Critical radiant flux Class Emission: <20µg/m2 h 1 Emission µg/m2 Thickness:502.4 mm Recyclable

(ASTM E84): Flame ceiling finish, held inspread place 25 by a or Class A. gridless, of metal channels

 Finish: Painton ready, field suspended wires from the

finished. slab/beams above.

 Materials are polymer free.  Custom Fabrication

06. Brain-Storming Room

 Excellent adhesion.  Excellent resistance to  Construction: Woven vinyl traffic.

Glass fiber reinforced gypsum (GRG) Concrete Exposed ceiling.

Exposed ceiling (Mainly) GRG patched areas.

Metal Canopy Ceiling in filigree optics

Acoustical transverse Grooved membrane Metal Canopywood Ceiling with a natural in filigree veneer finish. optics (to be used on the two outer sides of the ceiling.)

04. Café& restaurant 07. Library & Research Studio

 Construction: Woven vinyl

    

High Performance Carpet roll Concreteseamless Tiles

         

Characteristics (ASTM E84): Flame spread 25 or less, Class A.  Finish: Paint ready, field finished.  Materials are polymer free. Custom Fabrication

 organic, Surface Burning  shapes;

9010 acc.scattered to Lindner, provide sound to the

 audience. Durable.  Surface RecessedBurning and surface Characteristics

underfloor heating Manufactured with low

flooring, product standard EN 15114 Thickness: 2,4 mm Thermal resistance: Suitable for underfloor heating Impact sound insulation: 12 dB Airborne sound absorption: 0,05 Reaction to fire: Bfl-s1 Critical radiant flux: Class 1 TEXTURE sleek / porous Emission: < 20µg/m2h THICKNESS 20 mm Recyclable GROUT 6 mm or 3 mm FINISHES bespoke surfaces upon request. SUITABILITY interior & exterior use for floors and walls. fire resistant Al MSZ-EN 135011:2007+A1:2010 THERMAL EXPANSION COEFFICIENT 10 x 10-6K-1

 Surface Burning

declarationsinvalidated ISO canopies, order toto better 14025 the direct and reflected blend

15114 and de-icing salts.

Carpet roll seamless

 Custom fabrication.

 sound, Light reflectance approx. 82 %to and along walls

product standard  flooring, Retards the penetration ofEN water

(to be used in proscenium,Wings, Costume shops, scene shops, theater studios and dressing rooms)

Glassfiber fiberreinforced reinforced Glass gypsum gypsum (GRG)(GRG)

 organic, Sound absorption.  shapes; used in  auditoriums Environmental product both as overhead

high

 Impact sound insulation: 12 dB environmental impact because it is  Airborne on sound 0,05 formulated the absorption: basis of water.  Reaction to fire: Bfl-s1  Critical radiant flux: Class 1  Emission: < 20µg/m2h  Recyclable

construction of the following: A face sheet of selected real wood veneer laminated to medium density fiber board perforated, acoustically absorptive core material, and perforated hardboard fully bonded to the core material.  Acoustical and Fire Acoustical transverse Performance Characteristics Grooved membrane as per as specifiesd in the with a natural wood WallsSpecification sheets. veneer finish.  Finish, Form, and color are as (to be used on the rear wall specified by Architect / Finish Specifications and some spots of the Designer. seating areas.)   Surface Surface Burning Burning Characteristics Characteristics (ASTM (ASTM E84): E84): Flame Flame spread spread 25 25 or or less, less, Class A. Class A.  Paint ready,  Finish: Finish: Paint ready, field field finished. finished.  Custom Fabrication

Glass fiber reinforced gypsum (GRG)

 2,4UV mmrays and harsh  Thickness: Resistant to  Thermal weather resistance: conditions. Suitable for

Polymeric-cement coating system seamless surfaces.

 Comprised of a sandwich

Custom Fabrication

Glass fiber reinforced gypsum (GRG)

(to be used in the seating area)

 Comprised

 Burningand Characteristics  Surface a uniform ‘desirable’

 Wovenisvinyl flooring,  Material: The material woven vinyl

Carpet roll seamless.

SELECTION

(to be used on the two outer sides of the ceiling.)

Specifications

 The

Carpet roll seamless.

MATERIAL

Acoustical transverse Grooved membrane with a natural wood veneer finish.

 Excellent adhesion.  Excellent resistance

High Performance Concrete Tiles

to high traffic.  Retards the penetration of water and de-icing salts.  Resistant to UV rays and harsh weather conditions. Manufactured with low environmental impact because it is formulated on the basis of water.

Glass fiber reinforced gypsum (GRG)

Characteristics (ASTM E84): Flame spread 25 or less, Class A.  Finish: Paint ready, field finished.

mounted light fittings can be (ASTM E84): Flame spread 25 or easilyClass integrated, giving a less, A. pleasing visual  Finish: Paint effect. ready, field  finished. Canopy length: depending on requirements, Canopy width / panel width: up to 1,250 mm and Panel length: up to 2,950 mm.  Comprised of a sandwich  construction Custom fabrication. of the following: A  face Soundsheet absorption. of selected real  wood Environmental veneer product laminated to declarations validated medium density fiberto ISO board 14025 perforated, acoustically  absorptive Light reflectance % core approx. material,82and 9010 acc. to Lindner, perforated hardboard fully  bonded Durable.to the core material.  Recessed  Acousticaland surfaceand Fire mounted lightCharacteristics fittings can be as Performance easily as integrated, givingina the per specifiesd pleasing visualsheets. effect. Specification CanopyForm, length:and depending onas  Finish, color are requirements, width / / specified by Canopy Architect panel width: up to 1,250 mm Designer. and Panel length: up to 2,950 mm.uniform and ‘desirable’  a Custom ceilingfabrication. finish, held in place by a  grid Customof fabrication. metal channels suspended on wires from the slab/beams above.

Glass fiber reinforced gypsum (GRG) Glass fiber reinforced gypsum (GRG)

used in Characteristics (ASTM auditoriums both E84):as Flame spread 25 or less, overhead canopies, in order Class A. blend the direct and to better  reflected Finish: Paint ready,and fieldalong sound, finished. walls to provide scattered  sound Materials areaudience. polymer free. to the Custom Fabrication  Surface Burning Characteristics (ASTM E84): Flame spread 25 or less, Class A.  Finish: Paint ready, field finished.  Comprised of a sandwich

construction of the following:

 A Surface Burning face sheet of selected real

Acoustical transverse Glass fiber reinforced Grooved membrane gypsum (GRG)wood with a natural veneer finish.

(to be used on the rear wall and some spots of the seating areas.)

Characteristics E84):to wood veneer (ASTM laminated Flame spread 25 or less,board medium density fiber Class A. perforated, acoustically  absorptive Finish: Paintcore ready, field and material, finished. perforated hardboard fully  bonded Materialstoare polymer free. the core material. Custom Fabricationand  Acoustical Fire Performance Characteristics as per as specifiesd in the Specification sheets.  Finish, Form, and color are as specified by Architect / Designer.  Surface Burning

Characteristics (ASTM E84):

 Flame Surfacespread Burning 25 or less,

Characteristics (ASTM E84): Class A.

Flame spread 25 or field less,  Finish: Paint ready, Class A. finished.

 Finish: Paint ready, field

finished. Custom Fabrication

Exposed ceiling Concrete Exposed ceiling.

Glass fiber reinforced gypsum (GRG) Glass fiber reinforced gypsum (GRG)

Custom Fabrication

C H A P T E R 5

ANALYZE FACTS

5.1 C H A RT S & M AT R I C E S

5.1 MATRIX CRITERIA

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5.2 S T R U C T U R A L N E E D S

5.2 STRUCTURAL NEEDS

Figure 5.1 AI Innovation center Site & Orientation

The building is well considering the outer factors such as sun, wind, heat, reflection, and view. As it observed from the givin materials, all the openings are designed to be directed to the north direction. Which dicrease the heat and allow the day light to entre the space smoothly. Water features are considered also as one of the fectors that lessen the heat in summer season.

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The existance of such buildings, adds to Ajman a unique Cultural and educational value as part of the cityâ&#x20AC;&#x2122;s redevelopment and sets a high standard for the next to come.

Figure 5.2 AI Innovation center Site consedration

Ajman public library designed by the architecture student: Foutoun Daaboul. Which located in Ajman at Sheikh Ammar Bin Humaid street. The strategic location of the project allows it to be one of the main educational Destinations to all students and people in general, that because it is surrounded by an educational area, near to Ajman University of Science and Technology, Gulf medical university, and in front of the national school. The structure is a 15000 m2 land, with six floors dedicated to admiration, library and theater. Standing like a unique geometrical typography inserted by another one.

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5.2.1 Site and orientation:

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5.2.2 Site Analysis: The process of site planning begins with an analysis and understanding of the particular site and its relationship to the proposed or remodeled building. A program and subsequent design recommendations are then made to guide the eventual construction of a building or any reconstruction of existing features. A thorough investigation of both the site and the impact of a structure to be constructed on it is necessary to achieve harmony between the two. The best site design is usually one that requires the least amount of reconstruction to the site. Site analysis involves a careful investigation of the physical and nonphysical characteristics on and surrounding the site. Numerous elements go into a given site analysis. These elements include:

Climate:

The climate of the UAE generally is very hot and sunny. The hottest months are July and August, when average maximum temperatures reach above 50 °C (122.0 °F) on the coastal plain. In the Al Hajar al Gharbi Mountains, temperatures are considerably cooler, a result of increased altitude. Average minimum temperatures in January and February are between 10 and 14 °C (50.0 and 57.2 °F). During the late summer months, a humid southeastern wind known as the sharqi makes the coastal region especially unpleasant. The average annual rainfall in the coastal area is fewer than 120 mm (4.7 in), but in some mountainous areas annual rainfall often reaches 350 mm (13.8 in). Rain in the coastal region falls in short, torrential bursts during the summer months, sometimes resulting in floods in ordinarily dry wadi beds. The region is prone to occasional, violent dust storm, which can severely reduce visibility. The Jebel Jais mountain cluster in Ras al Khaimah has experienced snow only twice since records began.

Figure 5.3The least amount of rainfall occurs in May. The average in this month is 0 mm. In December, the precipitation reaches its peak, with an average of 25 mm.

Ajman Climate: Ajman is considered to have a desert climate. During the year, there is virtually no rainfall. The temperature here averages 25.9 °C. Precipitation here averages 102 mm.

Seasonal Wind Distribution in the UAE:

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Winter:

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Gulf falls under the influence of the Siberian high-Pressure to the east , and this high-pressure stretching from the Atlantic Ocean to the west and originates over the Arabian Gulf, a shallow secondary low. the source of the prevailing wind and affecting the region is Siberian high-pressure and the air accompanying moderate. Winds will be northwesterly to northeasterly between light and moderate. In the case of the region affected by Lowe-pressures coming from the Mediterranean Sea, the northwest winds are active and up to 30 knots or more. Spring: the beginig of This season is an extension of the winter where distributions piezoelectricity remain the same but are weaker. And the progress of the spring Siberian high-pressure disintegrate into small cells, including depressions coming from Europe sometimes appear or extended from the south. It consists depressions air above the Arabian Peninsula sometimes interact with the air coming from the eastern Mediterranean and show large amounts of low and medium clouds accompanied by heavy rain. This is accompanied by depressions are

Figure 5.4 The temperatures are highest on average in August, at around 33.5 °C. At 18.2 °C on average, January is the coldest month of the year.

desert winds southeasterly active exciting sands that reach the limit of the storm sometimes. Summer: Low back of the seasonal influence of India and tropical continental air mass associated with it and covers all the Arab Gulf region, and the sun is almost perpendicular to the region during this season. The active north wind, especially in the afternoon Bank. This is sometimes low is divided into two parts, one east of the Arabian Gulf and the second over the Arabian Peninsula and the attendant distribution Southeasterly winds hot and humid too, as sometimes it happens move high-pressure area coming from the eastern Mediterranean and another high from the Caspian Sea affect the low-India movement and weaken its influence and attendant easterly winds moist. During August and September winds subside significantly and are often under the influence of the two sessions of the mainland sea breeze any southeasterly am becoming Northwesterly starting from the back.

Man-Made structures:

There are no existing buildings or other structures that need to be removed, left or remodeled. But the building is surrounded by Residential villas from one side, and Government buildings from the other sides, and Offset by residential buildings and commercial complexes.

Sensory Impact:

Noise, Smoke, pollution: Due to traffic and transportation, since the project is located overlooking the main street, so a noise traffic is happening there a lot. An air pollution is probably there, due to smoke that produced by trucks an vehicles.

Autumn: Featuring autumn lack of clarity or stability of distributions piezoelectricity is a transitional season where India begins with low seasonal ebb and weaknesses, while the opportunity to provide depressions coming from Africa and influential on the Red Sea. High-Siberian also starting to form and influence at the end of the season. The prevailing winds in this chapter are changing direction, but is dominated by the north-east, a mild and temperate.

Access:

Figure 5.5 statistics based on observations taken between 07/2002 - 11/2016 daily from 7am to 7pm local time. The arrows point in the direction that the wind is blowing.

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The Location of the project, design, and distribution allows an easy Access to its Entrances and exits. Since it is overlooking the main street, and 3 side streets. This overlooking enable people/users of the project to access the building easily. And its attracting people how are walking/ driving in the street to discover this building.

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Figure 5.6 Site Analysis Diagram.

5.2.3 Codes and Regulations

UAE FIRE AND LIFE SAFETY CODE OF PRACTICE Openings Where an exterior wall is required to have a fire resistance rating as determined by Table 1.2, the area of openings in exterior walls shall not exceed that permitted by Table1.4 or Table 1.5. The area of unprotected openings in an exterior wall shall be the aggregate of unprotected openings expressed as a percentage of the area of the exterior wall. The area of an exterior wall shall be calculated as the length, edge to edge, of the exterior wall multiplied by the measurement from the finished ground level to the uppermost ceiling. The area of unprotected openings permitted by Table 1.4 and Table 1.5 shall be permitted to be doubled under either of the following conditions.

For our innovation center , there should be provided fully with automatic sprinkles, since the area is more than 1860, and more than 3 stories.

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Where the building is protected throughout with an approved, electrically supervised automatic sprinkler system. 9.4.2. Where the openings are protected with a fire window, fire door, fire shutters assembly or other listed opening protective having the required fire protection rating in accordance with Table 1.3.

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Fire Separation and Protection of Various Rooms Emergency Command Centre

The Emergency command centre shall be separated from other parts of the same building by compartment walls and floors having fire resistance of at least 1 hour with fire suppression system. Minimum size shall be 8.9 mÂ˛. Fire Pump Rooms Fire pumps shall be located on the ground floor or below grade level with protected dedicated access from the fire engine access level. Where multiple pump sets are required in a Highrise building, Intermediate Fire Pumps and Water tanks shall be located at 90 m intervals from the First Fire Pump located as mentioned in

Figure 5.7 Emergency command center

Note: i. The intention of above requirements is to prohibit the down-feeding of water into the Fire Water Systems. ii. Thus above requirements call for appropriate design and allocations of Service Floors in a building with multiple Fire Pump sets, where 90 m interval between intermediate Fire Pumps can be established. Fire pump room shall have 2 hours fire rated compartment in non-sprinklered buildings.

Figure 5.7 Openings in floors

Separation of theatre, cinema or concert hall from other parts of the building:

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A theatre, cinema or concert hall shall be separated from other parts of the same building, which is of a different purpose group, by compartment walls and floors having a fire resistance of at least 2-hour. If the building is protected by an automatic sprinkler system, the fire resistance rating of the compartment walls or floors can be reduced to 1-hour.

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Where openings are provided for access between the theatre, cinema or concert hall and any other part of the same building of a different purpose group, the openings shall either be protected by fire doors having the necessary fire resistance rating as the enclosing walls or floors, or be provided with lobby which complies with the following requirements.: â&#x20AC;˘ The lobby is enclosed by walls having fire resistance of at least one hour, is naturally or mechanically ventilated. â&#x20AC;˘ All doors to the lobby shall each have fire resistance of not less than half an hour and fitted with automatic self-closing device.

Figure 5.8 A fire door is a type of door or movable barrier used as part of a passive fire protection system within buildings to prevent the spread of fire or smoke between separate sections. It is usually the only means of allowing people to pass through a fire-re

Emergency lighting for firefighting facilities

Figure 5.9 Perfectly illuminated escape routes ensure that people can leave a building safely in an emergency. Illuminated escape signs, and emergency luminaires that are independent of general mains power supply, are therefore required in the majority of buildings such as offices, movie theatres, underground car parks and shopping centres. Relevant technical specifications are laid down in national and international standards and regulations.

The objective of having emergency lighting during emergencies or when the normal lighting of the occupied building fails. The emergency light shall fulfill the following functions: a. To indicate clearly and unambiguously the escape routes. b. To provide illumination along such routes to allow safe movement towards and through the exits provided.

iv. In office rooms more than 60mÂ˛. Notwithstanding the requirements in the clause above, emergency lighting shall be provided in the following locations: i. Lift cars ii. Emergency command centers iii. Generator rooms iv. Basement car parks v. Fire pump rooms vi.

Areas of refuge within the same building.

The delay between the failure of the electrical supply to normal lighting and the energization of the emergency lighting for occupied areas shall not exceed 1 second.

d. To permit operations concerned with safety measures

Where maintenance of illumination depends on changing from one energy source to another, a delay of not more than 10 seconds shall be permitted.

Emergency Lighting for Corridors and Lobby: Emergency lighting shall be provided in all corridors, egress routes, lobbies and all the areas mentioned in this chapter of all buildings except for One-and-Two â&#x20AC;&#x201C; Family-Dwelling.

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c. To ensure that fire alarm call points and fire fighting equipment provided along escape routes can be readily located.

Emergency Lighting for Occupied Areas: For all buildings except for One-and-Two-Family Dwelling, emergency lighting shall be provided in all occupancies in the following areas:

Figure 5.10 escape sign luminaires

i. along exit corridors, egress path, lobbies and exits staircases ii. Over area if there are no explicit paths leading to corridors, lobbies and exits. iii. In hotel rooms or suites. iii. Educational occupancies used as assembly, i.e. gymnasium, concert halls, auditoriums, theatres.

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Emergency lighting systems shall be designed and installed so that the failure of any individual lighting element, such as the burning out of a light bulb, cannot leave in total darkness any space that requires emergency illumination.

Figure 5.11 emergency luminaires

General:

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Emergency lighting for firefighting facilities

Fire alarm panels, fire alarm call points and firefighting equipment shall be adequately illuminated at all times so that they can be easily located. The delay between the failure of the electrical supply to normal lighting and the energization of the emergency lighting for firefighting facilities shall not exceed 10 seconds.

Design Stages:

The following are the general design requirements for emergency and exit lightings: Locating emergency lights at mandatory points: Identify specific locations where emergency lights shall be provided. See figure 13 for emergency lights mandatory points.

Figure 5.12 Typical Schematic of Emergency Lights Connected to Central Battery

Format of Exit Signs: Ensure that the Exit Signs are of the correct format and size. Signs which are provided at all exits intended to be used in an emergency and along egress routes shall be illuminated to indicate unambiguously the route of escape to a point of safety. Where direct sight of an emergency exit is not possible, an illuminated directional sign (or series of signs) shall be provided to assist progression towards the emergency exit. Locating luminaires at essential areas in the buildings. a. Lift cars - although only in exceptional circumstances will they be part of the egress route, do present a problem in that the public may be trapped in them in the event of a supply failure.

Figure 5.13 Emergency Lights Connected to Central Battery with Local Circuit

b. Toilets - all toilets for the disabled and facilities exceeding 8m2 floor area or without borrowed lights. c. Escalators - to enable users to get off them safely. d. Motor generator, control or plant rooms require battery supplied emergency lighting to assist any maintenance or operating personnel in the event of failure.

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e. Covered car parks - the normal pedestrian routes should be provided with non-maintained luminaires of at least 3 hour duration.

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**These locations are not part of the escape route but because of their risk they require protection by emergency lighting. Open areas: Open areas larger than 60mÂ˛, with an egress route passing through them, or hazards identified by the building risk assessment all require emergency lighting. High risk areas Emergency lighting are required for high risk areas, such as kitchens, plant rooms area of refuge, first aid rooms and fire control equipment rooms. Typically the minimum recommended illumination level is 10.8 Lux.

Figure 5.14 Specific locations where emergency lights must be provided.

5.2.3 Codes and Regulations

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Ajman Municipality & Planing Departments Building codes and regulations

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5.2.3 Codes and Regulations

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Ajman Municipality & Planing Departments Building codes and regulations

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5.2.3 Codes and Regulations

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Ajman Municipality & Planing Departments Building codes and regulations

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5.2.3 Codes and Regulations

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Ajman Municipality & Planing Departments Building codes and regulations

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O U T C O M E S

4. Other factors that effect building design are the ease assess of the building from the street, the surrounded man-made structures, and noise that comes from the traffic. 5. Building design has to follow the UAE fire and safety code of practices and Ajman municipality codes and regulations.

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3. Desert climate, no rainfall, and seasonal winds are affecting the design.

2. The building has got features that make it unique in performance, such as well considering sun directions and wind, since All openings of the building are directed to the north, Well thermal insulation building structure, and the use of water features in the landscape.

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1. The center will be an important educational Destinations to all students and people in general, that because it is surrounded by an educational area.

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5.3 C O N T E X T U A L N E E D S THE TOTAL ENVIRONMENT INFLUENCES ON INTERIORS Why should interior designers be concerned with the total environment or even the environment beyond the immediate spaces they are designing? Other than windows to view the outside and permit sunlight to illuminate the interiors, and doors to gain access, what impact does the “outside” have on the “inside”? Interior design is an integral part of the environmental context, and that connection implies an orderly plan of the way the built environment is constructed in harmony with the natural environment. Designers consider the total picture and its many interrelationships when solving problems. Interior design looks at the contents of a structure and at the building as a container, within the context of the environment and society. This section focuses on the contextual needs of the building, Physical and cultural surroundings, environmental control and Support systems including HVAC systems, Energy sources, Lighting and Acoustical needs, except Sustainable needs which appears separately in section 3.4, because of its uniqueness and complexity within the interior environment.

5.3.1 PHYSICAL AND CULTURAL SURROUNDINGS In order to understand the exterior influences, both physical and Cultural, that will impact the interiors. we must be aware of the overall environmental planning and regulatory processes that involve external forces, whether natural or man-made. Sometimes, they affect the design decisions.

PHYSICAL SOURROUNDINGS:

An educational area surrounds the project, since it is near to Ajman University of Science and Technology, Gulf medical university, and in front of the national school. 2 Km, 5 minutes by car away from Ajman cultural and knowledge center - the

Ministry of Culture and the development of knowledge. Another government services are surrounding the building, such like General Directorate of Residency and Foreigners Affairs, Etisalat Customer Care, Ajman Court, Ajman Traffic and Licensing Department, and General Directorate of Ajman Police. The existance of such buildings near these landmarks and physical features, adds to Ajman a unique Cultural and educational value as part of the cityâ&#x20AC;&#x2122;s redevelopment and sets a high standard for the next to come. Rather than that, it helps the building to distangushed from a distance, and makes the existing od such center in this area vital and effective.

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Figure 5.15 Street view, of the physical man-made features in front of the building.

117 Figure 5.16 Street view, of the physical man-made features, behind the building.

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Figure 5.17 The project land from Abdullah bin Masood street view.

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Figure 5.18 Site Physical Surroundings landmarks

CULTURAL SURROUNDINGS: Al Jurf 2, is an area that is occupied by citizen and resident families. Most families employ maids to share child caretaking, and this has introduced a foreign cultural element to child socialization. The school system has undertaken a greater role in childrenâ&#x20AC;&#x2122;s socialization, significantly reducing the familyâ&#x20AC;&#x2122;s role in this process. The government views higher education as a major instrument for development. The UAE has one of the highest ratios of students entering higher education in the world. There are seven universities and eleven higher colleges of technology.

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An innovation center that is surrounded by a culture that welcomes education and have a passion for innovation, surly will be a successful project. Because the surrounded cultural behavior are interested in education, and coexistence with different cultures.

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Figure 5.19 UAE Citizens pay proper attentions to education, knowledge and culture

5.3.2 INTERIOR ENVIRONMENTAL CONTROL AND SUPPORT SYSTEM Interior environmental control and support systems are important parts of a building, providing thermal, sanitary power, electrical, and other, sensory aids essential for the comfort, utility, and convenience of the users. Consequently, these systems are designed as an integral part of the building›s structural and enclosure systems. The designer creates interior and exterior control and support systems to assist in making the environment better serve the users and their equipment.

HEATING, VENTILATION, AND AIR CONDITIONING Heating, ventilating, and air-conditioning (commonly called HVAC) of a building›s interior spaces are necessary in most climates to provide environmental comfort for the occupants. Machinery and electronics have been developed that provide an automatically balanced comfort zone. Some of these systems are fairly simple and controlled by the user, but others are elaborate and operate automatically. The building›s HVAC system controls the following aspects of the interior environment: •

Surrounding air temperature.

•

Mean radiant temperature of the surrounding surfaces.

•

Relative humidity of the air.

•

Air movement.

•

Air quality or purity (odors, dust, or pollen).

UFAD has several potential advantages over traditional overhead systems, including layout flexibility, improved thermal comfort, improved ventilation efficiency, improved energy efficiency in suitable climates and reduced life cycle costs. UFAD is often used in office buildings, particularly highly-reconfigurable and open plan offices where raised floors are desirable for cable management. UFAD is appropriate for a number of different building types including commercials, schools, churches, airports, museums, libraries etc. Notable buildings using UFAD system in North America include The New York Times Building, Bank of America Tower and San Francisco Federal Building. Careful considerations need to be paid in the construction phase of UFAD systems to ensure a well-sealed plenum to avoid air leakage in UFAD supply plenum. The advantages of the system include energy efficiency, thermal comfort, individual occupant control, flexibility for frequent office restructuring, better indoor air quality, and lower costs for churn fit-out.

UNDERFLOOR AIR DISTRIBUTION

Figure 5.20 Under Floor Air Distribution System, Air plenum beneath a raised floor, Diffusers in the occupied zone, Decrease duct runs.

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Underfloor air distribution (UFAD) is an air distribution strategy for providing ventilation and space conditioning in buildings as part of the design of an HVAC system. UFAD systems use an underfloor supply plenum located between the structural concrete slab and a raised floor system to supply conditioned air through floor diffusers directly into the occupied zone of the building. Thermal stratification is one of the featured characteristic of UFAD system, which allows higher thermostat setpoints compared to the traditional overhead systems (OH). UFAD cooling load profile is different from a traditional OH system due to the impact of raised floor, particularly UFAD may has higher peak cooling load than OH systems.

120 Figure 5.21 Underfloor air distribution systems are a general class of air distribution systems that deliver air through diffusers in the raised access floor, with the intent of maintaining comfort and indoor air quality levels only in the occupied lower portion of space.

UFAD TECHNOLOGY: UFAD technology uses an air plenum under the floor to supply air from floor air outlets. An air plenum is made between the floor and the structural slab. This requires a raised floor plenum of sufficient depth to transport the air from the supply source to the air outlets. The plenum space is easily accessible and provides the same level of access as a twofoot-by-two-foot (60-centimeter-by-60-centimeter) ceiling tile â&#x20AC;&#x201D; without the necessity of climbing a ladder. The space under the raised floor, primarily created for air flow, is also used for the distribution of other services, such as electrical power wiring, telephone and information technology cabling, security cabling, and fire alarms. The use of a raised-floor plenum for other services makes the system flexible to modifications, due to ease of access. Given the dependence of business on computers, networks, VOIP, and so on, and the fast-paced changes in technology, the demand for flexibility in data cabling is ever increasing. UFAD AND ENVIRONMENTAL BENEFITS:

Initially, designs in the United States had mixed results. Projects where design and construction techniques were not adapted to the technology had poor results and generated bad press for the technology. Projects where the designers and contractors tapped into European experience and expertise had very successful outcomes. However, the U.S. building industry has learned the lessons of implementing the new technology and lately has built high-profile successful projects. Initial construction costs associated with UFAD systems are slightly higher than those of conventional systems, but the overall life-cycle costs are far less. Three major new projects in New York City, with approximately 5 million square feet of construction, have been built in the last five years using UFAD technology. The New York Times headquarters building uses UFAD for 800,000 square feet of office space. The One Bryant Park building uses UFAD in addition to thermal storage, high-performance envelope, and daylight harvesting as steps toward achieving LEED Silver certification. Another major corporation in New York (not named for confidentiality) used UFAD in their new headquarters building.

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Reduced energy consumption in UFAD systems from:

a. Higher air temperature: The supply air temperature of the UFAD system is higher than that of a conventional overhead air distribution system. The UFAD supply air temperature is 65 degrees Farenheit (18.3 degrees Celsius), whereas conventional air systems use 55 degrees Farenheit (12.8 degrees Celsius) air. The benefit from higher temperature is twofold: i. The cooling system or the compressors will not have to work as hard, and will therefore use less energy. The refrigeration process of absorbing heat from the lower-temperature source (indoors) and rejecting heat to the high-temperature sink (outdoors) is more efficient when the source is at a higher temperature. ii. Economizer or free cooling is used in the air conditioning system. This is a method that uses outdoor ambient cooler conditions to cool an indoor heat-generating space. Office interior spaces require cooling even in the winter, when outdoor temperatures are cold. It is only the perimeter building envelope space that requires heat, as a result of skin loss. For UFAD systems, the economizer period can be extended. In conventional systems, economizer or free cooling stops when the outdoor temperature reaches 55 degrees Farenheit (12.8 degrees Celsius). In UFAD systems, the free cooling can continue up to 65 degrees Farenheit (18.3 degrees Celsius) (with acceptable relative humidity).

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In the United States, UFAD technology was introduced in the 1990s, and several buildings have been designed to incorporate it.

The systematic benefits of UFAD, applied in appropriate building types, include energy efficiency, thermal comfort and individual occupant control, indoor air quality, low noise levels, and flexibility, in terms of rearranging office layouts economically. Looking at energy efficiency factors in more detail:

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The LEED 2009 Reference Guide for Green Building Design and Construction cites UFAD as a way to achieve individual occupant controls. From the 1970s, buildings have been designed with this technology in Europe and Asia, and have worked satisfactorily.

BENEFITS OF UFAD

The environmental and energy benefits come from the operating temperatures, which are much higher (in cooling applications) than in conventional systems. The combination of environmental and energy benefits with flexibility is the main reason for the growing popularity of the systems. The technology is not new to buildings; from the 1950s on, it has been used in data centers or computer rooms. The driver then was flexible cable management and efficient cooling of high heat loads. Today the drivers are: energy conservation, the environment, and flexibility in managing other building services.

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b. Thermal stratification: UFAD systems stratify the space above the head level up to the underside of the ceiling with higher temperatures — 80 to 85 degrees Farenheit (26.7 to 29.4 degrees Celsius). From the floor to just above head level is considered the occupied zone and is maintained at comfort temperature — 72 to 78 degrees Farenheit (22.2 to 25.6 degrees Celsius). Conventional systems maintain a uniform comfort temperature — 72 to 78 degrees Farenheit (22.2 to 25.6 degrees Celsius) over the entire height of the occupied space.In a space with 10-foot (three-meter) ceilings, about six feet (1.8 meters) is the occupied zone, and four feet (1.2 meters) is the unoccupied zone. Thus, UFAD systems condition only 60 percent of the volume of space to human comfort, and the remaining 40 percent is above the comfort zone. This process of stratification permits most of the heat from the lights, some of the solar heat gain from glazing, and a portion of the envelope heat gain to be returned directly to the cooling system, without any impact on the occupied zone of the space. c. Low fan energy: The air quantity required is the same for both conventional and UFAD systems. However, UFAD systems distribute air through a plenum with less air pressure loss compared to a conventional system with ductwork and variable air volume (VAV) boxes (which are dampers or valves or gates to control flow). The lower pressure loss results in lower fan energy consumption. Some conventional systems employ fans in the ceilings, such as in the fan-powered VAV systems; the energy consumed by these fans is also eliminated.

Figure 5.22 Conventional Overhead Delivery Systems

d. Diurnal temperature advantage: Diurnal temperature is the daily fluctuation in temperature between night and day. The lower temperature in the nights, when the building is not occupied, can be used to cool the building mass, for example the floor slabs. The air is directly in contact with the mass of the structural floor slabs. Conventional systems do not permit this. A night purge cycle can cool the building and increase the thermal inertia, which can be used during the daytime, reducing energy use and peak demand. Asif Syed, PE, LEED-AP, is an engineer and is currently a partner at AKF Engineers, where he is responsible for design and analysis of building mechanical systems. UFAD COMPARED TO OTHER DISTRIBUTION SYSTEMS

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Conventional overhead mixing systems usually locate both the supply and return air ducts at the ceiling level. Supply air is supplied at velocities higher than typically acceptable for human comfort and the air temperature may be lower, higher, or the same as desired room temperature depending on the cooling/heating load. High-speed turbulent air jets incoming supply air mix with the room air. A well-engineered UFAD systems have several potential advantages over traditional overhead systems, such as layout flexibility, improved thermal comfort, improved ventilation efficiency and indoor air quality, improved energy efficiency in suitable climates and reduced life cycle costs.

Figure 5.23 Underfloor Air

Natural Ventilation

There are many ways in which buildings can utilize natural ventilation to provide an acceptable level of thermal comfort. Orientation is an important factor in allowing cross ventilation by providing access to predominant wind directions. But where the context do not allow cross ventilation, innovative solutions such as wind towers or solar chimneys can allow natural ventilation. For example, using solar chimneys in combination with a cooling cavity, cools outdoor air as it enters the space, while rejecting warm air through the solar chimney. A similar system was tested successfully by Professor Mohsen Aboulnaga in the city of Al Ain in 1998, where air flow rates achieved were sufficient to provide thermal comfort to occupants.

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By the use dynamic glazing faรงade system, that has openings in certain locations, and these openings are programmed to open and close according to climate condition and season. These openings are located in the glazing faรงade that is facing the wind direction, from 3 sides and at the top of the building as mentioned in the figure. In this way we can get benefit from the natural ventilation and climate factors that are useful to minimize the use of energy, artificial ventilation and improve the thermal comfort.

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Figure 5.24 Conceptual Section diagram, shows the natural air circulation through the building dynamic glazing faรงade.

SOURCE OF ENERGY: The Buildings can utilize a number of different primary energy sources to control its thermal microclimates. Some of these sources, such as Solar energy, as an interest in using more renewÂŹable energy sources and electricity.

Solar Energy: Solar power in the UAE (United Arab Emirates) has the potential to provide most of the countryâ&#x20AC;şs electricity demand. While being a major oil producing country, the United Arab Emirates (UAE) has taken steps to introduce solar power on a large scale. However, solar power still accounts for a small share of energy production in the country. Until 2013, there was no operational solar power in the UAE. The country was the 6th top carbon dioxide emitter per capita in the world in 2009, with 40.31 tonnes, but is planning to generate the vast majority of its electrical energy by 2050 from solar and nuclear sources. SOLAR ENERGY Since the oil crisis in the mid-1970s, solar energy has been looked upon as possibly one of our most renewable energy sources for the future. Depending on the location of a building, it is possible to replace 30 percent to 80 percent of the energy required for heating needs by utilizing principles of solar energy design. As mentioned, radiant heat and light from the sun can be used directly, or converted into electricity by photovoltaic cells.

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In our project, there will be Solar Photovoltaic panels that are fixed in some areas of the building faĂ§ade, and at the shading devices of the parking.

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Figure 5.25 Solar Photovoltaics used in building facade

LIGHTING Light brings interiors to life and is important to our activities and perception of the world around us. By controlling and designing with natural and artificial light, the interior designer can create striking design concepts in interior spaces and provide for the visual needs of user activities. Light is important as a form of art and design. It is similar to the other basic design elements of space, line, form, color, and texture, since it stimulates our perception of these elements. Light not only guides our seeing for visual tasks but affects our behavior and attitudes. Lighting contrasts of brightness and darkness can create dramatic effects and emphasize certain characteristics within a space or on objects (Figure 12.1). Bright light is stimulating, and low levels of illumination can be quieting and soothing. Warm-colored light tends to be cheerful, and cool colored light, restful. Lighting design is a combination of an applied science and an applied art. It is necessary, then, to discuss its scientific properties as well as its aesthetic qualities in order to understand how light can be manipulated within an interior space.

and integrated with the electric lighting system. Studies have shown that daylight improves occupant comfort and satisfaction within an interior space. Research has been conducted that shows a connection between daylight and improvements in productivity and health in schools, offices, and healthcare facilities. Having daylight available in healthcare facilities can improve patient recovery when a connection to the natural environment is provided. In order to control daylight, it is first necessary to understand the pattern of the sunâ&#x20AC;&#x2122;s movement, which is related to the time of day and year and to the latitude of the observer. In the summer in northern latitudes, the sun comes up toward the northeast and arcs high in the sky, setting in the northwest. Days are longer, and there is a greater amount of daylight available in the summer months than in the winter. The winter sun rises south-southeast, is low in the sky, and appears to set quickly in the south-southwest.

Natural lighting:

Our primary source of natural light is the sun. People derive great physical and psychological pleasure from sunÂŹlight, since it is our principal source of vitamin D and full-spectrum light. Sunlight contains all visible wavelengths of radiant energy plus invisible infrared (heat) and ultraviolet wavelengths. Some research has proposed that a wide variety of health problems are linked to the lack of full-spectrum light and the absence of ultraviolet light in some artificial light sources. There has been a renewed interest in harnessing natural light. Daylight is viewed as a free source of light, offsetting escalating energy costs and health concerns.

Figure 5.26 Seoul National University Hospital Medical Mall

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Daylight offers significant energy saving by offsetting the electric lighting load, when it is designed for properly

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Figure 5.27 Site analysis, and sun movement.

One of the main ways to maximize daylight is to manipulate it to penetrate deeply into an interior space, which can be accomplished by using skylight design (a window on the roof) that allow day light to enter the building, and lighten all surrounded areas. All windows and openings are directed to the north direction to maximize the benefits of the daylight, and minimize the undesirable sun light and hot light. Maximizing daylight effectiveness, provide occupant comfort in the project: a. Introduce more light-colored surfaces for good distribution. Deep reveals, ceiling baffles, exterior fins and shelves, if they are light in color, keep daylighting more even. b. Incorporate shading elements with windows. Shading devices perform triple duty: they keep out the sunâ&#x20AC;&#x2122;s heat, block uncomfortable direct sun, and soften harsh daylight contrasts. Light shelves can improve illuminance distribution and reduce glare. c. Glazing system is constructed to high standards with a high shading co-efficient and a low U-value to reduce the transfer of external heat gains. (Double Glazed unit)

Artificial Lighting:

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Artificial light is generally associated with electric light. In the 1800s, several inventors developed incandescent lamps, but the first to use a high-resistance carbon filament vacuum was Thomas Alva Edison, in 1880. Since that time, a wide variety of electric light sources and lighting systems have been developed. When well planned, artificial illumination enables us to see at night, helps prevent accidents, and contributes to the overall character and mood of an interior space. Artificial light is extremely important to the interior designer, since it affects the brightness, placement, color, and quantity and quality

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Figure 5.28 double glazed windows

of the light in an interior environment. Varying the light can change the mood of a space from intimate to formal, as well as visually expand or shrink a space. Objects or areas within an interior can be highlighted or deemphasized with the placement and quantity of light. The next table is clarify types of lights that are used in the project.

Lighting Fixtures Schedual- Lobby

Downlights Wide beam, rotationally symmetrical light distribution for general lighting.

LED, 18W

Recessed

Neutral white4200 K

Recessed floodlights, Very wide rotationally symmetrical or axially symmetrical light distribution for floodlighting

LED, 32W

Recessed

Neutral white4200 K

Grazing light wallwashers, Asymmetrical light distribution for grazing light on walls.

LED, 3W

Recessed floor luminaire

Neutral white4200 K

Match, Unique and unrepeatable, Match is much more than a light fixture. This innovative product stands as a new lighting concept based on co-creation. Using the product configuration software CREA, Match allows you to create structures arranged chaotically, automatically planned on-line and adapted to fit into the room and the space available. The result are infinite artistic configurations based on thin rods of aluminum and LED light terminals, forming a light sculpture that illuminates central themes of space and interior decoration.

LED, 3W

Suspended

Neutral white5000 K

UltraBrightâ&#x201E;˘ Architectural Series LED Strip Light, is an excellent choice to meet the demand of architectural design and innovative lighting projects. We designed this LED strip with the marketâ&#x20AC;&#x2122;s leading components for incredibly brilliant luminance (519 lumen/ft), excellent color rendering and longer run lengths than other 12V series. This product is often paired with a variety of dimming options to allow its use in most applications, from high brightness to comfortable accents.

LED Lumen/fo ot: 471 lm/ft (1545 lm/m)

Cove/hidde n light.

Neutral white5000 K

VIBIA

lamps

Mounting

Color

Image

Center

Manufacturer

Innovation

Description

Tag

127

Contextual

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Lighting Fixtures Schedual- Exhibition

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Tag

Description

Recessed floodlights, Very wide rotationally symmetrical or axially symmetrical light distribution for floodlighting

LED, 32W

Recessed

Neutral white4200 K

LED Lumen/foo t: 471 lm/ft (1545 lm/m)

Cove/hidde n light.

Neutral white5000 K

Spotlights Very narrow to wide beam, rotationally symmetrical light distribution for accent lighting.

LED, 48W

Spotlights, track.

Neutral white4200 K

Ameba, Modular hanging lamp designed by Pete Sans, made up of 5 different shapes allowing endless compositions to be created. It is hung from steel cables which are adjustable in height. The power cable can be connected to any of the modules. Dimmable version. Available in graphite grey and matt white lacquer.

COMPACT FLUORES CENT, 15W

Suspended

Neutral white4200 K

Manufacturer

VIBIA

lamps

Mounting

Color

Image

Lighting Fixtures Schedual- multipurpose adutorium

Downlights Wide beam, rotationally symmetrical light distribution for general lighting.

LED, 18W

Recessed

Neutral white4200 K

LED Lumen/foo t: 471 lm/ft (1545 lm/m)

Cove/hidde n light.

Neutral white5000 K

Grazing light wallwashers, Asymmetrical light distribution for grazing light on walls.

LED, 3W

Recessed floor luminaire

Neutral white4200 K

COMPACT FLUORES CENT, 15W

Suspended

Neutral white4200 K

VIBIA

lamps

Mounting

Color

Image

Center

Manufacturer

Innovation

Description

Tag

129

Contextual

Needs

Lighting Fixtures Schedual- Multipurpose Auditorium

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Tag

Description

Downlights Wide beam, rotationally symmetrical light distribution for general lighting.

LED, 18W

Recessed

Neutral white4200 K

LED Lumen/foo t: 471 lm/ft (1545 lm/m)

Cove/hidde n light.

Neutral white5000 K

Grazing light wallwashers, Asymmetrical light distribution for grazing light on walls.

LED, 3W

Recessed floor luminaire

Neutral white4200 K

COMPACT FLUORES CENT, 15W

Suspended

Neutral white4200 K

Spotlights, very narrow to wide beam, rotationally symmetrical light distribution for accent lighting.

LED, 38W

Spotlights, track.

Neutral white4200 K

Manufacturer

VIBIA

lamps

Mounting

Color

Image

Lighting Fixtures Schedual- Cafe’ Tag

Description

Manufacturer

lamps

Mounting

Color

Surface-mounted downlights Wide beam, rotationally symmetrical light distribution for general lighting. Ambient lighting produced by wide beam light distribution.

LED, 24W

Surfacemounted

Neutral white4200 K

UltraBright™ Architectural Series LED Strip Light, is an excellent choice to meet the demand of architectural design and innovative lighting projects. We designed this LED strip with the market’s leading components for incredibly brilliant luminance (519 lumen/ft), excellent color rendering and longer run lengths than other 12V series. This product is often paired with a variety of dimming options to allow its use in most applications, from high brightness to comfortable accents.

LED Lumen/foo t: 471 lm/ft (1545 lm/m)

Cove/hidde n light.

Neutral white5000 K

F10

The North pendant lamps collection designed by Arik Levy is composed of traditional shades suspended from a slim carbon fiber rod structure. North uses LED light as a source of illumination providing a uniform light with a local yet flexible character which can be concentrated where required.

1 x LED 9W 350mA

Suspended

Warm white

lamps

Mounting

VIBIA

Image

Lighting Fixtures Schedual- informal meeting areas

Surface-mounted downlights Wide beam, rotationally symmetrical light distribution for general lighting. Ambient lighting produced by wide beam light distribution.

F11

The Mayfair lamps are a Diego Fortunato design proposal. The lamp is a reimagining of the hanging lamps traditionally used over billiards tables. An innovative and fresh approach to lighting. The entire Mayfair collection incorporates LED lighting and comes in various finishes: white, black, gold, and copper.

VIBIA

Color

LED, 24W

Surfacemounted

Neutral white4200 K

1 x LED 9W 350mA

Suspended

Warm white

Image

Lamp that emits an upward or backward beam that is reflected by the ceiling or wall.

Center

Manufacturer

Innovation

Description

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Lighting Fixtures Schedule- Brainstorming area

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Description

Surface-mounted downlights Wide beam, rotationally symmetrical light distribution for general lighting. Ambient lighting produced by wide beam light distribution.

F12

Skan pendant lamps are a Lievore, Altherr, Molina design. Vibia produce a wide range of sizes and configurations for this pendant light application, from a single individual diffuser to a cluster of between 3 and 5 elements. All of them sharing a common approach to the redefinition of a classic design combined with superior lighting performance.

Manufacturer

VIBIA

lamps

Mounting

Color

LED, 24W

Surfacemounted

Neutral white4200 K

5 x LED 9W 350mA

Suspended

Warm white

LED Lumen/foo t: 471 lm/ft (1545 lm/m)

Cove/hidde n light.

Neutral white5000 K

Image

Lighting Fixtures Schedule- Library & research center lamps

Mounting

Color

Surface-mounted downlights Wide beam, rotationally symmetrical light distribution for general lighting. Ambient lighting produced by wide beam light distribution.

LED, 24W

Surfacemounted

Neutral white4200 K

F12

Starlight is a collection of lamps with a slender, yet striking appearance, where geometric elements are combined to create a dynamic effect. LED technology is used for lighting, placed so as to create a soft, indirect light that is also high performance and diffused. This collection, with its wall, suspension and ceiling versions, can be customised for installation according to the spaces and the effect you want to create, also producing spectacular solutions by combing different versions.

LED 16W

Suspended

Warm white

LED Lumen/foo t: 471 lm/ft (1545 lm/m)

Cove/hidde n light.

Neutral white5000 K

Hanging lamp in thirteen units giving a soft light ideal for high ceilings. Designed by Jordi Vilardell. With patterned glass diffuser and finished in white lacquered fibre or black carbon fibre. LED light source.

13 x LED2,1W 700mA

Suspended

Neutral white4200 K

VIBIA

Image

Center

Manufacturer

Innovation

Description

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EMERGENCY LIGHTING SYSTEM As mentioned in section 3.2 (structural needs), Emergency lighting systems shall be designed and installed so that the failure of any individual lighting element, such as the burning out of a light bulb, cannot leave in total darkness any space that requires emergency illumination. The objective of having emergency lighting during emergencies or when the normal lighting of the occupied building fails.

EMERGENCY LIGHTING SYSTEM

Perfectly illuminated escape routes ensure that peoAs mentioned in section 3.2 (structural needs), Emergency lighting systems shall be designed and ple can leave a building safely in an emergency. Illuminated escape signs,so and emergency luminaires that are lighting element, such as the burning out of a light bulb, installed that the failure of any individual independent of general mains power supply, are therecannot leave in total darkness any space that requires emergency illumination. The objective of having fore required in the majority of buildings such as offices, emergency lighting during emergencies or when the normal lighting of the occupied building fails. movie theatres, underground car parks and shopping centers. Relevant technical specifications are laid down illuminated escapeand routes ensure that people can leave a building safely in an emergency. in nationalPerfectly and international standards regulations.

Illuminated escape signs, and emergency Functional emergency lighting is more than just a luminaires that are independent of general mains power supply, are therefore in the majority must required by law. The qualityrequired of the luminaires and of buildings such as offices, movie theatres, underground of the supply the operator’s responsibilcar system parks reflects and shopping centers. Relevant technical specifications are laid down in national and ity towards the building, the people using it and towards international standards and regulations. the environment. Below, is the selection of emergency lighting system that will be used in the building.

Functional emergency lighting is more than just a must required by law. The quality of the luminaires and of the supply system reflects the operator’s responsibility towards the building, the people using it and towards the environment. Below, is the selection of emergency lighting system that will be used in the building. Description

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Maximum illuminance levels in unobtrusive design The national standards and laws applicable in some countries require higher illuminance levels than those specified by EN 1838 (e.g. for escape route lighting: 5 lx in Italy and 1 footcandle / 10.76 lx in the MENA region and the USA). RESCLITE escape high performance is the only emergency luminaire available on the market that demonstrably meets these requirements and also allows previously unequalled luminaire spacings. For standard applications (escape route lighting: 1 lx), the maximum distance between 2 emergency luminaires may be up to 35 m. Sophisticated lens design dispenses with the need for a separate reflector. The result: an emergency luminaire that blends into the ceiling in a discreet and elegant manner.

Recessed into ceiling Ceiling cut-out Ø 68 (±2) mm Intermediate ceiling height at least 125 mm Wall thickness 1–25 mm LED

Innovative acrylic glass wedge: The transparent acrylic glass panels of COMSIGN 150 work both as pictograms and optics. Light is uniformly distributed across the wedge-shaped unit to illuminate the way to safety. Still lighter and with more simplified installation on walls, ceilings and via cords, the transparent acrylic glass shows itself from its best side. The pendant version of the elegant escape-sign luminaire seems to float in the room..

Suspended -

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ONLITE central CPS Central-battery supply

24 LEDs illuminate

ACOUSTICS Acoustics is an interdisciplinary field that deals with the introduction, transmission, reception, and manipulation of sound The latter function can be controlling sound and/or enhancing it. Controlling acoustics is not usually perceived as a system, but floor or ceiling assemblies can be designed in such a manner that they will provide acoustical or sound blockage from floor to floor. The interior designer is concerned with controlling sound in a space by eliminating (or reducing) unwanted noise and preserving (or enhancing) desirable noise. The designer becomes involved with acoustics in specifying finishes, furniture, equipment, and specially designed assemblies to control sound waves.

 Absorption: A Sound Wave Can Propagate Into A Porous Material Where It Is Transformed Into Heat By Viscous Friction.  Diffusion: The Sound Wave Is Reflected In An Unordered, Almost Random, Way. All of these three processes are important in creating the acoustics of a room. Most practical objects includes all three, but to a varying degree. A completely flat glass surface has very little absorption and scattering, its acoustic characteristics is dominated by pure reflection. An upholstered sofa, on the other hand, is dominated by absorption and scattering due to its softness and shape.

Air is the most common medium for sound waves, although they can also move through building materials. A sound wave is kinetic energy that radiates spherically from a vibration source until it hits an obstacle or surface. Sound waves are then absorbed or reflected, depending on the surface and density of the material. Generally, soft, porous materials absorb sound, and hard, rigid ones reflect it. Examples of absorbing materials include carpets, rugs, drapery, fabrics, and special products, such as acoustical ceiling tiles. Hard materials, such as wood floors, ceramic tile, glass, plastered walls, and brick, tend to reflect sound. However, thick, dense, and heavy materials also will tend to block sound from traveling through them.

INTERIOR ACOUSTICAL PLANNING:

Room acoustic planning should ensure that optimum audible conditions are created for listeners in rooms where speech and music are to be carried out. Various factors should be considered, of which the two most important are reverberation time, and reflections (as a consequence of the primary and secondary structure of the room).

Figure 5.27 echoes and reverberation

Reverberation time: This is the time taken for the decay of a noise level of 60dB after the sound source has been switched off .( Evaluation is carried out over the range -5 to -35dB).

AT ROOM TEMPERATURE SOUND PROPAGATES With 344 m/s (1,250 km/h), which results in many reflections at walls or objects in a normal-sized room before a sound wave is damped below the hearing threshold. Inside the room we can only affect the sound wave at its reflections in walls or objects. Three things can happen with the incoming sound energy:  Reflection: A Hard Surface, Such As Concrete, Glass Or Wood, Acts As A Mirror For The Sound Wave And Thus Reflects It.

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INTERIOR ACOUSTICS IS ABOUT THE airborne sound inside rooms, i.e how it propagates and interacts with the room’s surfaces and objects. But it’s also about our perception of the room’s acoustic properties.

Echoes: When individual, subjectively recognisable peaks are superimposed on a smoothly falling reverberation time curve. These are described as echoes. Various values of time and intensity apply as the echo criterion for speech and music. Rooms devoted to music should have a longer reverberation time, but are usually regarded as less critical from the point of view of echoes.

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Absorption surface: The absorption surface is determined by the amount of absorbing material, expressed as an area having complete absorption (open window).

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Absorption and Reflection of Sound:

Sound waves can be reflected or absorbed, and the science of acoustics is largely about what to reflect (send back into the room, what to transmit (sent to the next room), and what to absorb (turn into heat energy). Environments for music want more reverberation, enough to «warm» the sound with reflections. If too much is absorbed, less sound reaches the audience and it sounds «dry» or «dead» , the musicians need to work harder, and the lack of reverberation makes the slightest error more apparent. By contrast, environments for speech want less reverberation, although moderate amounts of reflection are useful to reinforce the sound as long as the overall time that it takes a sound to decay (or die away) isn›t too long. A desirable reverberation time for classrooms is about .75 seconds for interactive (discussion-based) spaces and 1.0 seconds for lecture halls. By contrast, a symphony hall might have a two second reverb time. My personal preference for classrooms is toward the reverberant end of what is considered acceptable. Education is speech-based, whether solely from presenter to listener or a discussion among a whole classroom of students, so the nature of speech informs acoustical design for classrooms. Speech is made up of vowels, which are sounds near the lower end of speech frequencies («oo», «uh», «ah», etc.), and consonants, most of which are in the upper part of the speech range («t», «s», «k», etc.). When we abbreviate written language we remove vowels yet retain meaning, but if we remove only consonants, the sense is usually lost. Take the word baseball, for example, whose consonants are bsbll, still recognizable, and whose vowells are aea, which we don›t recognize as being related to the word «baseball». Similarly, if you turn up the treble and turn off the bass in an audio system, speech remains intelligible (try it!). However, if you turn off the treble and turn up the bass, speech becomes a muddy mess.

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This suggests that classroom acoustics needs to absorb more in lower ranges of the speech window than in the higher ranges . So how do some common classroom materials perform? NRC, or noise reduction coefficient, is the average the absorption at certain frequencies and is the rating touted by interior materials manufacturers. NRC is a very imperfect indicator acoustical performance. As an average rating, it tells you nothing about which parts of the sound spectrum are being absorbed. Here is a more detailed look broken out by frequency, with higher numbers absorbing more sound, lower numbers absorbing less.

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Figure 5.27 special wall treatment to absorb sound.

Many acoustical materials are optimized for office environments, such as glued-down carpet, acoustical panels, and relatively inexpensive mineral ceiling tile. This environment is designed to provide speech privacy by muddying consonants (high frequency sound) and not absorbing vowes (low frequencies), making speech unintelligible a short distance away. This is the REVERSE of good classroom design where you want to reinforce speech intelligibility. Keep reading for a pattern for excellent classroom acoustics for learning. Absorption of sound is particularly difficult in special environments like cafeterias, kitchens, gymnasiums, and swimming pools. Conventional materials may be subject to damage, or absorb odors, or be incompatible in other ways. However, materials do exist that work well. For example, for a gym, walls can be built of a special slotted concrete block. Because the absorption is inside the block›s core, no amount of ball impact can compromise its integrity.

Figure 5.28 special wall treatment to absorb sound.

If room users include one or more people who are hard of hearing, they may use an assistive listening system that amplifies the voice of the speaker, and can be coordinated with sound output from multimedia sources. These systems can be built in or may be portable. They are effective for one-way communication but can be challenging in a discussion or group project setting. Some schools have experimented with amplifying the teacher’s voice through ceiling-mounted loudspeakers. While quite effective as a presentation tool, this does nothing for discussions, and runs contrary to much of the current direction of education toward more interaction and involvement of the students. Furthermore, many of these systems use low quality microphones and loudspeakers that distort the sound. My personal opinion is that this is not a generally effective solution.

ACOUSTICAL PROBLEMS AND SOLUTIONS:

In this part we will discuss each problem that we could face in the acoustic congort level of the design and we will assign the suggested solution for each. LOBBY: Lobbies are a wide- high ceiling area, that accommodate high traffic circulation, and it is subjected to the entrance that also considered as a noise source. Problem such as noise ,echo, and sound reflection are the most common in lobbies. As interior design planning, we can solve these problems by: 1. Carpet flooring in the lounge area , that have a high performance sound absorption rather than hard floors. using carpet in the seating areas will reduce sound reflection and noise specially because this area will get a lot of conversations between visitor. 2. Partition double-sided Stereo panels may be used in isolation or in clusters to form an acoustic shield, bringing a clearly voiced sense of energy to the spaces treated. A freely designed constellation of this type complements the ”ceiling-hung“ and ”screw in“ double-sided Stereo panel systems. A high level of acoustic absorption double-sided panels, which comprise: b. grey AN cellular foam Figure 5.29 Hotel lobby, http://roomdecorideas.eu/

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c. an inner grey or black microporous cloth cladding.

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a. a metal frame made of aluzinc steel

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Figure 5.29 Conceptual Elevation of double-sided Stereo panel systems.

ACOUSTICAL PROBLEMS AND SOLUTIONS:

In this part we will discuss each problem that we could face in the acoustic congort level of the design and we will assign the suggested solution for each. EXHIBITION: Exhibition is a wide- high ceiling area, that accommodates high traffic circulation, and accommodate a number of exhibitors and visitors each are talking to each other in order to showcase, discuss and share opinions. Other than that, speakers and screens are also another source of sound and noise. All of these are inerrabting the comfort levels of users. As interior design planning, we can solve these problems by: 1. GRG Canopy custom fabrication canopy ceiling: ensures suitable positioning and easy access both to the sound-absorbent panels and to the installations, whatever their type and form. The panels are individually suspended using cables, while carabiners make for easy inspection. The high quality of sound absorption ensures excellent reverberation. 2. Partition double-sided Stereo panels. (mentioned in the lobby). Are used in some of the partitions. AUDITORIUM: •

The basic acoustic criteria for the auditoriums is the same:

•

Must have a low ambient noise level from internal and external sources

•

Provide a reasonable level of acoustic gain

•

Provide appropriate reverberation time

•

Avoid artifacts such as echoes.

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Hearing conditions in any auditorium are considerably affected by purely architectural considerations like:

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•

Shape

•

Layout of boundary surfaces

•

Dimensions

•

Seating arrangements

•

Volume

•

Audience capacity

The auditorium of our project is mainly designed for speech, theories and conferences, Halls designed for speech have shorter mean reverberation times than halls designed for music performance. The recommended mean reverberation time increases as a function of room volume. Sound amplification system: is used to To reinforce the sound level when the sound source is too weak to be heard, provide amplified sound for overflow audience, minimize sound reverberation. For these reasons the type of loudspeaker system that I will use Is: The stereophonic system, with two or more clusters around the proscenium opening or the sound source. Stereophonic system preserves the illusion that, the sound is coming from the original , unamplified source.

Figure 5.30 Delugan Meissl Associated Archtiects Festival Hall Tiroler

SPEECH INTELLIGIBILITY = POWER + CLARITY POWER is affected by : Distance from speaker, Directional relationship to speaker, Audience absorption of direct sound Reinforcement by reflectors, Reinforcement by loudspeakers and Sound shadows. CLARITY is affected by Delayed reflections : Echos, Near Echos, Reverberation, Duplication of sound source by loudspeakers, Ambient Noise and Intrusive Noise. VOLUME: For unamplified speech, it is often necessary to limit the overall room volume. This is because a large volume requires more speech power than a small room. In a face-to-face conversation, an unamplified talker may generate a SPL level of about 65 dB. This level decreases 6 dB for every doubling of distance. Sound is also attenuated as it travels through the hall because of air absorption.

Figure 5.31 Figure 20 defects: 1. Echo 2.

Delayed Reflection

Sound Shadow

Sound Concentration

To support audible levels, the audience area must be placed as close as possible to the speaker. This minimizes sound attenuation, provides a more direct sound path, and also improves visual recognition which improves intelligibility. ROOM SHAPE: The talker-to-audience distance can be minimized by carefully considering the room geometry. For greater seating capacity, the side walls should be splayed from the stage. Splayed side walls allow greater seating area that is relatively close to the stage. The splayed walls can usefully reflect sound energy to the rear of the hall. A side-wall splay may range from 30 to 60 , the latter is considered a maximum angle, given the directionality of speech. Generally, fan-shaped halls are used for speech halls. ABSORPTION

To accommodate this, the stage area and front of the hall are made reflective and absorption is placed in the seating area and rear of the hall.

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Beneficially, a reflective front stage area provides strong early reflections that are integrated with the direct sound and enhance it. On the contrary, strong late reflections and reverberation, such as from rear walls, would not be integrated and may produce echoes.

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In small speech halls, the majority of absorption is provided by the audience, therefore, the room surfaces can be relatively reflective. In larger halls, where there is greater room volume per seat, relatively greater room absorption is needed.

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Figure 5.31 Auditorium shapes

CEILING: In many large halls, ceiling reflectors, sometimes called clouds, are used to direct sound energy from the stage to the seating area. Both dimensions of a square reflecting panel should be at least five times the wavelength of the lowest frequency to be reflected. When ceilings are high, care must be taken to ensure that path-length differences between direct and reflected sound are not too great, and differences between direct and reflected sound are not too great, and particularly should not exceed 20 msec. In some cases, clouds are made absorptive, to avoid late reflections. FLOORS A sloping (raked) floor allows a more direct angle of incidence which in turn allows less absorption. Generally, the slope of an auditorium floor should not be less than 8Â°. The floor of a lecture-demonstration hall might have a 15Â° angle of inclination. Staggering of seats is also recommended. A sloping floor improves sight lines, and also improves fidelity in the seating area. When sitting on a sloping floor, the listener receives more direct sound than would be available on a flat floor. WALLS Because of its potential to create undesirable late reflections, the rear wall of a large hall requires special attention. Reflections from the rear wall would create a long path-length difference to a listener at the front of the hall. This can result in audible echoes, particularly because of the otherwise low reverberation level. A reflective concave rear wall would also undesirably focus sound. For these reasons, the rear wall of a large hall is usually absorptive. In some cases, when added absorption is undesirable because of decreased reverberation time, reflective diffusers can be placed on the rear wall. The rear wall must avoid any large, unbroken concave geometry. Side walls must avoid parallelism. This can be avoided by tilting or splaying wall surfaces. These angles can also be advantageously used to direct reflected sound to the audience seating area, and to provide diffusion. The audience seating area, and to provide diffusion. Any surface that unavoidably introduces concave geometry or an undesirable angle should be covered with absorptive material.

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BALCONY

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A balcony can be used to decrease the distance from the stage to some seating areas, and to provide good sight lines. Generally, the balcony overhang depth should be less than twice the height of the balcony underside. Ideally, the depth should not be more than the height than the height. Deep bal. can create acoustical shadows in the seats underneath bal. In addition, reflecting surfaces on the ceiling and side walls, as well as the underside of the balcony, should be designed to add as much reflected sound as possible to the seating areas on the balcony and under it, to supplement the direct sound from the stage. The front of a balcony parapet should be designed to avoid reflections that could affect sound quality in the seating areas in the front of the hall. This is particularly true when the plan view of the balcony has a concave shape.

Figure 5.32 Ceiling Reflectors

CEILING: Ceiling height is usually determined by the overall room volume that is Ceiling height is usually determined by the overall room volume that is required. Ceiling height should be about one-third to twothirds of the room width. The lower ratio is used for large rooms, and the higher ratio is used for small rooms. A ceiling that is too high may result in a room volume that is too large, and may also create undesirable late reflections.

MATERIALS SELECTION: •

Carpet flooring to absorb noises and safety purposes.

•

Reflective ceiling material (Glass fiber reinforced gypsum (GRG) ) to reflect sound energy. Some areas of ceiling are covered with an absorber material (Acoustical transverse) balance the sound quality. -Check materials selection table-

•

Diffuser wall materials (Glass fiber reinforced gypsum (GRG) ) to distribute and diffuse sound, with the use of some strips of absorber material (Acoustical transverse) in some area to balance the quality of light. -Check materials selection table-

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Curtains and upholstered seating that enhance the quality of sound.

in creating the desired effect for each individual project, leaving the acoustician free to calculate the appropriate depth of sound absorbing backing required behind the Vibrasto 03. 2. Carpet flooring, that have a high performance sound absorption rather than hard floors. using carpet in the seating and studying areas will reduce sound reflection and noise specially because this area will get a lot of conversations between visitor. 3. Metal Canopy Ceiling in filigree optics, is Sound absorption, that has custom fabrication. It is applied in some areas that need highly acoustic privacy.

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1. Partition double-sided Stereo panels is an acoustic covering which may be stretched and anchored into position over a wide variety of surfaces, such as walls or ceilings. It is made from an outer layer of Aeria* laminated onto a 3 mm thick layer of felt wadding and offers a simple and highly effective acoustic solution which may be tailored to surfaces of all shapes and sizes. It may be implemented in such a way as to cover very large surfaces with the utmost economy and perfect precision of finishing. The interior designer enjoys full scope

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INFORMAL MEETINGS AREAS, BRAINSTORMING AREAS AND LIBRARY:

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Underfloor air distribution is very efficient system in such buildings, due to its low energy and high air comfort level.

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Dynamic glazing facade system provide the Natural ventilation in the building and enhance the indoor air quality.

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Solar Photovoltaic panels are the solution to save energy that are fixed in some areas of the building façade, and at the shading devices of the parking.

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The building is well lightened by the natural lighting in the day time, and we could maximize the efficiency of this light through using interior techniques, and ,materials.

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The artificial lighting needs are specified in tables.

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Special acoustical solutions are provided by the design according to the space and functions, such like, absorbing materials, fabric perforated partitions and suspended ceiling.

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The auditorium has got special acoustic consideration, due to its sensitive and complex design. solution used are selecting the appropriate materials, and design elements and calculations.

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Innovation

The building is surrounded by several government facilities and educational destinations. And citizens and local families that support education and well aware about innovation.

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5.4 S U S TA I N A B I L I T Y N E E D S

It is time for change in the field of interior design. With our daily lives saturated with talk of climate change, interior designers need to join other construction industry professionals in tackling this and other environmental issues. Building has a significant impact on the environment, and interior projects are no exception. Fortunately, interior designers – with their focus on refurbishment projects, lighting and materials – are well placed to instigate change. Change can be effected by a combination of relearning lessons from the past and embracing new technologies. There is much inspiration to be taken from traditional buildings and iconic designers from the past few centuries, whose good design inadvertently produced sustainable results. Meanwhile, new products, such as LED lighting, prefabricated components and veneers, can be exploited to complement basic sustainable design principles. The results need not conform to an ‘eco’ style: sustainability can simply be part of any good design. It is vital that interior designers first consider how to approach designing sustainably. This involves overcoming potential barriers to environmentally conscious design, considering the consequences of design decisions and knowing what questions to ask during the design process. Designers can even opt to use a formal assessment scheme to ensure a rigorous approach. To inform their approach, interior designers must understand the principles underpinning sustainable design and how these should influence their choices of energy and water systems, materials and construction methods. They must also gauge how to apply their knowledge to different types of interior project – whether temporary, flexible or longterm– to ensure the most sustainable outcome possible.

5.4.1 Environmental concerns: Introducing the key issues. Understanding the environmental issues surrounding the extraction of raw materials, the manufacture of construction materials, and their effects in use is important to ensure sustainability. Choosing the right material demands a careful balancing act. The choice of one material or another should be governed by a thorough analysis of all the possible environmental and social implications. Understanding a materials embodied energy, the amount of energy used in the sourcing, manufacturing, transportation and construction with a building material, as well as the eventual demolition of the building and disposal of the material, may all be important considerations.

run out. Metals are also finite, with global reserves of lead, zinc and copper projected to run out within the next halfcentury if present mining rates continue. Stone is formed in the natural geological cycle over thousands and millions of years, and we are quarrying stone at a rate much faster than it will be replaced. Although stone remains abundant, supplies from particular quarries will gradually dwindle and leave the landscape scarred. In the UK, for example, availability of virgin slate is already fairly low.

Impacts of energy use The environmental effects of energy consumption comprise climate change and resource depletion. The energy we use is usually supplied to our buildings in two forms: electricity and gas. Since its widespread adoption during the Industrial Revolution in the nineteenth century, most electricity generation has been a dirty process. Today, the majority of power stations continue to burn coal, oil and natural gas to generate 70% of the worldâ&#x20AC;&#x2122;s electricity. This leads to air pollution, in the form of greenhouse gas emissions, which, as well as making the air unpleasant, contribute to climate change. Nuclear power, whereby atomic fission creates electricity, is a cleaner option, and is increasingly replacing fossil fuels as a means to produce energy, especially in the developed world, accounting for 14% of global electricity production.

Figure 5.33 Coal electric power generation is under enormous regulatory pressure to substantially reduce stack emissions.

Impacts of Water use: As well as directly compounding water scarcity, our use of clean water has an indirect effect on climate change and fuel depletion. Water use obviously heightens problems of water scarcity, especially in dry countries or during periods of drought. It is already a challenge to source sufficient clean water in some countries, such as southern Australia. Climate change, which is likely to increase the frequency of drought in many parts of the world, and population growth, will only exacerbate this. Lack of available water results in rationing how much people can use or dictating what they can use it for. This causes inconvenience or even suffering, diverts water from agriculture and potentially triggers conflict between people.

Figure 5.33 Runoff from development along the river in Pune, India could contribute to reduced water quality.

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Despite this, in the developed world we are each using more and more water for drinking and for daily activities such as cooking, personal washing, clothes washing, cleaning and growing plants. Global water demand has increased by twice the rate of population growth over the past century. Desalination â&#x20AC;&#x201C; treating sea water to increase the supply of drinking water â&#x20AC;&#x201C; offers a possible solution. However, the process is expensive, energy-intensive and potentially damaging to marine habitats.

Impacts of materials The materials we choose to build with can aggravate resource depletion, climate change, water scarcity, biodiversity loss, waste and even our health, as well as causing pollution during production. The most straightforward effect of using materials is resource depletion. Many natural materials are finite or regenerate very slowly. We have seen in the energy section that fossil fuels are finite; it follows that virgin materials derived from fossil fuels, namely plastics, will ultimately

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Figure 5.33 Quarrying stone involves

5.4.2 Projectâ&#x20AC;&#x2122;s sustainable approach 1. Orientation, Massing and Shading The single most sensible and simple design decision that can drastically reduce a building cooling demand and performance is its orientation. Climatic data suggest that buildings in the UAE receive the highest levels of solar heat gains on their eastern and western walls in the summer and on their southern walls in the winter. Thus, it is generally the building is designed to be oriented on the east-west axis, with any glazing on the north and south sides complemented with appropriate shading and glare control. Microclimatic wind patterns must also be studied as they might inform a slight change of orientation to benefit from air cooling effects. Massing of buildings should also be seen in their urban context. High rise buildings of similar heights should be avoided as they limit air movement. On the other hand, combining buildings with varying heights and with long facades permits air movement, which results in better ventilation and reduced heat gains. Shading is another important aspect in the UAE considering the high heat gains experienced by its buildings. Shading can be achieved through a variety of strategies including self-shading, building clustering, overhangs on windows, planting large trees, and shading features. Operable shading devices offer the flexibility of adjusting shading blades or shutters to allow ventilation and daylighting into interior spaces without admitting direct heat gain.

heat gain â&#x20AC;&#x201C; can be controlled by reducing the ratio of glazing to the building facades and by using glazing with low Solar Heat Gain Coefficient (SHGC), which represents the ratio of heat that enters the indoor to the heat that reaches the window. The use of high performance double glazing, for example, yields a SHGC of 0.22. The cladding system is constructed to high standards with a high shading co-efficient and a low U-value to reduce the transfer of external heat gains.

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2. High performance Envelop and thermal insulation

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In a typical house in the UAE, 30% of heat gain occurs through its roof and almost 30% through its walls. So another effective passive cooling technique is to provide high thermal insulation on the building envelope. By preventing heat from entering the building, any cooling attained by mechanical or natural conditioning can be retained. To reduce heat gain, high insulating building materials must be used appropriately around the building envelope. The effectiveness of insulation of certain envelope elements can be assessed using their U-value (which represents the amount of heat radiation (W) that can enter the building per meter square of areaand at a temperature deferential of one degree). Well insulated walls, roofs and floors should have a U-value of 0.35 at most. Traditional architecture in the UAE benefited from high thermal mass materials, which not only insulated against increases in outside temperature but also reduced solar heat gain. Heat gain through windows â&#x20AC;&#x201C; which constitutes 40% of

Figure 5.28 double glazed windows

Figure 5.30 Living wall features are used in most of the spaces in the center, the contribute to good air quality and acts as a reminder of the natural world.

3. Natural Ventilation: As mentioned is the contextual needs before, There are many ways in which buildings can utilize natural ventilation to provide an acceptable level of thermal comfort. Orientation is an important factor in allowing cross ventilation by providing access to predominant wind directions. But where the context do not allow cross ventilation, innovative solutions such as wind towers or solar chimneys can allow natural ventilation. For example, using solar chimneys in combination with a cooling cavity, cools outdoor air as it enters the space, while rejecting warm air through the solar chimney. A similar system was tested successfully by Professor Mohsen Aboulnaga in the city of Al Ain in 1998, where air flow rates achieved were sufficient to provide thermal comfort to occupants. By the use dynamic glazing façade system, that has openings in certain locations, and these openings are programmed to open and close according to climate condition and season. These openings are located in the glazing façade that is facing the wind direction, from 3 sides and at the top of the building as mentioned in the figure. In this way we can get benefit from the natural ventilation and climate factors that are useful to minimize the use of energy, artificial ventilation and improve the thermal comfort.

indoors increases penetration of daylight within the interior. Further, an interior can be planned so that desks and other areas needing most light are located near windows or roof lights. As indicated above, the effects of large amounts of external glazing on heat loss and solar gain should be considered when developing the daylighting strategy. Daylight and associated views promote the health and wellbeing of the building’s occupants.

5. Living walls: living walls are a useful passive measure and can be used indoors. Those including soil provide thermal mass, while the plants also absorb air pollution and dust. Having plants in the built environment also creates a symbolic link to nature, reminding us of our connection with and enjoyment of the natural world.

4. Natural Day lighting: The depth of rooms and amount of glazing, or other transparent materials, can be modified to optimize natural daylighting, reducing the need for electric lighting. Shallow rooms with plenty of windows will let in most daylight. Similarly, using transparent, translucent or reflective materials

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Figure 5.31 Conceptual Section diagram, shows the natural air circulation through the building dynamic glazing façade. open at the top and to each floor, allows warm, stale air to rise out of the building. Replacement fresh air is admitted through opening windows on each floor level, naturally cooling and ventilating the interior.

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Figure 5.30 Maximizing the benefit from natural lighting, by providing windows with double glazing system, different angles, and interior light shelves

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6. Energy efficiency – Lighting All the project facilities and spaces are supplied by Lighting Compact fluorescent light bulbs and light emitting diodes (LEDs), which are good examples of energy efficient lighting, which use less energy than standard light bulbs to produce the same amount of light. The selection of low-energy light fittings is rapidly increasing; they give impressive results and typically last much longer than their energy-guzzling counterparts. Efficient lighting can be linked to movement sensors, daylight sensors or timers to ensure that the lights come on only when needed. Interior designers should plan lighting zones and locate switches to make it easy for the building’s users to turn lights off in each part of the space.

7. Energy efficiency – Photovoltaic cells Photovoltaic cells The sun’s heat can also be converted into electricity, using PVs. These are panels containing semi-conducting material that triggers an electrical field when sunlight shines through it. These are generally roof mounted, although wall panels exist. The optimum angle and orientation, and the need to avoid overshadowing, are the same as for solar thermal panels; retrofitting is equally viable for PVs. In our project, there will be Solar Photovoltaic panels that are fixed in some areas of the building façade, and at the shading devices of the parking.

8. Materials All materials used in this project (flooring, walls, ceiling, partitions, and furniture) are recyclable either partially or fully, reusable and have sustainable approach, and tested to ensure that they meet current certification standards and to document their environmental safety, here we mention some of them. (for further information, check FF&E and materials selection table.) Aluminium Aluminium is an extremely durable material, which can be completely recycled at the end of its useful life. Compared to primary aluminium, 94% less energy is required to produce recycled aluminium. Whenever possible, aluminium is used consisting of 95% recycled material.

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Plastics and foams

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When it comes to plastics, we constantly ask ourselves whether there are more environmentally sensible alternatives to the materials being used. The plastics most often used are polypropylene and polyamide; both are fully recyclable thermoplastics. Lacquers and adhesives Employing the technique of powder coating to finish metal and wood surfaces. When exceptional cases require the use of adhesives, preference is given to solvent-free products. Upholstery fabrics Textiles used are routinely tested to ensure that they meet current certifica¬tion standards and to document their environmental safety. 5.4.3 Indoor Air Quality:

5.4.3 Indoor Air Quality: Indoor Air Quality (IAQ) refers to the air quality within and around buildings and structures, especially as it relates to the health and comfort of building occupants. Understanding and controlling common pollutants indoors can help reduce your risk of indoor health concerns. Health effects from indoor air pollutants may be experienced soon after exposure or, possibly, years later. 

Immediate Effects

Some health effects may show up shortly after a single exposure or repeated exposures to a pollutant. These include irritation of the eyes, nose, and throat, headaches, dizziness, and fatigue. Such immediate effects are usually short-term and treatable. Sometimes the treatment is simply eliminating the person’s exposure to the source of the pollution, if it can be identified. Soon after exposure to some indoor air pollutants, symptoms of some diseases such as asthma may show up, be aggrevated or worsened. The likelihood of immediate reactions to indoor air pollutants depends on several factors including age and preexisting medical conditions. In some cases, whether a person reacts to a pollutant depends on individual sensitivity, which varies tremendously from person to person. Some people can become sensitized to biological or chemical pollutants after repeated or high level exposures. Certain immediate effects are similar to those from colds or other viral diseases, so it is often difficult to determine if the symptoms are a result of exposure to indoor air pollution. For this reason, it is important to pay attention to the time and place symptoms occur. If the symptoms fade or go away when a person is away from the area, for example, an effort should be made to identify indoor air sources that may be possible causes. Some effects may be made worse by an inadequate supply of outdoor air coming indoors or from the heating, cooling or humidity conditions prevalent indoors. 

Long-Term Effects

Other health effects may show up either years after exposure has occurred or only after long or repeated periods of exposure. These effects, which include some respiratory diseases, heart disease and cancer, can be severely debilitating or fatal. It is prudent to try to improve the indoor air quality in your home even if symptoms are not noticeable. While pollutants commonly found in indoor air can cause many harmful effects, there is considerable uncertainty about what concentrations or periods of exposure are necessary to produce specific health problems. People also react very differently to exposure to indoor air pollutants. Further research is needed to better understand which health effects occur after exposure to the average pollutant concentrations found in homes and which occurs from the higher concentrations that occur for short periods of time.

Improving Indoor air quality in the project interior environment: Creating premium IAQ, either in new construction, renovation or in remediation, can translate to greater occupant health and safety, greater productivity, and decreased maintenance costs and liability. These strategies include identifying and eliminating common contaminants, practicing source control, making wise choices of materials, following preventative strategies during construction and post-occupancy, and providing good ventilation.

Low-impact materials include salvaged chairs, lowVOC carpet tiles, recycled-plastic pinboards and tables made from low-formaldehyde board. Non-ozone-depleting thermal insulation also tackles greenhouse gas emissions. The plants, including living walls, promote good indoor air quality, while excellent daylight provision and views further support students and employee wellbeing.

Some strategies are used in the design such like: High levels of natural daylight. The specification of carpets, paints, adhesives and sealants with low Volatile Organic Compound (VOC) content ensure good indoor air quality. Unnecessary finishes have been avoided by leaving building services and concrete floors and ceilings exposed.

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The project sustainable features are summarized in:

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Orientation, massign and shading.

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High performance envelop and thermal insulation

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Natural ventilation.

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Natual day ligthign.

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Living walls.

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Lighting systems with energy efficiency.

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Photovoltaic cells

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Eco-friendly materials.

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Creating premium IAQ, either in new construction, renovation or in remediation, can translate to greater occupant health and safety, greater productivity, and decreased maintenance costs and liability.

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The main Environmental concerns that interior design should deal with are, the impacts of energy, water and material use.

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5.5 H U M A N N E E D S

5.5.1 PHYSIOLOGICAL NEEDS:

Human factors and ergonomics (commonly referred to as HF&E), also known as comfort design, functional design, and systems, is the practice of designing products, systems, or processes to take proper account of the interaction between them and the people who use them. The field has seen some contributions from numerous disciplines, such as psychology (will be discussed latter), engineering, biomechanics, industrial design, physiology, and anthropometry. It is the study of designing equipment, devices and processes that fit the human body and its cognitive abilities. The two terms «human factors» and «ergonomics» are essentially synonymous.

Seating area:

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The top drawing deals with male dimensions: based on 95th percentile data, the maximum body breadth dimension is 22.8 in. or 57.9 cm, with a nude subject. Allowing for clothing and some body movement as well as change in posture and position. a minimum dimension of 28 in. or 71.1 cm, is suggested as a width allowance for a seated person. The overall dimension. therefore. includes the individual width allowances and the width of a sofa arm construction, which obviously can vary depending on personal design preference. A range of 3 to 6 in, or 7.6 to 15.2 cm, is suggested. Using the buttock-popliteal length of the smaller person and adding a similar allowance of 6 to 9 in. or 15.2 to 22.9 cm. for backrest construction as well as a minimum zone in front of the sofa for foot movement. an overall depth dimension of 42 to 48 in. or 106.7 to 121.9 cm. is suggested. The rationale for the drawing at the bottom dealing with female data is the same. The in-formation should prove not only useful in providing a keener insight into the general relationship between body size and furniture but of specific value in establishing preliminary design assumptions for institutional seating in spaces designed exclusively for the use of males or of females. In spaces where seating is to be used by both sexes. the larger dimensions should apply.

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The drawings here examine the relationship of female and male body dimensions to sofa seating, to determine how much space the seated body requires. The anthropometric measurements of major interest here are maximum body breadth and buttock-popliteal length.

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The top drawing examines the rola¬honshp of the female and male body ckmensons to arm chair seating in order to determine the amount Of space the seated body requires. The rationale Is smiler to that in dealing with sofa sealing, outnad on the pre¬ceding page_

Human

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Thebottom drawing is not intended to suggest a specific layout for a conver-sational grouping, and therefore should not be taken Heady. Nor is It suggested that special female and male seating be provided in the same Irving space. The drawing is essen¬tially informative and its purpose is to suggest allowances for comfortable circulation relative to corner lounge seating situations. The key considera¬tion anthropornetncally is maximum body breadth data. Since clearance is involved. the data related to the larger person rather than the smaller should be used.

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The drawings at the lop and center deal with the maker clearances in¬volved in lounge or conversational sealing The top drawing is based on a conversational grouping in which Me clearance between the front of the seat and the edge of the table is km• itecl between 16 and 18 in, or 40.6 and 45.7 cm. This clearance may require some degree of body contact or see• stepping for circulation and access Antruopometncally however. it eoes accommodate human reach. be/rat¬ting the seated person access to the coffee table without “sing The draw¬ing also suggests a dimensional range for verbal conversation The center drawing i’lustrates a similar furniture arrangement that would permit cr¬culabon with NI head-on access The clearance indicated however, to per. m.t such access would make it impos• sgle for most people to reach the coffee table from a seated position. This could be extremely undesirable in terms of food beverages. and ace¬tones Given the choice between ful head-on access and the accommoda-tion of reach, the authors opt for reach and recommend the smaller clear-ance

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The bottom drawing suggests an over-all allowance for easy char or teeth¬ing chair seating. including footrest The buttock-leg length of the larger person is the most significant an. thropometnc measurement in estab¬lishing this clearance It should also be noted that the height of the footrest is alSO a function of seat height The ‘cotrest should be a few inches below the heght of the seat

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Within the general aloe. worktasks must be performed on horizontal coun¬ter-tyre worksunaces These tasks are performed while the male Or female use is standing or sating on a stool or perch-type seal. Many factors influ¬ence the design of this type of worksta¬ton. includng the specific nature of the work being performed. Of cnbcal im¬portance n anthropometncaly °slab¬ishing the appropriate counter height is the elbow height measurement A range of 34 to 39 in. or 86 410 99.1 an a recommended for counter height to accommodate a stool and of 40 to 44 in or 1016 to 111.8 cm, to accommo¬date a male or female user in a stand¬ing postai.

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Eye rieipt must be considered II the coulter height task relates to visual displays or controls. To the extent that ease of access to these displays or controls is d importance an¬thropomebroally, the thumb bp reach measurement of the smaller person critical in establishing proper counter depth, The designer must also be con¬cerned with thigh clearance and bul¬lock-knee length in Inationg any design (For additional discussion. see Section 7.3. Work and Crafts Centers. and Section 9.2. Workstation

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The growth and development of open office ptannrig and office landscape systems have spurred the design and manufacture 01 numerous free-stand¬rig low parbtions or privacy screens. These partitions are used to subdivide Oboe space. providing various degrees Of acoustic and visual pnvacy, and to define terntory and circulation paths. A hatic (*Dui:in always confronting the designer conoems the neigh: of the partition system The clormatiOn Pro* Jaded on this page represents a survey of privacy screens manufactured by some of the largest producers of office systems furniture and equipment. Al are shown in relation to the large and Small male and female user in both a stung and standing position,

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In considering the seection of the ap¬RroPrale parebon or screen Melt the antropornetnc OrnenSiOrtS of entice.’ irrportance are those of eye height standing and eye height sitting. It should be understood however, that sight lines are also +modem( in estab¬lishing visual privacy What should be considered too is the nature of the +as¬ua+ privacy desired Is the seated per. sal on one side of the saeen to be stdelded from te view of a standing or seated person on the other side of the screen’) Is the seated person to be per¬mitted to look over the saeen’’ The purpose of the privacy saeen vet de¬termne 4 seated or standing eye level data should be used and +f that data should be 5th or 95th percentile data. +More (Sealed information on ‘anon and wilt Ines can be found m Section 9.1 I

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The corporate logo is often displayed within the reception room Since it is used to graph scaly identify the tenant, it must be placed n a visually promi¬nent location. The drawing at the top of the page indicates the critical an-thropomethc measurements to be con¬sidered. The eye height of Me smaller and larger seated and standing viewer defines the visual ranges to be consid¬ered The specific vertical and horizon¬tal dimensions of the company identification or display should vary wish the distance of the \Mower from the display as well as the design intent of the graphics ISecbcr 9 in Part C should be consulted for aodbonal in¬formation on sight trios) illustrated at the bottom of the page is the circular workstation sornetmes used in relatively large reception spaces. Two maps factors that influ¬ence the ultimate sze of this etement are the m minium radius to accommo¬date the receptionst birth’) the inner circular area and the creamier-once of the outer penmetor avalable to ascot modale vistors

Human

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The key anthropometnc body Omensacs required to accommodate the re¬ceptionist are that of buttock-knee length and body depth perrnittng the movement and clearance of the char. The minimum recommended diameter is shown as 44 in or 111 8 ah The depth of the worksurface. anthrOpo¬metrically. should accommodate the sidearm reach and thumb tip reach d¬mensons of the smaller person. A di¬mension in the range of 24 to 30 in. or 61 to 76.2 cm is recommended

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For the purpose of privacy or security. the re:wrap-list’s wcrkstaton rS often an area physacally separated by bult•in fum.ture ardor partitions. The drawing at the top of the page shows a counter heght reoeptontst’s workstation White the retatonshp of wodisurface to seat height is key, other anthiccometric considerations are eye height and sa-ting height normat The minimum height of the opening above the floor has been established at 70 h. or 196.1 an Sitting neigh( and eye height are signircant n providing unobstructed vision The drawing at the bottom de¬picts a desk height receptionist s work¬station. The depth of the worksuriace ranges from 26 to 30 rn or 66 to 76.2 cm. Oaten; for thumb tp reach re¬quired for the exchange of papers and packages Both draimngs show in broken line an added counter top ele¬ment often provided for security or as a visual screen of the worksurf ace top

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Human

Needs

Typcal reception room yrs tor seating arrangements are shown on this page rah emphasis on the indrodual searing aryl instead of sofa type searing While the wan of the individual seatng unit vanes. cedar key anthropometnc di-mensions influence the placement of the unit as wel as the cheral Qmen¬sons The primary anthropornethc mermen determining seat width is thatc1 hp breadth Seat depth is deter- 3mined by the buttock-pcpliteal length 3uI omeasurement. For a more detaled as- Icussion of seating design critena Sec¬hon 4 in Part A and Section 1 in Part C should be consulted. Location of the armchair in relation to a coffee table must take into account two connicung requirements clearance for circulation between chair and table and place¬ment of the table to accommodate the reach Lrmtaons of the smatter person. Thom is no ported solution. A distance between 15 and 18 in. or 38.1 and 45.7 a”. however. allows for the leg projec¬tion of the seated person and also ac¬commodates the maximum body depth of the larger person so that he may sidestep it necessary. to pass. Some body contao ardor adjustment of Cody position or posture of both seated and standing person may be required

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The two drawings at the top of the page illustrate a square and a orcuiar conference arrangement for four people_ Such a minimal-size table might be bud *earn a srnal room or. more commonly. interspersed within the fra•nework of a larger space or open office Van A recommended distance of 18 to 24 in, or 45_7 to 61 or. is shown for the distance required from the edge CA the table to the back of the chair, will the char in a normal posl¬len Anthropornetnc consderatrons deteminng this dmensper are bul¬lock-knee length and maxanum body depth measurements Of people of larger body size.

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The drawing at the bottom of The page shows the typical retabrxishp of two people sarong across from each other at a conference table. The distance across the table becomes an important factor it papers are to be exchanged- A *CM of 36 to 54 n. or 91.4 to 137 2 an, is recommended. Table height should also be analyzed fix its relationship to popreal height, knee height, and thigh ctearance A range of 29 to 30 it or 73.7 to 762 cm. is preferred, wdh the smaller dimension favored where wit¬ing tasks are emphasized.

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Consideration must be given to clear-ances and oteulabon around the larger conference table. as ndcated on the a/airings A minimum of 48 on or 121 9 an is suggested from the edge of the table to the wall a nearest obstrucoon This cimenson under ordnary arcum-5.11,11:1) SIOWS for a ortulascn zone beyond the sitting zone of 30 to 36 in or 76 2 to 91.4 cm. based upon a max¬imum body breadth measurement of the larger person. The greater dimen¬sion is recommended to Sow for the that in a pulled-ait position.

Human

Needs

The actual dimensions al the con-ference table ant a Mahon of the num¬ber or people to be seated. The square table hails provides for spill peepie. with each side raving from 54 to 60 in. or 1372 to 152.4 an. The larger dimension is nue approprine to ac¬commodate people of larger body size and to allow for a mote generous work zone tor each person. The Ininelates IMO 30 n. or 76 2 an. per person. Myer, Monstrutes a comfortable perim¬eter Mocation The circular tab* at the bottom comfortably acCOmrtsodates bye people while Mowing for a 30-in. or 76 2-an. access zone between chairs. To accommodate bon sitting zone and trout:don zone a space watt a roans rangng from 72 to 81 in. or 182 9 to 205 7 cm. must be Minded

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The lop drawing ilustrates the clear-ances suggested between counters on °poste skin Of a man aisle The total clearance suggested e between 117 and 120 in. ot 297.2 and 304.8cm Ths allows an actnnty zone for stand¬ing customers facing the lower coun¬ter and a Larger activity zone for standing arse or sealed customers fac¬ing the upper counter, as well as a generous through circulation lane be¬tween O10 two The drawing at the bottom of the page Illustrates the clearances suggested for a secondary ase The clearance in front of the merchandise case at the left takes mto conscletason a kneekng figure removing merchandise from a low shell. while Me clearance in front of the case on the right is only a mint• mum of 18 in. or 45.7 cm which ac-commodates a person standing Parallel to the case. either looking or handling merchandise displayed on the top surface. Although the max-mum clearance between cases could be as much as 90 in or 228 6 cm. a resolved minimum clearance of 51 in. or 129.5 cm, could be used if one is to accept some body contact or sidestepping required by a third per¬son to pass between people engaged

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actioles on ether sae.

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The drawing al the top of the page concerns book and magazine displays and suggests the anthropoinetrio con¬siderations involved The rationale is essenkaly the same as that indicated for the general merchandise shelving on the preceding page In regard to books. hownver, the question of vis¬ibility is even more critical To perceive the basic tam shape, and cola of general merchandise may be suffi¬cient. but for books and magazines. the legberty of pnnted matter must be taken .nto account The distance be¬tween the customer and the display. lighting, and angle of sight should all be considered It is suggested that to supplement the information shown on the drawing, Sections 9.1 and 9.2 also be consulted.

Human

Needs

The drawing at the bottom of the page deals with human dimension and the fitting area of a shoe store The fitting zone clearance should accommodate the body size of the sealed customer and that ot the sales clerk. The 60 to 66 in. or 152A to 167 6 an, clearance should be viewed as a minimum The buttock-heel length or the larger per• son was considered in an-thropometrically establishing the clearance dimension In regard to the workzone. vertical grip reach meas¬urements of the smaller male and fe¬male should be used in establishing Shelf heights while maximum body breadth and maximum body depth of the larger person should be consid¬ered in estaashing clearances

162

Innovation

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The top drawing shows some of the basic clearances required for a typcal counter 36 in. or 91.4 cm. for workspace behind the counter. 18- to 24-in. or 45 7 to 61 cm. for the counter lop. and 60 to 66 in, or 152 4 to 167 6 cm. between the Iron! lace of the counter and the nearest obstruction. The bottom drawing shows a section through the counter and back counter Most counters are about 42 in. or 106.7 crn 6n height The clearance from the top of the seat to the underside of the counter fop and the depth of the coun-ter top overhang are extremely â&#x20AC;&#x2DC;moot.- tan, Buttock-knee length and thigh câ&#x20AC;&#x2122;earance are the key anthropometnc measurements to consider for proper body ft Footrest heights should take into consideration popteeal htnght In most cases this is ignored and 42-in counters are provided with 7-in. or 17 8-cm footrests that are 23 in, or 58.4 cm, below the seat surface. %too, cannot oak. The pophleal height of the larger user. based on 99th percentile data. is only about 20 in or 50 8 an. Therefore. the feet danÂŹgle unsupported several inches above the footrest and the body is deprived of any stability. The footrest shown on the drawng, although hgtier. only serves a porbon of the sealed users and rs intended pananty for standng patrons. The most logical soluoon is a separate footrest. integral with the Mod

163

Human

Needs

The top drawing olustrates in section clearances required between counters when arranged Parallel to each other This is a rather common situation. with counter layouts in a repetitive U Conb-gufation The overall dearance meas-ured from the frOnt edge of one counter to the other is 60 to 72 in or 152 4 to 192 9 an The clearance be-tween counters allows an activity zone Ion the seated patron at each counter. n addition to a public circulation zone between stools or 36 on. or 91.4 cm. Maximum body breadth O the an. thropcmetnc measurement used in establishing the clearance for orcula¬ton Refer to the drawings on the pre¬ceding page for additional information regarding the relationship and body ht of the user to the stool. counter and footrest and the anthropometnc measurements involved The drawing at the Conan of the page shows in section the clearances required be¬tween a counter and a row of tables—another frequently used arrangement A minimum clearance of 48 in. or 121 9 an. between the outside edge of the counter stool and the edge of the table allows for a combined circulation and service zone

164

Innovation

Center

he top dating snows a section trough a typical soda fountain and in¬dicates some or the basic dimensions and clearances invotved A critical consideration in terms of an¬IhrOPornetrim is reach The Counter here, as for a bar. is essentially a par¬tial enclosure. or skin.’ for the faun. tam equipment II is the depth of this equipment tat establishes the !Goa-ton or Me counterperson relative to the customer and the counter surface The depth or the equipment vanes 0 with type and manufacture. but is usu¬ally about 30 to 32 in. or 76 2 10 81 3 an. The counter top itself is normally about 18 In. or 45.9 an. deep. Limiting the overall dimension from the lace of the equipment to the customer’s side ol the counter top. as shown, wilt keep the counter-top surface within reach of the counterperson It the counter too is located further away than suggested in the drawing, the designer should verify that reach is not impaired The bottom drawing shows clearances necessary to make sell-service rood counters accessible to the wheelchair use The service Lane must be a mini¬mum of 34 in. or 88.4 Cr.to accom-modate the wheelchair and the food within a 20-tn. or 50 8-cm. maximum reach.

165

The place setting is made up of a stud¬ied arrangement of dinnerware and Ki¬lted accessories Dunng the dining process. it is transformed into a slate 01 disarray. covering a larger zone of the table than at the begnning This expanded zone occupies a minimum area of 14 by 24 in. or 356 by 61 cm. The lest group ol drawings Iguratively labeled shows these zones in relation to tables of varying depth. but of con¬stant mnimal width of 24 in, or 61 cm. The center strips represent the Surlace evadable for serving fishes. flowers, etc. If we allow for the intru¬sion of these elements into Contiguous zones. a depth of only 40 in, or 101 6 cm, is adequate for their comfortable placement

Human

Needs

In the lower group of drawngs these same zones are applied to a 30-in, or 762-cm, width. This is waled to the maxanum body movement involved n the fining activity Etiquette aside a 24in width will allow the arms of the larger user to protect beyond the table alto circulation lanes. The authors contend that a 30 by 40 in. or 76.2 by 101.6 can table is the optimum size to comfortably accommodate two peo¬ple. The 30-in dimension corresponds to human body breadth. The 40-in di-mension Mows sufficient room for place setting and accommodates hori¬zontal reach

166

Innovation

Center

Both drawings deal with the height and clearance of dining tables The top drawing relates to the plans on the preceding page and ilustrates a 30-and a 40-in. or a 76 2- and a 101.6-an. table The portions of the drawing shown in dotted line reflect the 40-in table. The bottom drawing deals with vMeelchaii access to a dung table. Clearance from the fbor to the under-side of the table us critical it the wheel-char-band diner is to be accommodated Unfortunately. con-lacing requirements. depending on the source consulted, show ths di-mension to be 29 or 30 in. a 72.5 a 75 an. The American National Stand-ards Institute (ANSI) indicates the re¬quired height of the armrest from the fbor to be 29 in. or 72 5 cm. Some state legislation requires 30 WI. of 75 an, to the undersrcle of the table Un-fortunately. a 30-sn dimension would place the lop of the table surface at about 31 in. or 76.7 an Such a height would not wmtatably accommodate able-600W diners of Mar sue To non the seat height would cause the feet of the smiler user to dangle un¬supported, and f °Pants would be somewhat impractical in a public space. Since armrest Maghts of many wheelchairs do not, in fact, exceed 29 in. or 72.5 cm. and since most models have removable or adjustable arms. the authors recommend a 29-in clear-ante, instead of 30 In Such a dimen¬sion will accommodate bosh handscapped and able-bodied users.

167

Human

Needs

The top drawing shows mammal clear-mice fa a combned service and cir-culation aisle in a low-volume operation II should be noted that the width indicated sel not accommodate two lanes Either the waiter or cus¬tomer would have to step aside to avoid body contact In a high-volume operation. w th long aisle lengths such a clearance would be made-pate The bottom drawn; illustrates a situation where chairs abut a service aisle The drawing s not intended to serve as a standard tor aisle clear¬ance. but merely to indicate all factors involved in establishing that clear¬ance. mckang intrusions of the Chills clo the aisle space. The char may be relocated as many as four times dur¬ing the course of the meal At the be¬ginning It is much closer to the table Near the end of the meal n an attempt to relax, one may move the chair away from the table about 24 in of 61 an During intimate conversation it may be brought even closer to the table. Fi¬nally. in rising fran the chair at the conclusion of the meal. as !nal loca¬ton may be as much as 36 in, Or 91 4 cm. away If all inbusicns 8/0 consid¬ered. the clearance between tables could total as much as 108 in. or 274.3 on. Mich may prove uneCOnOrniC.01 Vet to ignore the intrusions would be unrealistic The authors suggest Mat as a reasonable compromise a clear¬ance between tables of 84 in or 213 4 cm be used for prelminary design as. sumptions.

168

Innovation

Center

In certain table arrangements. chairs of two adjacent tables may be located back to back and some clearance be¬tween them must be provided This cearance would not be for purposes of public orculation or service. but simply to allow access to the chair. A minimum clearance of 18 in, or 45 an. from chair to chair as indicated in the lop dramng, or a minimum clearance 01 54 in. or 137,2 cm, between tables would be adequate A 66-in. or 167 T¬an, clearance between tables is pre¬ferred. The minimum recommended clearance for a service lane is 36 in. or 91.4 cm. as Illustrated in the drawings at the center and bottom Should the diagonal arrangement in the bottom drawng involve smaller tables. the chairs may poled beyond the corners of the laee. HOwever the integnty 01 the 36-in clearance should be main¬tained If me chairs do Protect the clearance should be measured be¬tween the chars and not the table cor-ners

169

Human

Needs

In planning for wheelchar access. the portion of the char projectng beyond the table will DO between 24 and 30 In. Of 61 and 76.2 cm it is suggested that the [argot figure be used ‘or prehm-- nary design assumpbons. What is not indicated on the drawing are tne clear¬ances required for wheelchair maneu¬venng to and from the table Turning radio and other inforrnabon relating to the maneuverability of the *theelchair are provided elsewhere on this book The drawing at the bottom of the page indicates the clearances required for Mao movement in connection with a round table. It should also be noted that the lane width needed to accom¬modate a wheelchair should be a manmum of 36 on. or 91 4 cm.

170

oth drawings ilâ&#x2013; ustrate the clear-ances involved lor banquette dining arrangements One of the more critical considerations is access to the ban. quette seat. The top drawing indicates a minimum clearance between tao!es The maximum body depth of the larger person, based on the 99th per-centile data. is 13 to or 33 cm. Allow-ing for clothing and body movement in addition to the basic body dimension.

Innovation

Center

becomes apparent that access to the banquette seal for the larger person may require moving the table. The bottom yawing suggests a 24-in or 61cm, clearance between tabes which will permit access without disÂŹturbing the table location. That spacÂŹing will also provide more privacy for the patrons.

171

&Ohs. panicutany in situation vstere both the seating and the table are fixed. provide no Margin Ice Inca-odual adjustment This lack Of flexiÂŹbility makes it essential that the enthropometric aspects of the design be considered Dosely. The height the compressed seat should relleCt popliteal height data: the depth of the seat. buttockâ&#x20AC;˘pooiteal length data the distance from the top of the seat to the undersde of the table, thigh clearance data the height of the booth or that of a hanging light fixture above the table lop. eye-height siting data and the ACM of the seat. maximum body breadth data

Human

Needs

Equally important is the relation of human chmensons to the aisle for clearance of public and service cir-culation. The two drawings Illustrate on both plan and section some of the basic anthropornetric considerations involved

172

The diagram and chart below should also prove useful in the design of or-culation spaces They have been adapted from a study of pedestrian movement and queuing by Dr. John Fruin to estabbSh relative levels of service based on pedestrian density The base tont is the human body, which is envisioned as a so-carted body ellipse or 18 by 24 in or 45 6 by 61 an

Center

In dealing with pedestnan .ocomobon. the human body must serve as tine basic increment of measure and the larger-soze person as the model in es-tablishing clearance dimensions It such clearances accommodate larger People they obviously can accommo¬date those of smaller body size The top diagram shows three views of the human figure. including atocal 95th percentile dimensions of the three an-thropometric measurements. In estab-testing breadth and depth dimensions. an allowance of 3 in. a 7.6 cm. for garments. including heavy outer win¬ter clothing, was used. The breadth di¬mension assumes that the clothing consists of six layers. Accordingly, the aggregate allowance of 3 in is as¬sumed to be equally distributed one layer on the onside and outside surface of both arms and one layer on each side of the torso The overall dimen¬sion so calculated os 28.8 in. or 65 5 an Heretofore, the generally ac-cepted measurement was 22 in or 55.9 an, presumably based on the shoulder breadth of an average per¬son. The authors contend that this is rot a valid figure since the once, an. thropornetrc measurement to

be uti-lized should be body breadth not shoulder breadth and average’ data do not accommodate the maionty of the population

Innovation

Horizontal orcutatal spaces may include typical corridors found in public buildings ranging from 60- to 144-in. or 152.4- to 365 8-cm wide bobbies. pedestnan prom¬enades. plazas in enclosed shopping malls. and large circulation and concourse areas in transportation terminals. Planning these spaces can be a fairly sophisti¬cated and complicated matter. involving such factors as flow volume I usually ek• pressed as pedestrians per fool teeth of walkway per minute). time and distance headways walking speeds. queue lengths The services of a traffic engineer or pedestrian planting specialist are usually required to property design the larger spaces. Par of the process. no mane how sophisticated, is consideration of the human factor of body size and °mention In addition some insight into physicrog¬cal and psychological factors is also required The intent here is to focus primarily on the anthropometric aspects. with the knowledge that this constitutes but a small pan of the entire design process. The drawings on the following pages deal pn¬manly with the human body and as maximum body depth and breadth as the basic increment of measurement. This incremental urn is then applied within the Context of queuing sr.uations and condors.

Horizontal circulation spaces

173

Human

Needs

The top drawing â&#x20AC;&#x2DC;frustrates the two zones involved in walking. The paong zone is the distance required to place one fool in front dun miler This cilia-lance vanes with the individual due to the many psychological. PhYSioJogroat and cultural factors invoived as well as sex. age, and physical cortt. cn. Most adults. however. have a pacing dstance of between 24 and 36 in. or 61 and 91.4 cm The sensory zone is the distance required for perception. evaluation and reaction m sufficient tine to avoid danger. all %Mile the Cody is in motion The mutetude human factors involved makes meas-urement of this distance extremely dif-ficult One indicator however, mglit be the distance one person has to be bennd the other to observe him from head to foe This is approximated to be about 84 in or 213 4 cm. in a nor-mar walking situation In single- and cloubieilane corndors and Passage ways. clearances of 36 and 68 in or 91.4 and 172 7 cm respectively, are suggested. A 30-in. or 76 2-cm. mini-mum is suggested for a single lane with no physical obstructions on either side carrying items or pushng a small can is involved the 36-in mini-mum should still be used. The double-Pane tearance adows for two people abreast to circulate comfortably with-out body contact The drawing at the bottom of the page suggests the amount of space occupied by people carrying various types of hand lugÂŹgage.

174

he purpose cl the drawing at the top is to provde sane dea of the physical reiatenShiP between human dimen¬sion and corridor width in terms of the number of lanes that can be accom¬modated. The row with three persons abreast is based on 95th percentile maximum clothed body breadth while the row with four abreast is based On 5th patentee data The corridor width was arbitranly selected as 96 in, or 243 8 an, The drawing should not be taken Morally The statistical likelihood of having the lineup of body sizes shown. at any singe pont In time, would be remote unless the space was cxionally intended to serve a spe¬oho user population of Larger or smaller body size. Moreover, the 24-in, or 61-cm, lane watt a 1.6-in clear¬ance is obviously not intended as a standard. The bottom drawing is intended to pro¬vide some insight into relative densi¬ties possible within a 120-in, or 308,4-am, queue Lane A shows as many people tined up as possible with no regard for oomlol or body contact. When an allowance for clothing is added to the maximum body breadth, the people in lane A would be pressed tightly together. violating an notions of personal space and comfort Lanes B and C show the number of people that mild be lined up. based on the densi¬ties of 3 and 7 sq ft. or 28 and .65 sq

Innovation

Center

m per person, respectively.

175

Human

Needs

176

Innovation

Center

The top drawing inclocates that a 60in. or 152.4-cm. clearance is necessary for a person on crutches to walk along side or pass a person in a wheelchair. A 42-in or 106 7-cm, clearance is needed to accommodate a person standing s4eways. while alowng a wheelchair-bound person to pass The otter two drawings Indicate the clear¬ances necessary to accommodate a wheelchair in spaces where a series of two doors are involved. One draw¬ing illustrates a situation shire the two doors are in a row and the other where the doors are at right angles. A clearance of 84 in or 213 4 cm, is nec-essary to Mow the wheelchair to clear tr* first door as it swigs shut Since the length of the wheelchair is 42 in. or ‘06.7 an. the 84-in dimension would akow for a door as wide as 36 in, or 91.4 cm, and an adder:nal clearance of 6 in. or 15.2 cm, to spare. The 12-in, or 30 5-cm, minimum clearance on e¬ther side of the door elev.’s enough maneuvering room for the wheelchair to approach the door at a sbght angle and a person to grasp the door knob or pull and then back away. This is helpful when approaching the door from the n-svang side. When the toes are located at right angles to each other it is essential that ade-cuate space be provided to avoid n¬telerence between the two doors

177

Human

Needs

The design of spaces for group viewing act/vines requires some knowledge of the anthropometncs of the tall and short standing and seated viewer and the visual implications invoNed The top drawing shows that the basic 5th percentile and 95th percentile body measurements of standing view-ers are such that the the of sight of the shorter viewer would be obstructed by the taller viewer. When the same 5th and 95th percentile measurements are applied. the drawing of the seated blowers indicates that the line of sight of the smaller viewer rust clears the rridshoulder height of the larger viewer in front. It should be noted that the difference in eye height between the larger and smaller seated viewers is about half the difference in eye height when the larger and smai Cr viewers are standing. The mnimu distance between the first row and me display can be determined by drawing a sight line from the top of the proÂŹs/VS image to the eye cl the viewer seated in the first row at an angle not less than 30- nor more than 33â&#x20AC;&#x2122; as inÂŹdicated in the bottom drawing

178

Innovation

Center

Maximum visib.4ty for the greatest number of seated viewers can be achieved by elevating their eye heghts successively from Iron’ to back row so that one viewer can look over the head of the person in front. The eclocanthus to top of head meas¬urement is the anthropometnc data most useful in determining the actua: height by which the floor must be step¬ped or sloped to achieve this condi¬tion. It is the distance from the outer cornea of the eye to the level of the top of the hoact The 95th perceewe data shows this measurement to be about 5 in. or 12.7 cm, and is the increment by which the floor is stepped_ The top drawng illustrates the ‘one-row vision- method of elevating eye heights so that the viewer may have unobstructed vision over the heads of those viewers in rows immediately ahead. The center drawing illustrates the lwo-row vision” method which prevents the heads of an viewers two or more rows ahead from b+ockmg billy. The advantage of this method is that it minimizes the slope or number of steps. Its disadvantage is that s not as effective as the one-row scheme. Wider seats and a staggered plan. however, can improve vipOlity try permitting a view between the heads of those directly in front, as Pleven in the bottom drawing_ In re-gard to the depths of rows. although a 32-in. or 81 3-cm. spacing is often used. 40 in, or 101 6 cm. is recom-mended.

179

Unless traffic Now to the pew is con-Iroled, the lack of armrests makes the seat allowance shown in the top draw. wig somewhat theoretical Assum n9 some controlled means of seat space definition. however, a reasonable in-cremental unt to use as a basis lot seat width is the maximum body breadth. The 95th percentile data for lager users is 22 8 in or 57.9 cm, taken with the subjects nude. The top drawing shows three possible seat al¬lowances 24 to 26 in, or 61 to 66 cm: 28 el. Or 71.1 an: and a possible mini¬mum of 22 in. or 55 9 cm

Human

Needs

When one considers that an allow¬ance for clothing and ritual-related body movement should be added to the 22_8 incremental unit, the 22-in minimum would not comfortably ac¬commodate the majority of users with¬out some body contact Economics permitting. the 28-in spacing is recom-mended. The bottom drawing shows several pew spacing possibilities. AN can work: depending on the level el comfort desired and the nature and frequency of ritual-related body move-ments.

180

Innovation

Center

hen an audem» rs listening to We speeches. lectures. or sermons, the Whim, pulpt, or amen and the speaker should De viewed as the dis-pLay. With respect to the speaker. the depay is assumed to be whatever notes or other written rnatenal he may use in connection with his de:rvered presentation. The top drawing shows some of the basic dimensions in¬volved and suggests some of the ‘vis¬ual and anthropometnc considerations mPled. For optimum speaker viewing comfort. the surface upon which notes are placed should be at an angle of {tout 30’ When anthropornetricaly determining the height of the top of the lecturn surface facing the speaker, °bow height should be taken into ac-count. The extent to which the lectum may obstruct both viewer and speaker vision should also be considered

181

5.5.2 PSYCHOLOGICAL NEEDS

A “well-designed space” can be defined in psychological terms. A well-designed place enhances life experiences—it is essential for bliss. It provides people with energy and supports their need to communicate with others and supplies inspiration and comfort that enhance lives on a continuing basis. In which people achieve their concrete and-psychological goals. Being in a well-designed place leads to a desirable emotional state. There are so many psychological needs that are fulfilled in this project. Each depend on the area and space.

General psychological impacts:

 Creativity, and innovation stimulating space:

Lines, shapes, forms and volumes, are contributing the feeling of freedom, pleasing and comforting, in addition to encouraging order and logical thinking. The uniqueness of this project that is combined between the positive aspects of geometrical forms and the natural organic forms. The special configuration of shapes and forms, gives the space a dual characteristics.

Figure 5.32 Futuristic Sky SOHO by Zaha Hadid Architects, Shanghai, China

Irregular shapes, with soft angles and the combination of straight lines that are changing their direction smoothly, are creating a certain level of balancing between energizing, pleasing and comforting. A feeling of logic spontaneity. Straight, and diagonal lines with smooth edges changing directions, are stimulating mental activity unconsciously due to their moderate fluidity and smooth movement. People will feel the smoothness of thinking and how each idea is leading to another deeper ideas, they also stimulate connection and transition.

Figure 5.33 Hayes Davidson

The combination is illuminating the exceed formality of lines and sharp angles, in order to break the barrier of being formal and mannered. Patterns: The elements of a space can be arranged so that they take on particular patterns. Rhythm, Symmetry, Balance, and Harmony all together contributing to the visual quality of a space by increasing order.

Human

Needs

Asymmetry and informal balance is one of the main aspects of the project, its clear through the distribution of colors shapes, forms, lights, and furniture. Using such strategy is stimulating users, because they see new things in it each time that they look at it. So, that will Expands the horizons of thinking. Informal balance and asymmetrical makes people feel more relaxed in space, and comfortable and not predictable space.

182

Figure 5.34 Messner Mountain Museum by Zaha Hadid Architects, South Tyrol – Italy

Rhythm leads people visually, adds to its order and comfortably increases the stimulation we receive from an environment... Design needs some sort of Rhythm or pattern to be cohesive, and that could be created by make some variety in shapes, colors, and textures, but all goes to the same concept. Proportion: Well-proportioned interior causes a positive effect in human behavior, and it gives the users a kind of pleasant, so they will not feel disturbing or uncomfortable visually. Harmony: Harmonious spaces enhancing pleasant well. When elements are having something in common then we can say the space has got harmony atmosphere. Harmony increases pleasant environments look and enhancing satisfying and comforting.

Figure 5.35 Diyar Media Figure 5.36 Cole Capital office Studio / ReNa Design building

Figure 5.37 Diyar Media Studio / ReNa Design- Rythm & Asymmetry

Figure 5.38 Figure 7 Diyar Media Studio / ReNa Design Subspace arrangements, furnishing and facilitating has been flexibly designed, concerning the client needs. Designed seats, desks and other furniture were designed in harmony with other elements of the architecture. Their translucency also helped their float and settlement in the space in a way that the user can benefit subtle sound & medium systems - Harmony & Proportion

might occur.

The use of bare materials, and unfinished concrete makes people feel energies and tranquil, it makes them experience a sort of peaceful feeling. This peacefully excited state is coupled with the lower blood pressure readings than when people are walking on smoother surfaces. In this sort of mental state, they think more broadly. Round surfaces, has relaxing beneficial effects rather than jagged or angular surfaces.

The comfort zone of the majority of the people in the United States lies approximately between 68° and 78° Fahren-heit (20° and 25.5° centigrade) with about 20 to 80 percent relative humidity. Our interior environment are designed to fall within these ranges through natural or artificial conditioning for local climatic conditions and season of the year. Temperature is influencing users moods and behaviors in the space. Center

Touching:

Innovation

moderate variation of textures is energizing users in certain level, that is not scarce, nor exaggerated, moderate level of energizing is very important in such educational buildings.

The Human Comfort Zone Acceptable climatic conditions for human comfort vary from culture to culture and individual to individual, depending upon each person›s activity, metabolic composition, and psychological adaptation to his or her environment. This comfort range can also vary seasonally as individuals go through their daily functions. This human comfort zone has definite boundaries in temperature, ventilation, and humidity beyond which some physical and psycho-logical stress

Shiny surfaces are used for invigorating purposes, but balance also is well-considered between the use of shiny surfaces and matt surfaces also helps in creating a certain level of energy.

183 Figure 5.38 Cigna Finance Offices – Istanbul, Turkey. The spaces giving the impression of being in nature for the employees and guests

Human

Needs

Figure 5.39 Shiny floorings, bare materials are energyizFigure 5.40 Figure 10 This Red Bull Office Has A Casual Meeting Area With ing users Swings

184

Figure 5.40 Figure 11 http://space-encounters.eu/work/rivierstaete-lobby/

Daylightâ&#x20AC;şs light cycles help us regulate our circadian rhythms and that keeps us in a good mood and improves how comfortable we feel, mentally and physically. In such environments, daylight has been shown to have these effects while also improving job performance, job satisfaction, and intention to remain employed at the same place.

Special psychological impacts:

1. Lobby:

The lobby is the first interior place where hotel guests get acquainted with the the center, ambience, service standards, and interior design. Furthermore, it is the initial point of communication and interaction between the center’s staff and the guest/students. Therefore, a positive first impression is crucial and impacts the overall guests’ perception and satisfaction. Color: Neutral colors, with a large attention to whites and greys, to create a clean look, and to enhance the client’s project primary vision, by creating an impression of Goodness, Purity, Hope, innovation, Simplicity, Youth, Fallen, peace, Formality, and altra-modernism luxury.

Figure 5.41 Great idea for a wedding ceremony location. Gorgeous open shade lighting. Also amazing looking for outdoor reception too. KKCG office building reconstruction Prague / Czech Rep. / 2012

lighting: Light levels and colors influence how we think and behave in a space. The use of brightly light intensity levels is making the space while invigorating. In general, higher levels of light are psychologically and physically stimulating. Both indirect and direct lighting are used in a space tier it to be well lit; direct light fills a place with intense light, but it can be harsh on the eyes. Indirect light is not as intense as direct light, so it may not be bright enough for reading and similar activities. It is best for lighting shadowy spaces. Eliminating those shadowy spaces makes the light levels in a room more uniform overall, which is less stressful for our eyes. Lighting in corridors and main entrances, people walk near lights and lighted surfaces. Placing lights along walls in a hallway organizes travel in that space and ensures that people can efficiently move through it.

Innovation

Center

Figure 5.42 Beeah Headquarters, Sharjah, 2014 - Zaha Hadid Architects

Figure 5.43 Zaha Hadid’s interiors for One Thousand Museum in

Figure 5.43 Lighting is guiding users to walk in a certain directionShowroom from ZHA #architecture

185

Seating arrangement, personal space and Proxemics: Cross-corner seatingâ&#x20AC;&#x2122;s that allow people to talk on not and make eye contact or not, as they want. Its good for conversations or a situation in which people must discuss something. Proxemics and space arrangement are playing a primary rule in socializing and communicating. Ensure providing a social spaces and private spaces that contribute users comfort zone. Queue also very important to be considered when arranging, people personal proximixs should be considered. Personal factors influence personal space. Anxious people maintain larger personal space zones than othersâ&#x20AC;&#x201D;which has repercussions for the design of various sorts of waiting rooms, restaurants, and other public spaces. People who are introverted or worried about how they will be judged maintain larger personal distances. So do people who feel rushed, competitive. Personal space zones increase with infirmity, which often is directly related to age.

Figure 5.44 seating configuration allow different interactions.

High ceiling: High ceiling make situation feel more formal and make people very attuned to behaving in the way that others expect them to behave. Rather than that it creates a luxurious impact on the space. Sound scape: As sound regulates users emotions in consistent powerful ways. Simple moderate fast music will make the space in certain level of relaxing but at the same time keeps users alert and energized. Scent scape:

Human

Needs

A pleasant creativity improving scent scape is preferred in such centers, to encourage users and visitors to educate and innovate. This could be reached by using cinnamon-vanilla smalls.

186

Figure 5.45 Macalester College - Janet Wallace Fine Arts Center | HGA | Bustler

2. Exhibition:

As the exhibition is a station to showcase the honor of the center, and present their achievements, it must be an ambience envelop that affects visitor both intellectually and emotionally and involves visitor’s sensual experiences. This and more will be achieved by: Color: Neutral colors, with a large attention to whites and greys, to create a clean look, and to enhance the client’s project primary vision, by creating an impression of Goodness, Purity, Hope, innovation, Simplicity, Youth, Fallen, peace, Formality. In order to emphasis the products. Some areas will be with black gray scale in order to give the space power and elegancy. Light can be different colors. A difference in the color of light that we don’t consciously perceive can dramatically influence how we feel psychologically. Colors of lights are changing according to the product. Some lights are coming from screens. Mainly there will be purple to give the space a sort of Magical effects, blue Spiritualty, purity, and simplicity.lighting:

Figure 5.46 The future museum (Dubai)

Figure 5.47 The future museum (Dubai)

Lighting: Lighting levels and the color of light work together to influence our mental state. Spotlight-like lighting draws more attention to people and objects and the additional information learned about people and objects because of that light is energizing. Concentrated lighting also subdivides and organizes spaces. Sound scape:

Figure 5.48 Dalian Museum – 10 Design – China

As sound regulates users emotions in consistent powerful ways. Less complex visionary music, is the best background for such exhibition design, because it gives the audience they right to think and understand. Scent scape:

Space arrangement and proxemics:

Innovation

People who are taller have larger spaces than people who are shorter, and adults have larger personal space zones than children. So all else being equal, chairs should be placed farther apart in areas where people are generally taller than they are in areas where the population is, on average, shorter.

Figure 5.49 The future museum Dubai

Considering different ages and different cultures is very important for a comfortable environment. Provide wide spaces for people to feel comfort moving and interacting, and perceiving as well.

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A pleasant creativity improving scent scape is preferred in such centers, to encourage users and visitors to educate and innovate. This could be reached by using cinnamon-vanilla smalls.

187 Figure 5.50 Monsanto Chesterfield Corporate Exhibit Exhibition Design

3. Auditorium:

Designing an auditorium that would have excellent acoustics for a variety of purposes, specifically lectures, international events, and different ceremonies, that makes the audience to get the maximum advantages of the function. Achieving the audience comfort satisfaction. Color: Neutral colors, to create a dramatic altra modern clean look, Youth, high class, Sophistication, and elegance. Lighting: Lighting levels and the color of light work together to influence our mental state. Aisle lighting is guiding people to their seats, and destinations. Spot lights are driving audience attention toward objects or speakers.

Figure 25 gallery of Jockey Club Innovation Tower / Zaha Hadid Architects.

Human

Needs

â&#x20AC;&#x2DC;Beukenhof Auditorium and Crematoriumâ&#x20AC;&#x2122; by Asymptote Architecture

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4. Café & Restaurant

Offering places to retreat and focus as well as socialize with numerous employee’s and colleagues from the various parts of the plant by designing a casual Gathering, sharing, and chatting area to satisfy the need all users in such space that is far from the studying environment. All of that could reached by Color: Neutral colors, with pop touches of yellow, peach orange and blue. Will create casual comfort space for students to socialize and refresh. Since yellow is a Cheerfulness, Inspiration color, blue a peace and tranquility, and orange for friendship, and informality. Such warm colors, Warm colors attract the customers and cause them to make more rapid decisions than cooler colors in order to make customers take fast decisions and order more dishes. Lighting:

A great attention to natural lighting to improve the feeling of comfort and refreshment, and encourage socializing and group gathering. Territory: People like to seat in an area that has boundaries around to feel belonging, and break the feeling of being stranger or unsafe especially in large areas. That could be gain from using different flooring materials or colors, or by creating an enclosure space for each table. Scentscape: Scents that are consistent with the products being sold continue to influence shoppers. Even if those shoppers are aware of the scent and are determined not to be influence by that.

Figure 27 Designmilk.com

Pleasant senses puts customers in a good mood and these pleasant scents increase the likelihood to purchase and buy. That could be achieved directly when restaurant has an open kitchen as we mention previously.

Restaurants and cafeterias are places not only to eat, but also they are playing a primary rule in socializing and communicating. So eye contact is a very important point to be considered when designing and arranging restaurant’s furniture. Because people talk socialize more freely when they can see each other. Soundscape: In such restaurants environments, more food in ordered when the pace of background music is slower, since slower music is calming, when people are waiting (for example waiting for their meals) they feel that they have spent less time in waiting.

Figure 28 Gensler has developed a new North American headquarters for global healthcare company Bayer which is located in Whippany, New Jersey.

Arrangement

Innovation

Center

For our café its good to emphasize the food flavors which in turn increase the appetite, and pleasant of the atmosphere. Because people when smelling pleasant scents, they spend more time at that space, so it increases the café’s profits.

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5. Brainstorming and meeting areas and library:

Educational spaces, people learn best if they are Good places to learn share certain physical and symbolic characteristics, whether they are spots where children are mastering reading during primary school, or where adults are probing the secrets of a fine cabernet in a continuing education session. Colors:

People learn best if they are moderately energized. That means the colors used in classrooms and similar learning spaces should be in the midrange of saturation and brightness, and neither energizing nor relaxing scents should be used in these spaces. Even though lighter, less saturated greens have gotten a bad reputation for being “institutional,” they do put people exposed to them in the appropriate mood to learn.

Figure 29 Princeton University Julian Street Library.

Blue is a Relaxing, Calming, Comfortable, inspiring color, combined with green tones, it create a sort of Quiet and good health environment. That encourage innovating and deep thinking. Adding touches of these colors with the corporation of orange and yellows, making an environment full if stimulating, exciting, Inviting, Cheering, Pleasant, Energetic Behavior. Lighting: Lighting affects not only what people see—at a basic level it enables them to see details in the world around them—but it also influences how they move through a space. Light draws individuals ward, so if the ends of hallways are more brightly lit (via artificial lights or windows), students will be kept moving toward them. People also try to walk as close to sources light as possible, so if efficiently moving large numbers of students through a set of hallways is important, light fixtures should be placed on hallway wall . they’re mounted on the walls, as opposed to the ceiling. Task lighting is also imprortant to allow students to focus on their work.

Human

Needs

The use of brightly light intensity levels is making the space while invigorating. In general, higher levels of light are psychologically and physically stimulating. Both indirect and direct lighting are used in a space tier it to be well lit; direct light fills a place with intense light, but it can be harsh on the eyes. Indirect light is not as intense as direct light, so it may not be bright enough for reading and similar activities. It is best for lighting shadowy spaces. Eliminating those shadowy spaces makes the light levels in a room more uniform overall, which is less stressful for our eyes.

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Figure 31 Dramatic Cantilever Sets the Tone for SOM-Designed JT International Headquarters

Natural lighting and plants : Learning and teaching are mentally exhausting, and both students and teachers need to be able to restock their mental energy by looking out the windows of their school onto nature scenes. If nature views are not available green, leafy plants are added. Even when leafy plants are placed at the back of a classroom out of visual range, junior high school students are better behaved than when plants are not present in the classroom. Figure 32 At LinkedIn San FranFigure 30 4 Tech and Finance Companies Rock Out cisco Office by Interior Architects, Graphics Lead the Way at the Office

Proxemics: Students and teachers need to be able to maintain comfortable distances from each other, create territories through personalization, and have privacy when they want it. The interaction distances that a national culture finds appropriate are also relevant for classroom interactions. When teachers in North America are more than 12 feet from their nearest students, the students will be less focused on what the teacher must say, just as many people at formal events (where larger interaction distances are used) are not completely focused on what a speaker is saying. Teachers should be less than 12 feet from their students? which is possible in most classrooms if the pupils’ desks are not arranged in traditional rows. A teacher with a group of young students, or groups of young students alone, will stand or sit closer to each other than a group of adults, for example. Teachers generally have larger territories to personalize than students, but each group is more likely to bond with their school if they do have a place that they feel belongs to them. Sound scape: Less complex music, without words (or at least without words listeners can understand), is the best background for a mental task that requires concentration. It diverts a minimal amount of mental processing power from the cognitive work underway. When people are trying to concentrate or be creative or make a decision, the sound around them should be quieter than 55 decibels—that’s the vol¬ume of an average conversation. When they are doing a simple physical task or something that’s partially mechanized, the sound level can be 70 decibels, which is as loud as a vacuum cleaner. In no case should noise levels ever be above 85 decibels, which is as loud as a lawnmower. Scent scape: Any smell that puts us in a good mood-rains increase our innovativeness, but a cinnamon-vanilla smell has specifically been linked to improved creativity. To improve mental tasks, lemon and jasmine are used.

Innovation

Center

Figure 34 Equinix - Foster City Headquarters

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Figure 33 Green walls helps to restock metal energy

O U T C O M E S using a smooth combination between organic forms and geometrical forms.

•

Asymmetry and informal balance, and rhythm , proportion and harmony.

•

The use of bare materials, and unfinished concrete.

•

The Human Comfort Zone Acceptable climatic conditions

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Daylight.

•

Special consideration has to payed for each limit.

•

Colors, saturation of light, sound and scentscapes and proxemics are very important factors that are affect-

Innovation

•

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Creativity, and innovation stimulating space is achieved by :

•

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5.6 EC O N O M I C N E E D S

Hillebrandt (2000) described a market is any organization whereby the buyers and sellers of a particular commodity keep in touch with each other and determine the price of the commodity in the economist‘s sense. Markets in the construction industry should therefore be defined in terms of the total demand for particular identifiable service relevant parameters include degree of complexity and size, geographical area and type of contractual arrangement. The total number of firms interested in work of this defined type is referred to as being ―in a particular market”.

Construction Firms

The word ―firm‖ in economics means any entrepreneurial unit. It can be a single person, a partnership, a small company, a public limited company or gigantic multinational organisation. A firm can be defined as an organisation that brings together different factors of production, such as labour, land and capital, to produce a product or service which it is hoped can be sold for a profit.

Demand and Supply

The determination of demands on the construction industry is complex as well. This is partly due to the characteristics of the products of the industry: notably, their size, cost and long life; the fact that many of the products are investment goods; and the complexity of the process. The supply of construction is provided by consultancy practices, firms from many industries including contractors and material and plant manufacturers, and individuals. From the objectives of government macroeconomic policy which involve controlling the level of unemployment, maintaining a low and stable level of inflation, preventing long-term balance of payments deficits, maintaining a satisfactory rate of economic growth etc, the demand and supply in construction market provide an opportunity to realize these objectives. For example, the demand of new building and repair/renovation/maintenance will increase the level of employment to some extents.

Types of Cost

How do business owners react to changing taxes, changing input prices, changing government regulations and changing market conditions? To answer these questions, we must understand to the nature of productivity and costs. These costs may relate to design, construction, maintenance, management, conservation, refurbishment, or whatever. The nature of productivity was mention in previous definition of construction firm; here some basic types of cost will be classified as follows. Opportunity Cost When you have a choice between two or more alternatives, you will choose the best alternative. However, choosing the best alternative means you can›t choose the

Long and short term is not fixed periods of time but vary according to the matter under consideration. They are inextricably linked. For ease of understanding, short run can be defined as any time period when there is at least one factor of production that has a fixed cost; in the long run, therefore, all costs are variable, that is, all factors are variable. Social Costs and Private Costs Social costs are costs to the community; private costs are costs to the individual or group of individuals. Other Types of Cost Transaction costs, fixed costs, variable costs and so on.

Price

Price is the rate at which exchange may or does take place and it applies to all resources and factors of production. As a result of the interaction of supply and demand, price would come to equilibrium.

Profit

Profit is the revenue obtained by a firm in excess of its costs. Since costs in the economic sense include a normal return on capital and on entrepreneurial ability, that is, a return sufficient to keep the capital and entrepreneur in the industry, firms can stay in business making no profit in the economic sense, although not in the accounting sense.

Marginal Analysis

Marginal analysis is very important for economics; it deals with small changes in the total as a result of some other change.

Construction Life Cycle

The acquisition of a constructed facility usually represents a major capital investment, whether its owner happens to be an individual, a private corporation or a public agency. Since the commitment of resources for such an investment is motivated by market demands or perceived needs, the facility is expected to satisfy certain objectives within the constraints specified by the owner and relevant regulations. The project life cycle may be viewed as a process through which a project is implemented from cradle to grave. The cycle begins with the initial conception of the project and continues though planning, design, procurement, construction, start-up, operation and maintenance. It ends with the disposal of a facility when it is no longer productive or useful. This process is often very complex; however, it can be decomposed into several stages as indicated by the general outline in Figure .

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Construction Markets

Long-Term Cost and Short-Term Cost

Innovation

As a general discipline, economics is concerned with the analysis of two interrelated problems: scarcity and choice, in other words, economics is concerned with resource allocation. Like all disciplines, economics is guided by a set of principles, in this way, construction economics as a sub-discipline should relate to the economic principles of scarcity and choice as well. The following basic economics concepts will provide an effective framework within which the construction industry can be analyzed.

next-best alternative. Opportunity cost is the next-best alternative that must be sacrificed in order to get something else you want. Opportunity cost can be thought of as «the road not taken».

5.6.1 Basic Construction Economics Concepts

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Essentially, a project is conceived to meet market demands or needs in a timely fashion. Various possibilities may be considered in the conceptual planning stage, and the technological and economic feasibility of each alternative will be assessed and compared in order to select the best possible project. The financing schemes for the proposed alternatives must also be examined, and the project will be programmed with respect to the timing for its completion and for available cash flows. After the scope of the project is clearly defined, detailed engineering design will provide the blueprint for construction, and the definitive cost estimate will serve as the baseline for cost control. In the procurement and construction stage, the delivery of materials and the erection of the project on site must be carefully planned and controlled. After the construction is completed, there is usually a brief period of start-up or shakedown of the constructed facility when it is first occupied. Finally, the management of the facility is turned over to the owner for full occupancy until the facility lives out its useful life and is designated for demolition or conversion.

charge of the programs. It is important to evaluate facilities rationally with regard to both the economic feasibility of individual projects and the relative net benefits of alternative and mutually exclusive projects. Economic and Legislative Factors In the construction project process, macro (dealing with the economy as a whole) and micro economic policies (dealing with parts of the economy such as markets and firms) affect the design team and contractor, these policies include:  Rate of economic growth  the level of employment  price stability  regional balance of economic activity  the degree of equality of the distribution of incomes

Parties Involved in Construction Process

 efficiency in the allocation of economic resources among others. In nearly all countries, government, central or local, or acting through some public or semi-public organization, has an important influence on the construction industry.

Economic Evaluation of Construction Projects

Educated society of today insists that much more thought is given to all possible alternative schemes before arriving at the best solution obtainable. It is only by evaluating all alternatives that society in general can be best satisfied by choosing the proposal most suited to their needs.

Economic

Needs

Since construction projects may be managed by a spectrum of participants in a variety of combinations, the organization for the management of such projects may vary from case to case. Although owners and contractors may have different perceptions on project management for construction, they have a common interest in creating an environment leading to successful projects in which performance quality, completion time and final costs are within prescribed limits and tolerances. The project manager, in the broadest sense of the term, is the most important person for the success or failure of a project. The project manager is responsible for planning, organizing and controlling the project. In turn, the project manager receives authority from the management of the organization to mobilize the necessary resources to complete a project. A traditional management structure for executive project management is showed in Figure 2.

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It is worth to mention that the project manager must be able to exert interpersonal influence in order to lead the project team. People are very much at the core of most project management processes. There are many different groups of people to be considered, not only the project managers themselves, but the client, the designer, the financial expert, the quality controller, the supervisors and the skilled operatives who actually carry out the physical work together, either in teams or on committees.

Construction Process Influenced by Economics and Legislative Factors

Facility investment decisions represent major commitments of corporate resources and have serious consequences on the profitability and financial stability of a corporation. In the public sector, such decisions also affect the viability of facility investment programs and the credibility of the agency in

Cost-Benefit Analysis Why is cost benefit analysis needed? Certainly profit plays a large part of economics, but without safeguards of many sorts, how could society cope with the following: 

Noise, bust and atmospheric pollution generally

 Health 

Ecological conservation



Parks and open spaces within urban areas

The basic principle in assessing the economic costs and benefits of new facility investments is to find the aggregate of individual changes in the welfare of all parties affected by the proposed projects. The changes in welfare are generally measured in monetary terms, but there are exceptions, since some effects cannot be measured directly by cash receipts and disbursements. Examples include the value of human lives saved through safety improvements or the cost of environmental degradation. The difficulties in estimating future costs and benefits lie not only in uncertainties and reliability of measurement, but also on the social costs and benefits generated as side effects. Furthermore, proceeds and expenditures related to financial transactions, such as interest and subsidies, must also be considered by private firms and by public agencies. Cost-Effectiveness Analysis This is a technique that can be used when decision makers have already accepted the need for a particular objective but remain uncertain as to the best way of achieving it. Risk-Benefit Analysis

This is used when a project is associated with a ‗risky‘ outcome. The framework differs from that of a CEA since the approach explicitly considers the costs and benefits of ‗doing nothing‘. Environmental Impact Assessment The aim of an EIA is to identify the environmental implications of a particular policy action or spending program, both desirable and undesirable. A Systematic Approach for Economic Evaluation A systematic approach for economic evaluation of facilities consists of the following major steps:

of issues encountered in the construction process. On the macroeconomic level, it concerns the behavior of individual economic agents — clients, contractors, architects, engineers, surveyors — at various stages of development of a constructed facility. On the macroeconomic level, it concerns the interaction between the construction sector and all the other sectors comprising the national economy. On the macroeconomic level, it concerns broad economic aggregates such as construction output, employment, and construction cycles, as well as the role of construction activity at different stages of economic development.

 Generate a set of projects or purchases for investment consideration.  Establish the planning horizon for economic analysis.  Estimate the cash flow profile for each project.  Specify the minimum attractive rate of return (MAR R).  Establish the criterion for accepting or rejecting a proposal, or for selecting the best among a group of mutually exclusive proposals, on the basis of the objective of the investment.  Perform sensitivity or uncertainty analysis.  Accept or reject a proposal on the basis of the established criterion.

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In conclusion, Construction economics concerns a range

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5.6.2 Life Cycle costing WHAT IS LIFE CYCLE COST ANALYSIS?

LCCA is a process of evaluating the economic performance of a building over its entire life. Sometimes known as “whole cost accounting” or “total cost of ownership,” LCCA balances initial monetary investment with the long-term expense of owning and operating the building. LCCA is based upon the assumptions that multiple building design options can meet programmatic needs and achieve acceptable performance, and that these options have differing initial costs, operating costs, maintenance costs, and possibly different life cycles. For a given design, LCCA estimates the total cost of the resulting building, from initial construction through operation and maintenance, for some portion of the life of the building (generally referred to as the LCCA “study life”). By comparing the life cycle costs of various design configurations, LCCA can explore trade-offs between low initial costs and long-term cost savings, identify the most cost-effective system for a given use, and determine how long it will take for a specific system to “pay back” its incremental cost. Because creating an exhaustive life cycle cost estimate for every potential design element of a building would not be practical, the Guidelines for LCCA focus on features and systems most likely to impact long-term costs.

WHY LCCA IS IMPORTANT As the chart below illustrates, over 30 years of a building’s life, the present value of maintenance, operations, and utility costs is nearly as great as the initial project costs.

Economic

Needs

Funds secured or set aside to construct new campus buildings rarely extend to ongoing operational costs. Increasingly, campuses are experiencing shortfalls in their annual budgets for building operations. These lead to deferred maintenance and eventually to declining building utility and performance.

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Designing new and renovated buildings with maintenance and operating costs in mind can result in significant savings. The Guidelines for LCCA help Project Teams calculate these costs and use them to inform planning, design, and construction decisions. Stanford’s decision to implement LCCA as part of the PDP is a direct effort to reduce the total cost of building ownership.

LCCA’S RELATIONSHIP TO OTHER LAND AND BUILDINGS DOCUMENTS Whenever possible, the LCCA process should incorporate the directives and guidance contained in other Stanford publications and guidelines. If a conflict arises between these documents and LCCA results, the Project Team will be responsible for resolving it, keeping in mind the ultimate goal of developing buildings with the highest value to the University. Sustainability Part of Stanford’s commitment to quality building projects is a strong belief in the value of sustainability. Stan-

ford’s 2002 publication, The Guidelines for Sustainable Buildings, developed in collaboration with staff, faculty, and students, define sustainability as a balanced concern for community, economy, and ecology. Sustainable buildings use energy, water, and other natural resources efficiently and provide a safe and productive indoor environment. As a quality assurance tool, LCCA is related to – but not synonymous with – sustainability. LCCA is a cost-based process; its goal is to identify the most cost-efficient building design and construction strategies over the life of the asset. LCCA addresses values that can be stated in dollars, not subjective issues such as occupant comfort or environmental impact. The most cost-effective solution is not always the most environmentally ideal choice. For example, a building system might consume very little energy but cost more to maintain than it saves in energy costs. Very often, however, LCCA points to solutions that are environmentally desirable. Careful design choices that result in efficient use of energy and water often do yield long-term cost savings. Or, if environmentally favorable choices do not actually save money, LCCA may reveal that their additional cost over time is minimal. At the heart of “sustainability” is a balance between human concerns (e.g., cost, health, comfort) and environmental concerns (e.g., resource use, ecological degradation). LCCA is part of Stanford’s overall effort to strike this balance. Campus Planning and Design Documents Documents from the University Architect/Campus Planning & Design Office inform the design and construction process. The Project Manager will determine which, if any, of these documents are applicable to the LCCA. Facilities Design Guidelines The Facilities Design Guidelines (FDG) specify basic requirements for campus buildings. Alternatives developed for LCCA should comply with the FDG wherever possible.

IMPLEMENTING THE LIFE CYCLE COST ANALYSIS PROCESS AT STANFORD Life Cycle Cost Analysis will be implemented within the existing nine-phase PDP. Section III discusses in detail how to address LCCA at each stage. LCCA adds two major activities to the PDP: O&M Cost Benchmarking and Comparative Analysis. Each of these activities occurs at specific phases in the PDP, in conjunction with other Project Team tasks during those phases. OPERATIONS & MAINTENANCE COST BENCHMARKING During the Feasibility and Programming phases of the PDP, the Project Manager develops a “Benchmark Budget” with design and construction cost estimates based upon data from past projects. At this time, the Project Team will also develop an O&M Benchmark using historical operations and maintenance data from existing campus buildings for those LCCA components that apply to the project. COMPARATIVE ANALYSIS During the Schematic Design (SD) and Design Development (DD) phases of the PDP, the Project Team makes increasingly detailed decisions about the final design for the building, including mechanical, electrical, structural, tel-

ecommunications, and plumbing systems. During this period, the Project Manager will direct the team to conduct a series of analyses comparing the total costs of various building system options. Section IV of the Guidelines for LCCA defines steps to follow in conducting these analyses and provides constants (energy rates, discount rates, etc.) to be used. STUDY CATEGORIES

2- Alternative energy systems (e.g., solar photovoltaics, solar thermal, fuel cells) 3- Equipment options for stand-alone systems (e.g., air-cooled chillers vs. refrigerant-based direct-expansion [DX] units). Mechanical Systems 4- Air distribution systems (e.g., variable volume vs. constant volume, overhead vs. underfloor). 5- Water distribution systems (e.g., various piping systems and pumping options). Electrical Systems 6- Indoor lighting sources and controls. 7- Outdoor lighting sources and controls. 8- Distribution (e.g., transformers, buss ducts, cable trays). Building Envelope 9- Skin and insulation options. 10- Roofing systems (various materials and insulation methods). 11- Glazing, daylighting, and shading options. Siting/Massing 12- Orientation, floor-to-floor height, and overall building height. 13- Landscape, irrigation, and hardscape options. Structural Systems 14- Systems/materials selection (e.g., wood vs. steel vs. concrete, cast-in-place vs. pre-cast). STUDY SELECTION The Project Team will determine which of the six cat-

Checklists to capture the results of the LCCA decision process are included in PDP Manual, Volume2. CONDUCTING COMPARATIVE ANALYSES Each comparative analysis is developed on a project specific basis. The Project Manager, Technical and Consultant Groups will decide together how to determine the details of each analysis. A “base case” will be established. The Project Team will then draw upon its collective experience to identify alternatives to the base case. For example, in analyzing mechanical distribution systems, the team might decide to consider a base case of overhead air distribution and an alternative underfloor approach. Section IV discusses the format used to record the results of the comparative analyses. While this format is intentionally generic (to accommodate various types of studies), all Project Managers must use the same format so that the data collected and analyzed are documented consistently. The results of each team’s studies will be incorporated into the Department of Project Management’s LCCA library for future reference. In this way, Stanford will create a database of building studies as both a reference for future projects and a tool for understanding similarities and differences between building systems. SELECTING COST-EFFECTIVE ALTERNATIVES The Guidelines for LCCA give Project Teams the direction and tools to use LCCA to inform project decisions. The team should use LCCA incremental cost and payback findings in concert with other factors such as sustainability and user preferences to determine which elements to include in the final project design. Alternatives that result in a payback of 5 years or less are required to be incorporated into the project. Alternatives that result in a payback of 6 to 10 years are strongly encouraged and require the approval of the Vice Provost for

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1- Central plant-connected vs. stand-alone systems (steam and chilled water)

When the six categories and/or 14 analyses are compared on such a matrix, they become easier to prioritize. Those in Quadrant I (simple analysis with high potential cost impact) should have the highest priority. Studies that require complex analysis but have a high potential impact should be prioritized next (Quadrant II). Simple analyses with low potential impact would be next (Quadrant III), followed by complex analyses with low potential impact (Quadrant IV). By taking the time to prioritize LCC analyses, the Project Team can focus on those studies most appropriate for the project.

Innovation

Energy Systems

egories of studies and the 14 comparative analyses have the highest potential LCC benefit for the project. An LCCA Decision Matrix can assist in this determination. The team should create a customized matrix, using the example on page 6. The vertical axis represents the potential cost impact to the project. The horizontal axis reflects the complexity of the analysis required.

The Project Team will assess the value to the project of up to 14 possible life cycle cost (LCC) comparisons in six general categories: Energy Systems, Mechanical Systems, Electrical Systems, Building Envelope, Siting/Massing, and Structural Systems. Within each category, the specific comparisons involve options for addressing the same need. The 14 comparison areas follow, with examples of options that might be considered in each. These examples are only for clarification; specific systems or options considered will vary with the type, scale, and intended use of the building.

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Land and Buildings to be exempted. Alternatives resulting in paybacks over 10 years are discretionary. Documentation and appropriate explanations should be included to support the inclusion or exclusion of alternatives considered. See Section III for further details.

PROCESS PHASES

THE PROJECT DELIVERY PROCESS AT STANFORD Nine distinct phases of Stanford’s PDP – Scoping, Feasibility, Programming, Schematic Design, Design Development, Construction Documents, Permitting, Construction, and Closeout – are detailed in the 2001 Capital Planning & Management document, The Project Delivery Process at Stanford: Process Phase and Control Summaries (referred to here as PDP Manual, Volume 1). The Guidelines for LCCA and the PDP Manual, Volume 1, are designed to be used together. In addition, these guidelines outline a tenth phase – Ownership – that follows the nine PDP phases. Each PDP phase requires the Project Team to complete set tasks and produce specific deliverables to obtain approval to move forward. A graphic representation of the phases, activities, deliverables, and approvals – the “Heartbeat” – follows. The following discussion identifies the primary goal for each phase of the PDP and the related LCCA goals. It also describes the new Ownership phase. The Heartbeat illustrates the relationship of each phase to the overall process.

SCOPING, FEASIBILITY, AND PROGRAMMING

be to reconfirm the O&M Benchmark. (See Operations & Maintenance Cost Benchmarking in Section II above.) LCCA Tasks • Department of Project Management (DPM) and Project Team will verify the O&M Benchmark. LCCA Deliverables • Documentation of assumptions for the O&M Benchmark (e.g., if based on historical performance of similar buildings, list of buildings and their O&M costs). Programming

During the Programming phase, the option approved by the Dean and Provost is further developed. As part of this process, the Project Manager should update the O&M Benchmark and arrange an LCCA work session to review the Guidelines for LCCA.

Economic

Needs

Scoping

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The goal of project Scoping is to translate academic or departmental initiatives into potential facility needs to determine if a capital construction project is necessary. The LCCA goal during this phase will be to assign an O&M Benchmark for the long-term costs of the building. LCCA Tasks • As part of the Capital Planning process, O&M costs will be estimated. Feasibility The overall goal during the Feasibility phase is to further develop the options outlined through Scoping and approve one option for further consideration. The LCCA goal will

LCCA Tasks • DPM and Project Team will create a projectspecific LCCA Decision Matrix (see Section II) to determine which LCCA studies might render the greatest cost benefit to the project • DPM will document cost and scheduling implications of LCCA studies. LCCA Deliverables • Completed project-specific Decision Matrix • Complet-

ed project schedule and budget, with breakdown of LCCA elements.

SCHEMATIC DESIGN AND DESIGN DEVELOPMENT Schematic Design

During the Design Development (DD) phase, the approved schematic design begins to include a level of detail necessary to work out a clear, coordinated description of all aspects of the project. The Project Team will review the LCCA elements incorporated into the project to ensure that design conditions have not changed and that the LCCA return-on-investment calculations are still accurate. LCCA Tasks • Project Team will review DD documents to ensure that design and specifications conform to LCCA study assumptions. LCCA Deliverables

Schematic Design (SD) is a critical phase of the PDP during which the general scope, initial design, scale, and relationships among the components of the project are determined, and the greatest level of LCCA effort will take place. The Project Team will select the comparative analyses to be performed, assess the results, and determine which design elements would generate long-term cost savings. The results of the LCCA studies will be reported as a part of the SD submittal, which will clearly state LCCA elements that have (or have not) been incorporated into the project design. The LCCA results will document incremental University investments in building design elements with potential long-term benefits for the institution. LCCA results will also note elements that have not been incorporated into the project due to budget constraints, but that would benefit the University. These results will allow the University to reassess the project budget and scope, based on the potential to realize greater return on initial investment over the life of the building. The Project Manager will need to consider schedule and budget impacts of the LCCA options studied. LCCA Tasks Project Team will:

• Documented review of LCCA elements, including design changes or LCCA modifications made during DD phase.

Design Development During the Design Development (DD) phase, the approved schematic design begins to include a level of detail necessary to work out a clear, coordinated description of all aspects of the project. The Project Team will review the LCCA elements incorporated into the project to ensure that design conditions have not changed and that the LCCA return-on-investment calculations are still accurate. LCCA Tasks • Project Team will review DD documents to ensure that design and specifications conform to LCCA study assumptions. LCCA Deliverables • Documented review of LCCA elements, including design changes or LCCA modifications made during DD phase.

CONSTRUCTION DOCUMENTS/PERMITTING, CONSTRUCTION, CLOSEOUT, AND OWNERSHIP Construction Documents/Permitting

• Review the LCCA Decision Matrix and determine which studies should be completed.

LCCA Deliverables • Final LCCA Decision Matrix with selected studies highlighted. • Completed LCCA comparative studies • Meeting minutes from workshop(s) to discuss LCCA results. • Documentation of LCCA elements incorporated or not incorporated into the project, with brief rationale for inclusion or exclusion. • Updated schedule and budget, with LCCA elements/ impacts clearly highlighted (if applicable). Design Development

LCCA Tasks • At 50% CD, the Project Manager will ensure that the contract documents (plans, details, and specifications) are consistent with the designs evaluated in the original LCCA studies. • During Bidding, the Project Manager will ensure that any Value Engineering (VE) options address the impact on the LCCA elements in the project. LCCA Deliverables • Documentation of changes made to LCCA elements as a result of VE process. Construction

Innovation

• Fully document LCCA results, along with budget and schedule implications.

During the Construction Documents (CD) phase, the Project Team prepares a comprehensive, fully coordinated set of construction documents and specifications to obtain the necessary permits and construct the project.

• Assess study results and select appropriate LCCA elements to be incorporated into the project.

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• Perform LCCA studies in conformance with the technical guidelines in Section IV.

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The objective of the Construction phase is to safely build the project as represented in the contract documents within the parameters approved by senior management and/or the Board of Trustees. There are no specific LCCA tasks or deliverables during this phase. Closeout Closeout of facilities, occupancy and the turnover of the finished and fully commissioned project to the user group and facilities operations representative. It is important for building occupants and maintenance personnel to understand how their facility is designed to function, particularly as this relates to specific user behavior. LCCA Tasks Project Team will: • Ensure that the Building Manager and the facilities operations representative understand specific user requirements associated with the LCCA features in the building (e.g., requirements that users turn off lights manually at certain times of the day because of special daylighting control systems, or that they close windows when the air conditioning is on) • Confirm that O&M manuals are complete and include any specific information related to LCCA elements in the building • Ensure that commissioning and training on systems highlight LCCA expectations for system performance, so that any significant variances from these expectations can be identified and investigated • During “lessons learned” session, evaluate implementation of the Guidelines for LCCA and procedures. LCCA Deliverables • Appropriate documents and training for building users and facilities operations representative related to the LCCA features in their building. • Documentation of LCCA “lessons learned” to be included in the eleventh-month evaluation. Ownership

Economic

Needs

The Ownership phase begins once the initial project construction is complete and the building is handed over to facilities operations. During this period, key assumptions and anticipated outcomes established through LCCA studies need to be validated. As LCCA continues to evolve, the process for this evaluation will become more established and consistent.

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TECHNICAL GUIDELINES The technical guidelines in this section are intended to establish adequate background and provide clear directions so that users of Stanford’s Guidelines for LCCA can implement LCCA studies effectively and consistently. THE STANFORD LCCA PROCEDURE Designing for Minimum Life Cycle Costs LCCA is a method of evaluating the cost-effectiveness of project design decisions. LCCA is comprehensive because it properly accounts for many project cost variables. These include a wide variety of project costs (construction, operations, maintenance, replacements, utilities, etc.). They also encompass the time value of money, including a project-specific discount rate, inflation, and cost escalations for a variety of goods and services. The LCCA Process Performing an LCCA study involves (1) establishing objectives for the analysis, (2) determining the criteria for evaluating alternatives, (3) identifying and developing design alternatives, (4) gathering cost information, and (5) developing a life cycle cost for each alternative. Step 1. Establish Clear Objectives To be successful, an LCCA study must have clear objectives, and they must be objectives that this type of study is well suited to address. LCCA can capture dollar cost variations between alternatives and show which option will have the lowest overall cost. It can only address values quantifiable in dollars. For example, an LCCA study of high-performance glazing can capture the overall cost-effectiveness of different options as compared to a base case. LCCA is not the right tool to explicitly evaluate improved comfort or occupant satisfaction with the different glazing products. Step 2. Determine LCCA Metrics (total cost and payback) The two primary metrics to be used and calculated in LCCA are the life cycle costs of each alternative and its payback over a certain study life. That is, consideration should be given to total costs and the time it takes to recover an incremental initial investment incorporating the time value of money. When two alternatives have similar O&M costs over the study life, “first” costs (i.e., construction costs) will most likely drive the decision. This approach is further supported by the consideration of uncertainty (see below under Calculating Life Cycle Costs).

LCCA Tasks • The facilities operations representative will monitor utility consumption and O&M costs. These data are critical to evaluate the effectiveness of the Guidelines for LCCA and facilitate future LCCA work • DPM and the facilities operations representative will conduct eleventh-month evaluations to assess performance of LCCA elements LCCA Deliverables • Meeting minutes, survey results, etc. from eleventh-month evaluations conducted regarding LCCA elements.

Step 3. Identify the Base Case and Develop Alternative Designs The Stanford LCCA approach is geared towards evaluating design alternatives. The alternative that captures the “standard” design or minimum requirements for a project is called the “base case.” The design team must develop alternatives to evaluate against the base case. These alternatives must be developed in sufficient detail to derive good cost estimates, which are required to run the life cycle cost calculations and to capture the incremental cost differences of the options. An infinite number of alternatives can be developed for any project. The intent of these guidelines is to capture as much cost benefit as possible given a reasonable amount

Cost information can come from a variety of sources, including cost estimating consultants, contractors, vendors, and designers. For each alternative, gather all of the cost information described below under Cost Components of LCCA (e.g., construction, utility, maintenance, service, and in some cases remodeling costs). Identify additional soft cost requirements for the alternatives as well. Construction costs can be informed by recent Stanford projects. Utility and maintenance costs can be informed by Stanford Facilities Operations. Project Managers will manage the development of this information. Step 5. Perform Life Cycle Cost Calculations For each alternative, calculate the metrics listed in Step 2 above, using the parameters listed under Life Cycle Cost Parameters below. Test each alternative against the two metrics and make a recommendation on which to incorporate into the design. Cost Components of LCCA An LCCA may include project, utility, maintenance, service, remodeling, and end-of-life costs, as well as benefits to campus infrastructure. Project Costs Project costs, sometimes referred to as initial or first costs, include both “hard” or construction costs (labor, materials, equipment, furnishings, etc.) and “soft” costs (design fees, permit fees, etc.). Cost estimates and information from contractors, vendors, and design teams can be used to develop project costs for LCCA alternatives. In LCCA studies, the cost differences between alternatives are usually what is important, not the absolute costs. Project costs therefore only need to be developed for the components that vary between alternatives. For example, in comparing two HVAC systems that have the same zonal equipment (e.g., VAV boxes) but varying central equipment (e.g., air handlers), the zonal equipment costs can be ignored and only the costs of the central equipment developed. It is important to be as complete and thorough as possible when considering project cost variations between alternatives; all costs that vary must be captured in order to make a valid comparison. Design and other soft costs should be identified and built into the LCCA calculations. Utility Costs Energy Costs

Typically the mechanical and/or electrical engineers on a design team will estimate the amount and rate of building energy use. The most comprehensive and widely used method of performing these estimates involves detailed hourly computer simulation of building operation with programs like DOE-2. If the level of effort to build a DOE-2 or similar computer model of a building is not appropriate for a project, simplified methods exist for estimating energy use. These include: • Equivalent full-load hours. • Degree-day methods. • Outside temperature bin methods. The mechanical and/or electrical engineers can decide which method is most appropriate for a given project, in consultation with the Project Manager. Stanford strongly encourages the use of DOE-2 or similar programs to develop energy estimates. Non-Energy Utility Costs Domestic water and sewer service are two non-energy utility costs that need to be developed when affected by alternatives being modeled. Maintenance Costs Maintenance refers to the costs incurred to keep building systems running properly. The wide array of activities performed by Stanford’s maintenance staff fall into four cost categories: preventive, reactive, planned, and deferred. These data should be based on historical data provided by facilities operations. Preventive Preventive maintenance is routine, scheduled activity intended to keep a system running at its best. This maintenance is performed whether or not there are any problems with a system. It is designed to prevent breakdowns. Changing filters and lubricating bearings are examples of preventive maintenance activities. Preventive maintenance costs associated with equipment and systems should be incorporated into LCCA calculations. Reactive Reactive maintenance is performed in response to problems. If a fan belt breaks, for example, a technician issues a work order to replace the belt and address any associated damage to get the system running again. Reactive maintenance is unpredictable. In theory, if systems are running well and all required preventive maintenance is performed, then reactive maintenance should be minimal. In practice, unplanned failures will occur and will require repairs. For a project to retrofit an existing building that has ongoing reactive maintenance needs, the LCCA base case

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Step 4. Gather Cost Information

Energy Estimating Methods

Innovation

Analysis of alternatives should consider the effects of diminishing returns. Often, energy efficiency measures look less attractive in combination than when modeled individually. Where possible, effects should be calculated for each measure individually as well as for the measures in combination. For example, shading devices and high-performance glazing could each have a five-year payback, whereas the two in combination may have a seven-year payback if they have a higher combined cost and address the same energy use issues.

Stanford’s central utilities provide the majority of Stanford facilities with steam, chilled water, and/or electricity, though Pacific Gas & Electric Company is the provider in outlying areas. For each type of utility service there is a cost per unit of energy delivered that will be charged to the building. The rates and units for these utilities are listed below under Life Cycle Cost Parameters.

of effort and investment. The goal should be to develop roughly one to five alternatives for a given building component. The design team should develop the alternatives, using its experience and judgment in selecting relevant building and system component options.

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should include these costs, and the alternatives can model reasonable and appropriate reductions. Planned Stanford uses the term “planned maintenance” to refer to larger-scale maintenance that is not addressed under preventive maintenance. Planned maintenance is the replacement of building subsystems at the end of their useful lives. LCCA calculations expressly include planned maintenance in the form of replacement costs of equipment and systems. For example, if the time frame of a study is 30 years and a component of a mechanical system (e.g., a heat pump) needs to be replaced every 10 years, then the life cycle costs need to include the cost of that replacement at year 10, year 20, and year 30. Factoring system and component replacement costs into LCCA calculations requires making a number of assumptions about the useful life of these items. These assumptions should be clearly stated and documented so that they can be confirmed by the appropriate members of the Project Team. Where possible, building component replacement frequencies should be consistent with those in the Annual Investment in Plant Assets analysis performed as part of the annual budget plan. The list below provides general guidance based on that study. Deferred Deferred maintenance represents a backlog of planned maintenance. It is Stanford’s goal to keep deferred maintenance to a minimum, but at present deferred maintenance does exist. Deferred maintenance is not considered in LCCA for new buildings. For renovation projects, the deferred maintenance cost can be included in the base case. It should be addressed as appropriate for alternatives that reduce these maintenance needs in other ways, such as system or component replacement. Service Costs Service costs include items such as janitorial services, pest control, and elevator maintenance. Since these costs depend more on the programmatic elements of a building than on the architecture, systems, and other components, they are typically not considered in LCCA. However, they should be included if for some reason they differ among the design alternatives.

Economic

Needs

Remodeling Costs

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Remodeling costs may or may not be included in LCCA, depending on the specific building program. Typically they are not included, but some systems or components specifically require them (e.g., underfloor air delivery or wireless). It is within the Project Team’s discretion to decide whether and how to capture these costs. End-of-Life Costs Residual Value Assume all buildings have zero residual value at the end of the study life. This assumption may change in the future, but in the interest of keeping the initial LCCA studies as simple as possible, it will be used consistently across studies. Demolition Usually this cost is assigned to the new project on a site. When the extent or nature of the required demolition varies

among alternatives, it is appropriate to include these costs. Calculating Life Cycle Costs This section explains fundamental concepts behind LCCA and presents the standard Stanford LCCA approach. Fundamental Concepts A number of basic concepts underlie LCCA. Time Value of Money The value of money today and money that will be spent in the future are not equal. This concept is referred to as the “time value of money.” The time value of money results from two factors: (1) inflation, which is erosion in the value of money over time, and (2) opportunity cost. For cash or existing capital, opportunity cost is equivalent to the benefit the cash could have achieved had it been spent differently or invested. For borrowed money, opportunity cost is the cost of borrowing that money (e.g., the loan rate). Inflation Inflation reduces the value or purchasing power of money over time. It is a result of the gradual increase in the cost of goods and services due to economic activity. By eliminating inflation from all escalation and discount rates, estimates of future costs can be made in current dollars and then returned to present value with the proper formulas. An estimate of the future behavior of inflation rates can be avoided. The following formula factors inflation out of any nominal rate: Where: REAL is the real rate NOMINAL is the nominal rate INFLATION is the inflation rate Discount Project costs that occur at different points in the life of a building cannot be compared directly due to the varying time value of money. They must be discounted back to their present value through the appropriate equations. The discount rate is defined in terms of opportunity cost. The basic discount equation is as follows: Where: PV is the present value (in Year 0 dollars) FY is the value in the future (in Year Y dollars) DISC is the discount rate Y is the number of years in the future Escalation Most goods and services do not have prices that change at exactly the same rate as inflation. On average over time, however, the rate of change for established commodities is close to the rate of inflation. Like discount rates, escalation rates are adjusted to remove the effects of inflation. The Escalation Rates table under Life Cycle Cost Parameters below lists the “real” escalation rates of various types of goods and services. Where the real escalation rate is close to zero or zero, the

escalation rate for that category is essentially the same as the inflation rate.

nine-year mark, showing that they have nine-year paybacks.

The formula for calculating the future cost of an item with a known cost today and a known escalation rate is:

“Payback” here is not exactly the same as “simple payback.” Simple payback typically does not consider timevalue-of-money terms such as discount and escalation, or impacts such as maintenance. Payback analysis can easily include these more complex factors.

ESC is the escalation rate Y is the number of years into the future Study Life The study life in LCCA is the period over which the costs of a project will be examined and will influence LCCA decisions. The study life may not be the same as the building life but may be the same as that of the longest-lived subsystem option under review. To make LCCA comparisons valid, the study life must be the same for all alternatives. LCCA Calculation Method LCCA properly weights money spent today versus money spent in the future. All costs should be converted to common, current dollars and then summed to develop a total cost in present dollars for each alternative. This quantity is sometimes referred to as the net present value or the total cost in today’s dollars. With the net present value calculated for each alternative, comparisons are simple because units are consistent. The best option is simply the alternative with the lowest life cycle cost or net present value. The basic formula is as follows: Where: LCC is the life cycle cost C is the Year 0 construction cost (hard and soft costs) PVRECURRING is the present value of all recurring costs (utilities, maintenance, replacements, service, etc.) PVRESIDUAL-VALUE is the present value of the residual value at the end of the study life (note: these guidelines recommend this to be $0) Payback Calculation One way to evaluate the cost-effectiveness of LCCA alternatives is to look at their “payback” against the base case. The payback term is the time it takes an option to have the same life cycle cost as the base case. For example, the chart on the following page shows the cumulative cost of three LCCA alternatives compared to a base case. The point at which each alternative line crosses the base-case line is the payback point, where the options have the same cumulative cost.

Uncertainty in LCCA Calculations Uncertainty can be explicitly addressed in LCCA calculations, but it makes them much more complex. Each parameter used can be assigned a degree of uncertainty; these uncertainties can then be aggregated in statistically justifiable ways to measure the overall uncertainty of the result. To make LCCA calculations as simple and straightforward as possible, the Stanford LCCA approach makes uncertainty an external qualitative consideration rather than a quantitative analytical one. Users should consider uncertainty throughout their LCCA studies and weigh the results qualitatively. For example, if an LCCA comparison of a variety of options shows a small difference in overall life cycle costs (e.g., 1%), then these costs should be considered equal. In other words, a small cost differential should not determine the best approach. In this case, the alternative with short-term benefits such as lower first cost, favorable environmental impact, or increased comfort for building occupants should be selected in accordance with project goals and budgets. Assumptions in LCCA Calculations Many assumptions need to be made over the course of an LCCA study in order to generate enough data to produce results. These assumptions will strongly affect the results. All assumptions used in LCCA must be clearly stated and documented so that appropriate members of the Project Team can validate them through the design process as costs, goals, and budgets change. LIFE CYCLE COST PARAMETERS To provide a reference for users and allow for periodic updates, all of the values for parameters in the Stanford LCCA procedure are presented below. For each parameter, a responsible office is indicated so that users can obtain updated information or determine appropriate values for a specific project. Study Life Campus Time-Value-of-Money Rates The following rates were appropriate at the time these guidelines were published. See the Land and Buildings website (http://land-buildings.stanford.edu) for a listing of updated rates to be used in the future. Verify the rates used with the Project Manager. Escalation Rates

In this example, the red solid line shows the cumulative cost of doing nothing in a retrofit project scenario. This option requires zero initial cost. The LCCA alternatives under study each require some initial project cost, represented by their y-axis intercept points. The option represented by the black solid line has a lower initial cost than the options represented by the red dash and gray solid lines.

The following rates were appropriate at the time these guidelines were published. See the Land and Buildings website (http://land-buildings.stanford.edu) for a listing of updated rates to be used in the future. Verify the rates used with the Project Manager.

The option represented by the black solid line crosses the solid red base-case line at about the six-year mark, resulting in a six-year payback. The red dash and gray solid lines intersect the red solid base-case line at roughly the

See the Facilities Operations website (http://facilities. stanford.edu/sections/recharge.html) for a listing of current rates for the following utilities. See the preceding table for energy and water utilities escalation rates.

Utility Rates

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COSTYEAR-0 is today’s cost (at Year 0)

Innovation

COSTYEAR-Y is the cost at Y years into the future

Where:

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Utilities

do nothing. Other alternatives for study are:

• Steam (per 1,000 lb)

• Variable-air-volume (VAV) distribution system for non-laboratory areas

• Chilled Water (per ton-hour) • Electricity (per kWh) * • Natural Gas (per therm) ** • Domestic Water (per 1,000 gal) • Lake Water (per 1,000 gal) • Sewer (per 1,000 gal) * There are no time-of-use rates or demand charges in effect. ** PG&E supplies natural gas to the campus, and the price varies with the rate schedule for the size and type of building. The most common rate on campus is the small commercial rate (G-NR1). Refer to www.pge.com/tariffs for current rates.

SAMPLE STUDIES

The following examples are presented to help users understand and implement the Guidelines for LCCA by demonstrating previous applications and results. The first is a lab retrofit project analysis using a computer model to calculate the LCC. The second is a comparison of different glazing options using a simplified spreadsheet approach. 1. HVAC Retrofit of an Existing Laboratory Building Project Description The William M. Keck Science Building was built in 1986 and contains 71,000 gross square feet of laboratory and office space. Of that area, roughly 38,000 square feet are assignable. It is a three-story building with a partial basement containing mechanical, electrical, and plumbing services. The building is designed for easy reconfiguration and was originally used as a lab surge building. As a result, the building contains approximately six feet of interstitial space above the laboratory and office ceilings.

Economic

Needs

Because the building contains laboratories where hazardous chemicals and materials are used in the course of academic research, maintaining safe conditions for occupants is a primary building function. To achieve this goal, the building uses a 100 percent outdoor air HVAC system and delivers constant-volume supply air to all areas of the building 24 hours a day, seven days a week.

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The HVAC systems are zoned floor by floor, with each floor served in halves from air handlers located in mechanical rooms at the east and west ends. The systems are singlefan, dual-duct units and serve multiple dual-duct constantvolume box zones located throughout the floor. Objectives The goal of the study is to evaluate a number of HVAC retrofit approaches and determine which, if any, are worth implementing. LCCA Metrics and Criteria The life cycle cost of each alternative will be calculated and compared. Alternatives to be Studied Because this is an existing building, the base case is to

• VAV distribution system for laboratory areas • The above measures in combination Cost Information Since the primary focus of this study is to evaluate the LCC impacts of a variety of energy efficiency retrofits to the building, a detailed DOE-2 energy model was developed and the base-case model was calibrated to existing building utility data. With the calibrated base case as a starting point, each energy efficiency retrofit option was developed and run in the DOE-2 model. This process produced the energy and utility cost impact for each alternative. The images on the following page show the DOE-2 model building geometry and zoning.

5.6.3 Productivity in workplaces: The productivity experts who were surveyed, including management consultants, university researchers and interior designers, overwhelmingly cited five keys to create productive workplaces. These keys are essential components to help improve the performance and efficiency of individuals, teams and organizations. The respondents also offered a number of suggestions on how to address each of the five productivity keys. Many of the respondents have seen these steps help improve productivity and efficiency for organizations.

People Performance • Hire and retain effective personnel and management • Create a team atmosphere by facilitating communication and interaction • Empower employees and give them input into planning their workplaces Designed Environment • View the workplace as a tool, rather than just another expenditure • Provide adequate access to resources, including team members and equipment • Accommodate ergonomic needs, such as comfortable seating and flexible workstations • Create an inviting, pleasant office atmosphere • Reduce distractions and disruptions that hinder employee concentration by designing acoustically sound work environments that provide appropriate levels of privacy

Workflow • Redesign work processes and the physical environment to improve workflow within workstations and throughout the office • Implement process efficiencies and reduce disruptions in workflow

small and mid-size companies also recognize the importance of these keys to productivity. The chart below illustrates how each group ranks these keys. As the chart shows, people performance issues (such as effective managers, team atmosphere, and motivated and empowered employees) tended to be mentioned most frequently by management consultants and university researchers as the most important key to productivity. Understandably, interior designers and facility managers most frequently cited the importance of designed environment (including adequate access to resources, team members and equipment; flexible workstations and addressing ergonomic needs) as the primary key to productivity. The chart also shows that presidents and CEOs see human resources support and people performance as the most important issues, suggesting that there may be different priority pathways to talking about design and its role in contributing to productivity. For presidents and CEOs of small and mid-size companies, design may have to be talked about in terms of how it impacts people and the way they work.

Four Design Factors to Improve Productivity

Respondents polled in ASID s two recent surveys consultants, researchers, designers and executives agreed on four design factors that contribute to improved office productivity: access, comfort, privacy and flexibility. These factors also are addressed in much of the literature on design and workplace productivity issues. All four design factors are part of an effectively designed workplace. They affect the physical environment of the office by improving one or more of the five keys to a productive workplace. The following diagram illustrates the direct relationship between these elements.

Technology • Supply the right tools computers, software and other appropriate equipment

Economic

Needs

• Make purchasing and planning decisions with an eye to accommodating future needs

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Human Resources • Offer training and education opportunities • Maintain adequate support staff levels • Provide competitive salaries, bonuses, rewards and other incentives • Adopt flexible policies, such as flex-time and telecommuting

Productivity Keys

Ranked Respondents in the most recent ASID research survey agreed on the importance of the five productivity keys. In addition, responses from previous ASID research that surveyed business decision makers showed that facility managers at large corporations and presidents/CEOs at

A Closer Look at the Four Design Factors The factors are categories used to organize the answers that survey respondents gave when asked to list the primary ways design affects productivity. Under each category, we have listed strategies and tactics for improvement that were suggested by the respondents.

DESIGN TO PROVIDE IMPROVED ACCESS • Group team members together to improve workflow • Improve access to information and resources, including computer systems, shared equipment and hard copy files

• Accommodate ergonomic needs with comfortable chairs and adjustable desk configurations • Improve lighting, air quality and temperature control • Create a more comfortable and pleasant overall environment, including high-quality office furniture and carpeting. In their book Total Workplace Performance, Stan Aronoff and Audrey Kaplan discuss the importance of creating a comfortable and pleasant work environment: A strategy of simply minimizing space cost assumes that spending less on accommodations or decreasing the space allocated per person does not affect work output. Although the relationship between workspace quality and office worker productivity may be difficult to quantify, it is nonetheless a significant hidden cost. Aronoff and Kaplan add, Well-managed facilities contribute to an organization s effectiveness and improve employee morale. Office characteristics that create obstacles occupants must overcome such as noise disruption, sick building symptoms, insufficient work area or poorly adjusted seating sap energy that could otherwise be applied to productive work. If ignored, they can be an unrecognized but costly burden that drains productivity and compromises corporate objectives. Workplace redesign that is geared to improving business processes rather than just providing cost savings and creating a pleasant environment focused on employees needs is more likely to improve employee satisfaction with the designed environment. This was one of the findings of the report Implementing Innovative Workplaces: Organizational Implications of Different Strategies, developed by Franklin Becker, Kristen Quinn, Andrew Rappaport and William Sims with the Cornell University International Workplace Studies Program (IWSP).

DESIGN TO PROVIDE SUFFICIENT PRIVACY • Provide an appropriate level of privacy based on specific work tasks •

Reduce visual and acoustical distractions

Becker, writing in The Total Workplace, stresses that privacy should be afforded based on the nature of the task to be accomplished, rather than on the status of the person doing the task. Using privacy as a scarce resource to communicate status thus lowers its value as a functional component of the everyday work environment for employees representing a cross section of job functions and levels, Becker says. According to Steele, in Making and Managing High-Quality Workplaces, giving employees the option to choose whether they

• Design workspaces and floor plans so they are easy to reconfigure •

Plan for changes in teams, tasks and processes

•

Balance organizational and individual needs

In his book The New Office, Francis Duffy states, Just as a business must flex and change to survive, so the most vital function of an office building is to facilitate and accommodate change. And in an increasingly fluid business environment, the relationship between success and the design and use of the office space is critical. Duffy emphasizes the need to find dynamic new ways to accommodate everchanging organizations that continually have to respond to an increasingly unstable and unpredictable business environment. Old-fashioned, hierarchical, stable ways of laying out offices cannot easily cope with change, let alone help with its management. The benefits of providing flexible workplace options inside and outside the office also are extolled in the report New Working Practices, developed by Franklin Becker, Kristen Quinn, Andrew Rappaport and William Sims with the Cornell University IWSP. The report states that flexible office designs help improve productivity, communication and employee satisfaction while reducing employee stress and, in some instances, space costs.

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DESIGN TO PROVIDE MORE COMFORT

DESIGN TO PROVIDE ADDED FLEXIBILITY

Innovation

Access strategies can be used to improve communication and interaction, according to Franklin Becker in his book, The Total Workplace: Facilities Management and the Elastic Organization. Adjacencies can be designed to support groups that should communicate but, without close proximity, are unlikely to do so, Becker says. In other words, spatial bonds can be used to overcome organizational barriers. In his book, Making and Managing High-Quality Workplaces: An Organizational Ecology, Fritz Steele adds that a balance must be achieved between access to people for communication and stimulation versus withdrawal for concentration. In addition, Steele states that it also is important that access to executives be aligned with management leadership styles. DE

want to work in an area that provides more privacy or one that provides more stimulation is an effective way to reduce stress and improve performance. Two alternatives are mixed-plan layouts and remote work options, making it easier to accommodate employee differences in sociability patterns.

• Eliminate communication barriers and provide meeting spaces to facilitate collaboration

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C H A P T E R 6

EVALUATE, DECIDE & CONCLUDE

6.1 E VA L U AT E

The evaluation stage of the design process reviews and makes critical assessment of what has been achieved to see if it does indeed solve the original problem. The evaluation stage is also a review to see what was learned or gained from the experience and what the effects or results of the design activity were.

The evaluation stage of the design process reviews and makes critical assessment of what has been In order to get a feedback for the self analysis of what we achieved to see if it does indeed solve the original problem. The evaluation stage is also a review to see achieve, we are going to assign our initial problems and evaluate what was learned or gained the them experience our performance in terms of eitherfrom we solve or not. and what the effects or results of the design activity were. In order to get a feedback for the self analysis of what we achieve, we are going to assign our initial problems and evaluate our performance in terms of either we solve them or not.

Innovation AI

Collection information and analyzing facts about FUNCTOINALITY of space, Access, and use, has impact the design decisions of innovative technologies, characters of space layout, materials selection, design elements selection, learning environment and social and urban integration. All of these factors are combined with the quality performance of the overall design. At the end, a successful design achieved, with the desired impact and ambiance.

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- Collection information and analyzing facts about FUNCTOINALITY of space, Access, and use, has impact the design decisions of innovative technologies, characters of space layout, materials selection, design elements selection, learning environment and social and urban integration. All of these factors are combined with the quality performance of the overall design. At the end, a successful design achieved, with the desired impact and ambiance.

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6.2 D E S I G N D EC I S I O N S

After a long journey of collecting and analyzing facts and information, its time to establish my design decisions to achieve the goals stated and objectives of the project

6.2.1 General decisions:

- Space: Open space planning. - Altra-Modern interior style.

- Lines, shapes, and forms: Straight and diagonal lines with smooth angles, Organic forms and shapes combined with geometrical forms. - Asymmetry and informal balance. - Rhythm, by variety in shapes, colors, and textures, but all goes to the same concept.

- Arrangement: flexible layout arrangement. - Sustainable features that Connect to nature: Natural ventilation, and natural day light, and using Living walls, Photovoltaic cells and Eco-friendly materials/Low VOCs. - Social environment: enhancing socializing through furniture different configurations. - Artificial Lighting systems with energy efficiency. - Contrast & texture: the use of polished finishing and bare unfinished materials. - HVAC: Underfloor air distribution and natural ventilation.

Sustainable features that Connect to nature: Natural ventilation, and natural day light, and using Living walls, Photovoltaic cells and Eco-friendly materials/Low VOCs. Social environment: enhancing socializing through furniture different configurations. Artificial Lighting systems with energy efficiency. Contrast & texture: the use of polished finishing and bare unfinished materials. HVAC: Underfloor air distribution and natural ventilation.

6.2.2 Special decisions: Special decisions: 1.

Lobby:

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Exhibition:

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6.2.2 Special decisions , Cont.

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3. 3.

        3. auditorium 3. auditorium

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Design

decisions

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o o o o o o

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6.2.2 Special decisions , Cont. Café

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o o

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Informal Meeting Areas

o o

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6.2.2 Special decisions , Cont.

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Providing successful high performing group spaces that enhance Connectivity to people and technology, ability to display and share visual information, adaptable space, and environmental amenities Creating a space that Emphasize the casual, social nature of small group interactions.

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Colors: Neutral colors, pops of blue, and greens. Lighting: o natural lighting o brightly light intensity levels o indirect and direct lighting o task light Using Living walls and plants Seating arrangement: o Different configurations of furniture. o Flexible design o Movable walls and partitions. Scent Scape: o Cinnamon-vanilla smells. o lemon and jasmine Soundscape: Less complex music, without words Acoustic solutions: o Partition double-sided Stereo panels o o

Carpet flooring Metal Canopy Ceiling in filigree optics

Texture: bare materials, and unfinished concrete

Brainstorming areas: 

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Design

decisions

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Arranging items facilities and equipment in a way to keep eye interaction and visual contact, to develop a design layout that offers the ability to quickly meet, share information and interact. so they have proximity and visual connection to each other. Selecting with care, the colors, lightings, materials, patterns, sound and scent scape and as well as maintaining a certain level of privacy and temperature. Adoptable furnishing could enhance collaboration. Technology should be integrated adaptable, reliable, and easy to use.

o o Informal Meeting o Areas o   o o o  o o   o o o 

6.2.2 Special decisions , Cont.

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Conclusion:

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Adding glass enclosures, ceiling baffles, and/or sound isolation technologies to manage noise levels, while building enough physical space between loud and quiet areas. Incorporating flexibility and adaptability in the design LAYOUT. Providing a smart design layout and systems. Supporting privacy and atmosphere by considering lighting, acoustics, air quality, pattern colors and arrangement in order to fulfil the overall experience and ambience. Flexible and appropriate layout to allow recondition into gathering/meeting places, classrooms/meeting rooms, or computer labs/makerspaces to support a wide variety of learning activities that facilitate understanding and discovery. Well-studied space planning, human factors, ergonomics, personal and social spaces. Warm, friendly, intuitive, and inviting spaces within a library, often at the point of entry and in other areas for collaborative learning. Spaces are manifested in large, oversized chairs and couches.

Colors: Neutral colors, pops of blue, orange and greens. Lighting: o natural lighting o brightly light intensity levels o indirect and direct lighting o task light Using Living walls and plants Flexible spaces Integration of technologies. Seating arrangement: o Different configurations of furniture. o Flexible design o Movable walls and partitions. Scent Scape: o Cinnamon-vanilla smells. o lemon and jasmine Soundscape: Less complex music, without words Acoustic solutions: o Partition double-sided Stereo panels o o

Carpet flooring Metal Canopy Ceiling in filigree optics

Texture: bare materials, and unfinished concrete Center

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Innovation

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To provide smart library and instructional design services, advanced and easy-to-use technology, user education, that fulfill the immediate and future needs of its design population. To maintain a sound management system that will ensure effective operating, policy, and planning decisions. To provide easy access to collections owned by the libraries and to collections owned by other institutions or agencies. To provide physical facilities with environments that are conducive to learning and sufficient for expanding collections and technological advancement. create the feeling of the library as the “campus living room.”

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6.3 C O N C L U S I O N

In the beginning of this project I studied about innovation centers in general, and how they are classified and organized. Since the innovation center is not existing yet in the region it was a challenge for me to determine the needs immediately. A process of collecting information starting from interviews, questioners and TV interviews. This stage gave me a basic understanding of space needs. Selecting the design concept and direction was derived while searching about the artificial intelligence contributions in the society. Then I tried to understand more the users psychology, in order to set the design elements in a logic way. Studying the structure and technologies of modern buildings, was one of my approaches, I was thinking all the time about the local environment and rich culture of gulf, and I have implemented some of the traditional features of sustainability in a contemporary way. This research was just the first step to further studying and developing, and never forget; the innovation starts from connecting Minds and transmitting ideas to build a better future!