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Leeds school of Architecture AD2.1 Portfolio| Daniel Pound | 33321749
Contents P1 : Precedent Analysis Analysing a Gazebo or Pavilion P2 : Adapting the Precedent Adapting the precedent to Granada’s climate P3 : Pavilion Designing a pavilion for Granada P4: Live Work Creating a Live-work building for Granada
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P1 : Precedent Analysis Choose a Gazebo/Pavilion and analyse it through plans sections and elevations
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Eighteen Turns - Precedent Study | AD2.1 | Daniel Pound
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Eighteen Turns - Precedent Study | AD2.1 | Daniel Pound
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Eighteen Turns - Precedent Study | AD2.1 | Daniel Pound
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Eighteen Turns - Precedent Study | AD2.1 | Daniel Pound
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Eighteen Turns - Precedent Study | AD2.1 | Daniel Pound
P2 : Adapting the Precedent Adapting the chosen precedent to the climate of Granada through passive and non-passive means
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Site Analysis - Adapting Precedent | AD2.1 | Daniel Pound
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Site Analysis - Adapting Precedent | AD2.1 | Daniel Pound
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Precedent on site - Adapting Precedent | AD2.1 | Daniel Pound
The form of this pavilion was also derived through the use of origami. The image above is the net of the finished pavilion.
The pavilion sits to the west of the site close to edge of the square. This will hopefully help it be cooled from the prevailing winds.
The new form of the pavilion is smaller and tries to minimise the amount of faces that are perpendicular to the south. This will stop over exposure to the sun causing the environment within the pavilion being too warm.
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Changing the form - Adapting Precedent | AD2.1 | Daniel Pound
Summer Solstice - 760 The angle of the front parts of the pavilion are designed in regards to the position of the sun at the summer Solstice and the Equinox.
Equinox - 540
The angle of the larger of the spaces is at 760 will provide shade completely within the pavilion during the warmer half of the year providing a cool shaded environment. The angle
The second passive cooling method is due to the orientation of the pavilion. Its south facing nature allows for the prevailing winds to flow through the structure forcing any trapped warm air out, replacing it with the cooler natural breeze. By placing it on the edge of the site, it will capture maximum amount of wind possible.
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Adapting to the climate - Adapting Precedent | AD2.1 | Daniel Pound
Ground source heat pumps are a great way in which we can help heat and cool places through the use of the earth’s natural temperatures. Ground source heat pumps take advantage of the constant temperature of the earth below 6m. At this point the earth remains a constant temperature of between 10-16oc depending on the latitude of the place. This can be used as a heat source during the winter and a cooling method during the warmer summer.
By applying this method of cooling to the precedent structure and the new form, it will allow for the cool pipes to absorb the warmer heat within the structure along with radiating a cool temperature. By placing the pipes between the primary structure and the hot aluminium cladding, it will prevent the heat radiating inside.
Primary Structure During the summer this method could help cool the pavilion by absorbing the heat of the sun. This will then be pumped back down into the underground store allowing fresh cold water to be pumped up. If done in a continuous cycle this would help radiate a temperature of between 15-20oc. Perfect for the warm climate.
Aluminium Cladding Water Pipes Secondary Structure
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Ground source cooling - Adapting Precedent | AD2.1 | Daniel Pound
P3 : Pavilion Create a pavilion for the chosen site in Granada with a maximum size of 100m2
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Site Location - Pavilion | AD2.1 | Daniel Pound
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Site Pictures - Pavilion | AD2.1 | Daniel Pound
The main draw of the site is the view which it has of the Alhambra. This means that the site is heavily populated with tourists, buskers, bars and restaurants.
Scale 1 : 1000
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Site Analysis - Pavilion | AD2.1 | Daniel Pound
Winter Solstice From looking at the solar analysis, the site is exposed to sunlight throughout the day. The narrow streets offer some shading although this is limited due to the changing terrain.
9 am
12 pm
3 pm
6 pm
Summer Solstice
Granada’s climate is warm in the summer with an average high temperature of 35oc. Within the site this will be a string factor as it is exposed to the sun throughout the day.
Within Granada rain is scarce in the summer months but present in the winter. The highest month is 54mm of rain. However, this is little when comparing to Leeds 101.2mm average for the same month.
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Site Analysis - Pavilion | AD2.1 | Daniel Pound
The site is hit directly by the prevailing winds which flow up the valley. This can be an advantage during the warmer summer months as it will provide the site with a natural means of cooling.
The prevailing wind is from the southwest. This means that it flows up the valley and hillside, directly hitting the site.
The site receives little wind shading due to the fact that the buildings to the south are lower due to the terrain.
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Site Analysis - Pavilion | AD2.1 | Daniel Pound
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Public and Private Space - Pavilion | AD2.1 | Daniel Pound
Pedestrian - Tourist Pedestrian - Locals The circulation of the locals is more widely spread and they tend to be involved in all parts of the area.
Vehicles - Cars, Mopeds, Taxis The circulation of vehicles mainly consists of those passing through to the northern end of the site. There is normally a large amount of taxis dropping tourists of within the vicinity.
The circulation of the tourists will be the most important factor in the positioning of the design as they are the most likely inhabitants. By placing my design in the western part of the site, tourists heading to see the view will be drawn into the pavilion
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Circulation - Pavilion | AD2.1 | Daniel Pound
Views are the same throughout the site. No areas of decreased vision.
Views are the most unrestricted towards the back of the site.
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Orientation to views - Pavilion | AD2.1 | Daniel Pound
As all vertical element are to be aligned perpendicular to the views, the origami process is used in a ribbon format.
Large cantilevered canopy providing shade for those seated. Secluded shaded place allowing for a more private experience of the site.
Open space towards the west to allow for exposure to evening sun. The overhang allows for the capture of the prevailing winds for cooling.
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Origami form development - Pavilion | AD2.1 | Daniel Pound
The use of water within the Alhambra helps increase the humidity levels and control the buildings micro climate. The evaporating water cools the warm air passing through the space.
Following the Alhambra’s influence, the pavilion will use water as a method of cooling the spaces micro-climate. The overhang of the pavilion will allow for air flow under the pavilion. This will pass over a water pool before rising through the gaps into the pavilion and cooling the space.
Ground source pumps will be used to keep the water pool cool during the summer months and warm during the winter months. The water should maintain a temperature of around 16 degrees.
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Cooling Methods - Pavilion | AD2.1 | Daniel Pound
Mashriyba screens are a traditional Islamic technique for dealing with warm climates. They are used throughout the Alhambra and hot countries alike. The main focus of the screens is letting air flow through them whilst keeping direct solar gain to a minimum. They are normally very ornate in their nature and are traditionally constructed using hard woods by skilled carpenters.
Air is allowed to pass through the screens whilst direct sunlight is limited.
Whilst the use of traditional Mashriyba screens is dying out, many new variation on the concept are being used in modern buildings The Des Moines public library by David Chipperfield uses perforated copper sheets embedded within glazing units as a method of controlling light and solar gain entering the building. This is a new technique and can be applied to many different materials. Within the glazing giving different effects.
Mashriyba screens found within the Alhambra.
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Tessellation and Mashriyba Screens - Pavilion | AD2.1 | Daniel Pound
I am using a grasshopper image sampler to analyse a geometrical pattern found within the Alhambra and create a mashriyba screen for the roof of the covered part of the pavilion
Defines the size of the grid and the different points that are to be sampled
The different points are evaluated in comparison to the image. The sampler assesses the brightness of the image at the different points.
The surfaces are extruded and the circles are taken away from the surface giving the final screen
Circles are created at the individual points. The radius of the circle is derived by analysing the brightness of the image.
The screen creates a space that is partially covered but still open to the environment. This provides further shading that will change over time.
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Creating Mashriyba using Grasshopper - Pavilion | AD2.1 | Daniel Pound
The idea of the seating is that the origami and ribbon concept is continued throughout the site. From plan view, the seating appears to be a continuous ribbon across the site.
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Seating development - Pavilion | AD2.1 | Daniel Pound
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Final Design - Pavilion | AD2.1 | Daniel Pound
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Final Design - Pavilion | AD2.1 | Daniel Pound
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Introducing the pavilion will alter the circulation of the tourists. Their use of the site will now mainly resolve around the use of the pavilion and the way in which it spreads across the landscape.
Scale 1 : 250
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Roof plan and circulation - Pavilion | AD2.1 | Daniel Pound
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Scale 1 : 100
Plan - Pavilion | AD2.1 | Daniel Pound
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Scale 1 : 50
Section - Pavilion | AD2.1 | Daniel Pound
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Scale 1 : 100
North Elevation - Pavilion | AD2.1 | Daniel Pound
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Scale 1 : 100
South Elevation - Pavilion | AD2.1 | Daniel Pound
Materiality
The structure of the pavilion will consist mainly of a light weight steel structure that is enclosed within a marble cladding.
Within the local area and particularly the Alhambra, marble is used throughout due to its thermal mass and the cooling effect that it has when kept in the shade.
Cladding Steel Structure Foundations
Scale 1 : 5
Marble is used throughout the Alhambra in order to maintain a cool environment.
The cladding will be placed both side of the steel frame and help in place using clamps. The structure will not be watertight so there is no needs for a damp proof membrane. The pavilion will be clad in a blue marble that is found extensively within the Andalusia region. This will help create a cool environment allowing for visitors to the site to relax and escape from the heat of the summer.
Clamps Steel Structure Cladding
The blue marble will also reflect the river bed stones that create the roads and paths throughout the albaicin district.
Scale 1 : 5
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Structure and Materiality - Pavilion | AD2.1 | Daniel Pound
P4 : Live Work Create a single ‘live work’ building based upon the contextual and cultural setting of the site in Granada, consisting of a maximum 750m2
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Site Location | AD2.1 | Daniel Pound
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Site Pictures | AD2.1 | Daniel Pound
The main draw of the site is the view which it has of the Alhambra. This means that the site is heavily populated with tourists, buskers, bars and restaurants.
Scale 1 : 1000
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Site Analysis | AD2.1 | Daniel Pound
Winter Solstice From looking at the solar analysis, the site is exposed to sunlight throughout the day. The narrow streets offer some shading although this is limited due to the changing terrain.
9 am
12 pm
3 pm
6 pm
Summer Solstice
Granada’s climate is warm in the summer with an average high temperature of 35oc. Within the site this will be a string factor as it is exposed to the sun throughout the day.
Within Granada rain is scarce in the summer months but present in the winter. The highest month is 54mm of rain. However, this is little when comparing to Leeds 101.2mm average for the same month.
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Site Analysis | AD2.1 | Daniel Pound
The site is hit directly by the prevailing winds which flow up the valley. This can be an advantage during the warmer summer months as it will provide the site with a natural means of cooling.
The prevailing wind is from the southwest. This means that it flows up the valley and hillside, directly hitting the site.
The site receives little wind shading due to the fact that the buildings to the south are lower due to the terrain.
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Site Analysis | AD2.1 | Daniel Pound
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Public and Private Space | AD2.1 | Daniel Pound
Pedestrian - Tourist
Pedestrian - Locals
Vehicles - Cars, Mopeds, Taxis
The circulation of the locals is more widely spread and they tend to be involved in all parts of the area.
The circulation of vehicles mainly consists of those passing through to the northern end of the site. There is normally a large amount of taxis dropping tourists of within the vicinity.
Parking
Site Servicing Points
The primary action within the site is that of the tourists. Their circulation routes focus mainly on heading to the Mirador de San Nicolas, which is marked on tourist maps. The shaded part shows the area in which their activity is static, mainly focusing on the view available of the Alhambra, along with resting and enjoying the music of the buskers.
Parking is very limited within the area, with one solitary car park, and wider stretch of road also used. However, this is mainly for locals and not the tourists. The main parking for clients would be in the car park.
The parts of the site that would be suitable for vehicles to deliver goods to the plot is highlighted in red. The higher of the two zones would be most suitable because it is on a flat straight part of a road and not a tight corner.
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Circulation | AD2.1 | Daniel Pound
UNEMPLOYMENT RATES
Spain
Andalusia
2011
2010
2011
2010
2011
2010
= 4%
Albaicin
RELIGION
TOURISM
ECONOMIC INFLUENCES
Granada’s culture, and that of the Albaicin, is heavily affected by the historic presence of both Islam and Christianity. Whilst the predominant religion in Granada is Christianity, Islam largely influences the architectural language and culture dating back its 15th century rule over the region. Its main presence can be seen in the Alhambra’s design.
Large amounts of the Albaicin feeds from the tourism industry and its close proximity to the Alhambra. Roughly 11% of Granada’s income throughout the city comes from tourism, this increases to 20% in the tourism hotspot around the Albaicin. This provides an area with unemployment at 36% with a market to sell things to.
In recent years, unemployment has been heavily affecting the culture of Granada and the Albaicin in particular. The Albaicin has the highest unemployment rate in the region of Andalusia at 36.1%. This rises to roughly 50% for 15-24 year olds.
One of the largest draws to the Albaicin is the Mirador de San Nicolas which offers ‘one of the most famous views in Granada’ looking across the valley to the Alhambra
These economic influences heavily affect the culture of the area with many people turning to selling crafts to the tourist as a means of surviving.
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Albaicin Culture | AD2.1 | Daniel Pound
MUSIC & DANCE
PAINTING & CRAFTS
GRAFFITI
Flamenco and music are a large part of the culture in Granada. The music and dancing is an identity which they are known for around the world.
As a result of the heritage and unemployment rates, many people rely on selling different arts and crafts to the tourists as a means of making money.
Graffiti has a large presence in the art culture around Granada and the Albaicin. However, it receives a mixed response from the locals. Granada has recently become a ‘Mecca’ for graffiti around Europe.
First mentioned in 1774, Flamenco combined the Andalusia and Romani dance and music to give a unique improvised art. The dancing is a large part of the peoples heritage and something that they cherish.
There is a large range in the types of crafts being sold from watercolour paintings to jewellery to sculptures, all trying to seduce the tourists.
There are three types of Graffiti around Granada:
Busking is also very popular throughout Granada, with many people relying on their playing music to make a living . This has increased in recent years due to unemployment with many people resorting to feeding off of the tourist hotspots throughout the city.
Whilst there is a large arts culture around the Albaicin, there is little opportunities to take the work to a professional level and making a secure living from the trade.
• Political - Often more artistic based images that are well thought out. The unemployment scandal has led to an increase in political graffiti.
• Tagging - seen as a mindless vandalism with harsh fines put in place.
• El Nino - Granada’s equivalent of Banksy, has rose to fame and has recently held exhibitions at Granada School of Architecture. Is often commissioned to paint murals and is widely admired across the city.
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Craft Culture | AD2.1 | Daniel Pound
The main way to exhibit art work and sculptures is through the use of galleries which focus on the different ways of using natural light to present the pieces of work.
The Hepworth gallery in Wakefield uses natural light wells to reduce the need for artificial lighting letting in the Northern light.
A Gallery space would allow people to opportunity to make a living from the arts created along with providing a more suitable environment in which they can work
Creating a gallery space for the graffiti culture within the Albaicin would require a space very different to the gallery concept. It mean creating a blank canvas that would be a space for people to work legally creating anything from political messages to mural such as the works of El Nino. These spaces would need changing and be adaptable.
Creating a space for Graffiti artists would people such as El Nino to create and exhibit his work in a controlled environment. It would also be a way of curbing the increasing culture of tagging within Granada
Precedents such as the O2’s Street art exhibition uses a series of billboards as a means of displaying the images
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Spaces to Exhibit the Arts | AD2.1 | Daniel Pound
Exhibition / Gallery spaces Site Location
The map shows the different art galleries and exhibition spaces throughout Granada. They are mainly located within the vicinity of the Alhambra. By placing a gallery on the proposed site it will extend the cities coverage and make art and crafts more prominent in the Albaicin district.
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Exhibition spaces in Granada | AD2.1 | Daniel Pound
Painter Painting methods The painters work consists mainly of two mediums: • Watercolour • Acrylic
Influences
The choice of medium used depends on the individual painting and the end goal.
The main influences upon the painters work is the Islamic and geometric patterns that she saw whilst visiting the Alhambra whilst a child
Exhibiting Requirements:
The larger pattern on the left is seen as her greatest inspiration as it was this pattern that she repeatedly reproduced as a child increasing her love for art
• Climate Controlled Room - 20 - 22 degrees (Celsius) - Humidity levels of between 40% and 50% • Protective Lighting •
Natural light only soft northern light (no direct south light) Artificial light to minimise UV radiation in order to preserve the paintings.
Hanging space - Space to exhibit a minimum of 15 paintings
Inspiration
Painting
Preparation
Exhibition
Sale
The first stage of the production process is gathering inspiration and an idea for the design
The painting is the next step in the process
Once complete the painting is prepared for exhibiting in the gallery
The painting is exhibited in the gallery in order to show the work and attract potential buyers
The paintings are sold on to buyers or placed into storage after being exhibited
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Client - Painter | AD2.1 | Daniel Pound
Sculptor Sculpting Methods The sculptures work consists mainly of three mediums: • Stone • Clay • Plaster These are influenced by his inspiration of using only earthly materials to create his pieces of work.
Exhibiting Requirements: • Climate Controlled Room - 20 - 22 oc - Humidity levels of between 40% and 50%
Influences
• Lighting - The room can have direct lighting as sculptures do not require special protection - Artificial lighting may be needed to enhance lighting around the sculptures, which needs to be adaptive. •
The Sculptors work is heavily influenced by the geometry of the Alhambra and the patterns that are used to decorate the building. The other main influence upon the sculpture is his desire for all his sculptures to be made out of earthly materials that can be carved, shaped and cast into different forms.
Floor space - The room needs roughly 120m2 + of floor space that is adaptable to different arrangements
Inspiration
Gathering Resources
Sculpting
Preparation
Exhibition
Sale
The first stage of the production process is gathering inspiration and an idea for the design
The sculptor gathers the necessary materials and equipment needed to create the sculpture.
The Sculpting is the next step in the process
Once complete the sculpture is prepared for exhibiting in the gallery
The Sculpture is exhibited in the gallery in order to show the work and attract potential buyers
The sculptures are sold on to buyers or placed into storage after being exhibited
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Client - Sculptor | AD2.1 | Daniel Pound
Live Space
Studio
Toilet - 3 m2
Storage - 20 m2 Kitchen/Living area - 36 m2
Studio - 80 m2 Master Bedroom with Ensuite - 18 m2
Gallery Bedroom - 10 m2
Bedroom - 10 m2
Study - 9 m2
Bathroom -6 m2
Painting Gallery - 100 m2
Sculpture Gallery - 140 m2
Public Toilets - 12 m2
Plant room - 12 m2
From looking at the spacial requirements it is clear that the studio and gallery will volumetrically take up the larger amount of the building. The individual areas will ideally need to be placed in clusters together to reduce the amount of circulation space and allow for possibilities of larger spaces.
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Schedule of Accommodation | AD2.1 | Daniel Pound
Private Entrance - Close to car park
Studio - Easily Serviced
Visitor Entrance - Draws visitors into gallery
The clients private entrance is located to the rear left of the property close to the car park and away from the hustle of the tourist at the Mirador de San Nicolas. This gives them a quiet personal entrance.
The studio for the clients is also located on the ground floor to the rear. This is because it is closest to the area for deliveries and servicing.
The visitor entrance is located towards the front of the site and aims to draw them in from the plaza. This is because that is where the primary circulation is and most likely to attract visitors.
It is not possible to split the studios next to the individual galleries as this will mean that a larger area is needed for the spaces.
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Arranging the spaces | AD2.1 | Daniel Pound
Painting Galley - Northern Light
Sculpture Gallery - Large size means has to be on lower floor
Live Space - Elevated for Privacy
As the painting gallery does not need direct sunlight and doesn’t need to benefit from the views, it is located on the lower floor to the rear of the site. This means that it can benefit from the softer northern light through the use of skylights.
The sculpture gallery is also located on the lower floor next to the painting gallery. Due to its size it was not possible to place the sculpture gallery on the ground floor.
The live space is located on the first floor to provide a house that is away form the hustle of the site and gallery. This will allow the live space to be quieter and benefit more from the views on offer to the south.
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Arranging the spaces | AD2.1 | Daniel Pound
Designed by Louis Kahn, the university of Yale’ art gallery uses a patterned pre-cast concrete ceiling system that reduces the amount of materials needed whilst also giving stunning visuals. Whilst this system is based purely on the aesthetics that it brings. It can be adapted to allow the form to be functional in creating the structural system.
The geometrical pattern that will be used to create the ceiling structure.
The shape of the pattern is applied and a structural border is applied for strength.
If applying the system to my pattern, after extruding the shape I would still need to have a solid concrete slab of which the structure is partly suspended.
Pattern and base plate is extruded.
This would increase the depth required to span the required distance.
This can be overcome by combining the slab and the extruded form into one single structure. By doing this it will allow the combined system to be the aesthetical ceiling and the structural floor plate of the floor above. Holes will be placed in the extruded form to allow for services such as lighting to be distributed through the roof space.
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Creating the ceiling and floor structure | AD2.1 | Daniel Pound
By looking at different types of light wells it appears that there is a variety of different ways of achieving projecting light. Through using different shaped openings and funnels, the light can be either focused or dispersed depending on the its need. Within the sculpture gallery the light will need to be focused upon the object but also dispersed to allow for the lighting to remain soft and not over powering .
Simple hole - the widest and most dispersed light
Square funnel - channelled and focused light The Ryusenji house by Japanese based Tomoaki Uno architects uses a light well as the primary lighting mechanism. The square funnels focused the direct light downwards but the light is dispersed around the room creating a light environment.
This light-well by Tadao Ando provides the room with a bright and soft solution to natural lighting within the room. This would also limit the amount of UV rays entering the room as the majority of the light is indirect.
Narrow gap - limited light entering
Funnel - focused spot light
Inverted funnel - dispersed light
The width of the light-well is important in depicting the lighting conditions. Creating a strip that is the correct size will allow the room to be bright enough with only the need of artificial lighting to protect onto the paintings. Wide gap - allows for greater light penetration a brighter space
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Lighting Spaces | AD2.1 | Daniel Pound
By using the extruded form to aid the lighting, it will create an environment that will require less artificial lighting within the sculpture gallery.
The chosen style of openings was the cluster approach. This allows for a large area that will be dispersed providing lighting throughout the day,
The pattern allows for a wide range of options over which openings to use. Each method will allow for widely dispersed lighting but will also act as a spotlight for different sculptures.
Simple pattern with no limitations - allows for a large amount of light to enter the exhibition space.
In order to maintain the structural integrity of the floor and protect from the environment, the spaces will be covered in opaque glazing.
Covering up the stars- allows for a multiple spot lights that are small. Would possibly change position too much during day.
Only stars - Allows for larger spot lights but are still relatively small
Clusters - It will create large dispersed spotlights that will be more prominent throughout the day as the sun changes.
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Lighting Spaces | AD2.1 | Daniel Pound
Glazing
Air Gap
Tessellating Screens
The Simon’s Centre for Geometry and Physics in the United States uses v sliding screens that help limit heat and light gain.
There is a variety of different geometric patterns that have been in the different screens.
The Images below show experimenting using the geometric patterns in the precedent. The first image shows how the screens are in the open position. The second shows the closed position. Whist the material covers the majority of the surface area, there is still visibility through the screens when closed.
100mm
25mm
The sliding aluminium screens are housed within sealed double glazing units
Whilst open, the screens are visible, but views out of the windows are not limited
In the closed position the screens are more prominent but the visibility through the screens is not too Limited
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Tessellating Screens | AD2.1 | Daniel Pound
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Scale 1 : 500
Location Plan | AD2.1 | Daniel Pound
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5 1
7
6
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4 3 1 - 2 - 3 - 4 - 5 - 6 - 7 -
Painting Gallery Sculpture Gallery Lobby WC Plant Room Public Lift Service Lift
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Scale 1 : 100
Lower Ground Floor Plan | AD2.1 | Daniel Pound
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9 4 1
2 8
3 10 7
6
5
1 - Private Entrance 2 - Studio 3 - Studio Store 4 - WC 5 - Bridge/Public Access 6 - Public Entrance/ Reception 7 - Public Lift 8 - Service Lift 9 - Service Entrance 10 - Void
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Scale 1 : 100
Ground Floor Plan | AD2.1 | Daniel Pound
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2
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1
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3 2
5
4 6 7
1 - 2 - 3 - 4 - 5 - 6 - 7-
Entrance Lobby Bedroom Bathroom Study Kitchen/ Live space Roof Terrace Void
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Scale 1 : 100
First Floor Plan | AD2.1 | Daniel Pound
Scale 1 : 500
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Macro Section | AD2.1 | Daniel Pound
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Scale 1 : 50
Short Section | AD2.1 | Daniel Pound
Scale 1 : 100
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Long Section | AD2.1 | Daniel Pound
Scale 1 : 100
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Long Section | AD2.1 | Daniel Pound
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Scale 1 : 200
South Elevation| AD2.1 | Daniel Pound
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Scale 1 : 200
East Elevation| AD2.1 | Daniel Pound
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Scale 1 : 200
North Elevation| AD2.1 | Daniel Pound
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Final Image | AD2.1 | Daniel Pound
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Final Image | AD2.1 | Daniel Pound
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Final Image | AD2.1 | Daniel Pound
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Sculpture Gallery | AD2.1 | Daniel Pound
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Painting Gallery | AD2.1 | Daniel Pound
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Live Space | AD2.1 | Daniel Pound