Primitivism and the Vernacular David Masters 1
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A Reaction to an Ethnocentric Bath
Architecture and Environmental Engineering, Design Studio F : 2014
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Primitivism and the Vernacular The proposed design is a Folk Theatre. It is a project intended to engage people with regional and British culture through the medium of performance and art. The building is designed to reflect the British vernacular and megalithic landscape to create an architecture rooted in the sociological ideals of an archaic settlement. The Celtic Broch Towers of northern Scotland and the outer Hebrides have been a key precedent in the form of the theatre. The 13ft dry stone towers connote an intimidating defensive presence, although have a much deeper meaning to the communities they served. They were the clan leaders domain, a place for meetings and trade, but ultimately the community hall. It is this archaeological theory which informs the narrative of my project. A place for meeting and performing, a place for community and tourist engagement with our predecessors traditions. This project has been driven by an admiration for a pre industrial, agrarian time, where life was more co-operative, more humane, and through manual labour, more noble.
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A Folk Revival Acknowledgements
A Collage which has been with me throughout this year. The vast dry stone tower a constant reminder of what the prodigious builders in history could achieve with what was sourced locally. The megalithic landscape of the British Isles along with its folk culture and harvest traditions a key driver in the creation of this scheme. I would like to thank the team who supported me throughout the course of this year: Elena Marco - Personal Tutor Paul Kirby - Environmental Engineering John Comparelli - Studio Leader Fiona Gleed - Structural Engineer Thom Gorst - Studio Tutor Bill Gething - Studio Tutor
Along with the rest of the Architecture department at UWE Bristol.
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“Soon there will be no more need for us,� a British farmer once said to me. He is typical of the very best class of land tenant. He has farmed a holding of 300 acres in a south western county all his life. Careful, frugal, laborious, and intelligent, without a shadow of prejudice, he has for that long period marched with the times, boldly accepting every improvement that promised to financially and adroitly improve his style of tillage to suit new demands and conditions. Not only has he paid his way, he has become a man of business acumen. During many seasons, however, he has been living on his savings, fencing with misfortune, and trying to lose as little as possible, while waiting till the good times come again. His position is not exceptional. Here describes a man who epitomises the condition of medium scale farming, a man who believes in the quality of produce delivered, and adheres to the modern movement of farm food infrastructure. This man is my father.
No longer is the farmer key to it’s local community, it is an import export business.
Thank you to my Mother and Father for your support.
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Loose watercolour and gouache work on the plan view of the Broch Settlement at Gurness
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THE BUILDING
Bath, a city which has a major tourist appeal attracts around 3.8 million day visitors each year. Of this, a small proportion come to learn more about the regional culture and agrarian traditions. It is the Roman and Georgian architecture, the spa’s and the sophisticated heritage which are the major pull. In an attempt to revive Folk music and performance the project intends to be a hub for practicing and performing folk traditions. It will be the centre for the current Bath Folk Festival. A currently modest festival run by and for people passionate about folk culture is intended to be re imagined with this project as a mainstream festival. The Folk theatre will be supported by a food factory and folk craft school. These processes will tie into the main experience, providing food for the restaurant and decoration and instrument for the display. Because of the building advantageous position in the city (along the riverbank), and it’s importance in reviving a culture lost by modern infrastructure, it will re-establish the kennet and Avon canal trading routes and use locally sourced food and material for its function. Creating a relaxed, free flowing gig space within the theatre, the folk display intends to be very much a festival atmosphere, with temporary seating in the main auditoria to allow for unique seating and decoration to match the performance. In collaboration with the restaurant and bar, the theatre creates an experiential evening where visitors have a meal, food provided locally and produced on site, followed by the performance. The bar is just off the theatre so people can flow through the tower and interact with others so the evening is a more social event.
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Art in Green Park
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CONTENTS Primitivism and the Vernacular
Introduction 17 The Brief 33 The Site 47 Design Concept Development 61 Design Proposal 81 Technical Resolution 133 Compliance 159 Conclusion 171
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“There is much to learn from architecture before it became an experts art. The untutored builders in space and time, the protagonists of this show-demonstrate an admirable talent for fitting their buildings into the natural surroundings. Instead of trying to ‘conquer’ nature as we do, they welcome the vagaries of climate and the challenge of topography.”
Bernard Rudofsky, Architecture without Architects. 1964
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Introduction
- Folk Performance - The Megalithic Landscape - Agriculture of the South West - Learning from the Vernacular
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Folk Art & Performance Folk - relating to the traditional art or culture of a community or nation.
Folk art is much more highly regarded and eagerly sought after in America than its equivalent in Britain. In Britain, visitors, and in most cases, the natives are more concerned with the mainstream culture, the architecture and art inherited from precedent in Europe and afar. The indigenous culture of the ‘ordinary’ people is largely disregarded.
Morris Dancing
Here are some modern oil pastel folk art pieces. The over accentuated forms of the two cows in these paintings is what the artwork is all about. It is a form of expressionism in art.
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Folklore Folklore (or lore) consists of legends, music, oral history, proverbs, jokes, popular beliefs, fairy tales, stories, tall tales, and customs included in the traditions of a culture, subculture, or group. It also includes the set of practices through which those expressive genres are shared
It was said that Bladud was imprisoned after contracting leprosy on a trip to athens. He escaped and found employment as a swineherd. When he reached Bath, his pigs would dip into the mud as the mud was warm. His pigs would emerge clean, therefore Bladud dipped into the mud baths. This consequently cured his leprosy. He was then restored to his position as heir to the throne and later became King Bladud.
King Arthur is one of the most well known legends in Britain, and more notably in the South West due to his many connectios with the region.
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Bath Folk Festival
A festival run by and for musicians and dancers who are passionate about folk culture The event is held annually between 10-18th of August Other activities include education and an opportunity to play folk music at various locations. Locations include - 1) The Royal Oak - 2) Giraffe - 3) Beechen Cliff School - 4) The Bell Inn - 5) Green Park Braserie - 6) University of Bath - 7) St James’ Wine Vaults
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The Megalithic Landscape
W G Hoskins The Making of the English landsape is a fascinating insight into our predesessors creation of the English countryside. He speaks rather eccentrically although with great passion about the places he visits and paints a very clear image of the scenery.
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Agriculture of the South West
Although the Somerset levels are good farmland, it is vulnerable to flooding as it used to be a swamp. The area is below sea level. The arable pasture of the Somerset levels provides large yields of crop. The richer pasture is high quality for grazing and around Somerset and Wiltshire there are a considerable number of dairy herds. Robert Wiseman Dairies is located on the M5 near Bridgewater and deals with the majority of milk produced in Somerset.
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Agriculture in Bath
The Bath City farm is a key connection to my project. Its management is a key precedent for the function of the Folk Theatre. Bath City Farm is located in south west of the city centre and covers an area of approximately 15 hectares. The farm pre-dates the doomsday book in the 11th century. The city farm was established in the early 1990’s when the resident farmer retired. The farm intends to build a caring, healthy and cohesive community through the involvement of local people. This nostalgic approach to local living is a key driver in the narrative of the Folk theatre project. Like the Bath city farm, the folk theatre intends to sell its produce on site, as well as distributing to local specialist shops in the city.
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Learning from the Vernacular
Vernacular Barns of Britain. Roof and Frame forms sketches
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Traditional barns of the region
Sketches of bank barns
Somerset and Avon Region
Manipulation of the traditional gable end.
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Primitive, Pre-literate, Vernacular?
Sketch of Stonehenge
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Polite
Sketch of Bath Abbey
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Inspiration
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The Brief - The Performance Space Project - Bath - Research - A Reaction to an Ethnocentric Bath - A Hub for the South West - Programme and Aims - Schedule of Accommodation
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The Performance Space - Bath
On a key development site in the City of Bath there is an opportunity to create a ‘civic’ minded project focussing on the repair of a piece of the city fabric. The masterplanning of the site should be carefully considered to create well resolved public space in coherence with its immediate and surrounding context. In order to create a performance space, an understanding of the city culture must be understood to develop an idea of what is suitable for the site. As the city is located in North East Somerset between the Cotswolds in Wiltshire and the Mendips of north Devon, a performance space linked to the regional landscape is developed in this project. Inspiration from the Megalithic monuments of the region such as Stonehenge and Avebury Stones have developed an idea of a performance likened to that of the prehistoric. Performance was vital in an archaic society for community and this is explored in the masterplanning of the performance space project.
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Markets in Bath
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Saturday morning at the Farmers Market in Green Park Station 38
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Once a key transport route for coal and other trade, the Avon and Kennet canal is now a holiday route for people who want to spend a week on a canal barge. Due to the connections around the river Avon tributaries zone, the project intends to reintroduce, what the Victorians once tried on the canal. The canal can act as a trade route for produce to be delivered to the folk theatre and the theatre can distribute back to the local region whilst also using produce on site.
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The aim is to establish a connection to the farms around the city to buy and sell produce with collaboration with the Bath farmers market. As medium scale farming is declining, the aim of this project is to reduce the amount of farmers that sell to the large buyers. Producing food on site which is locally grown and locally produced encourages that sustainable aspect to the food chain. In an attempt to keep trade local, this idea plays on the traditional ‘Good Life’ .
The map opposite illustrates how the project intends to look west to Bristol for local produce trade encouraging a larger city to get involved. As Bristol is Green City Capital 2015, this sustainable agrarian urbanism idea will only boost the cities future green initiative development. The map also projects west towards the avon and kennet canal network.
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Programme and Aims
BUILDING AIMS The building intends to exhibit a musical and artistic culture which is not as highly regarded as mainstream and ‘popular’ art. The whole notion of Folk performance is an understanding of where we originate from. It is unique to a region or nation and not corrupted by universalism. By importing local produce with aid from the canal system and collaboration with the Bath farmers market, restaurant food for the building will be produced on site and additional products will be distributed to local produce stores around the city.
Siamsa Tire is a the Irish National Folk Centre. Its a key precedent in the aims of the folk theatre in Bath.
The theatre will be serviced by the adjoining factory building and masterplanned buildings. Food, tapestry, instrument and art will be produced in the factory building. 44
Schedule of Accommodation THEATRE
FOOD FACTORY
Stage
55.2m2
FOLK CRAFT PRODUCTION
Butchers
33.5m2
Tapestry
55.23m2
Bakery
60m2
Basket Making
57.2m2
Cider Production
64m2
Guitar and other instrument classes
Lighting Gantry (Lamp House)
15.68m2
Cheese Warehouse
Props Storage
36.48m2
Potting Shed
Backstage
87.85m2
Changing facilities
Set and chair storage Box Office Cloakroom Gig space, (temporary seating)
126.72m2 245m2
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314.16m
Delivery Zone
102.4m2
15m2
Dispatch Zone
14.56m
10m2
Packaging
258.96m2
First Circle
51.2m2
Upper Circle
51.2m2
Office and Comms
27.2m
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110m
2
61.2m2 41m2
Arts and Crafts class
45.2m2
BAR AND RESTAURANT Restaurant
320m2
Bar seating
187m2
Offices
50.88m2
AMENITIES
Food Storage (Split Unit Temperate contol)
237.5m2
Toilets
10m2
Kitchen
AMENITIES
78.2m 2
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Toilets AMENITIES
Shower rooms
Toilets
25m2
Staff Cloakroom
9.2m2
Staff Canteen
10m
Sub Total
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1024.33m2
Staff Canteen
34.98m
2
10.4m
2
Sub Total
797.83m2
Plant (Boiler + Air Handling)
162.72m2
Cumulative Total;
10m
2
+ 25% circulation Sub Total
1099.94m2
3084.82m2 =
3856.03m2
Costing and Design Life Due to the complexities of the circular tower structure and the variety of construction methods employed, the cost per square meterage will be high. There is the added issue of foundation work along the river on the flood plain. Beneath the existing car park is a network of vaults from the Victorian terraces that once sat along broad quay. For improved thermal comfort of the occupants and workers, the level of insulation will be high in an attempt to comply with PHPP. Permanent foundations and a high design quality which justifies its location will result in a cost estimate of around ÂŁ3800/sqm for the tower and ÂŁ3400/ sqm for the food factory. 45
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BATH Aerial View
The Site - Site Overview - Immediate context - Relationship to the River - Site Analysis - A Lost Culture
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Site Overview
This site is made extra important in terms of development due to its location along the riverfront. Bath has very little connection with the river since the 1966 flood protection scheme canalised most of the run between Newbridge, Twerton and further east. It is known that Bath has little connection to the river apart from the Pultney Weir which is an attraction for tourists. What this site poses is an opportunity to revive what the river once meant to the city when the site was formerly named Broad Quay Currently a car park with a brutalist multistorey located in the middle with a coach park adjacent, the site has good connection to the city centre being only a 2 minute walk to the Bath Abbey. A cycle route runs along the riverbank along the south perimeter of the site.
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Pultney Weir
The Abbey The Roman Baths
Southgate Shopping Centre
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1:1000 Site Model
Site Immediate Context
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Bath City Floodplain
The site sits within the floodplain. Measures of flood defence are considered in the masterplanning of the scheme.
Natural River and Canal level
Flood Plain
Major Flooding, 1-100 years
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Flood photos from Bath Records office
Bath Flood 1937 55
Site Analysis With removing the car park and access roads, this produces a traffic flow issue.
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Lebbeus Woods “The constructed form of conventional building typologies and programs of inhabitation thwarts the emergence of vital new modes of culture�.
The construction of the car park was economically and politically logical in terms of planning for the city of Bath. The site posed an opportunity for significant parking close to the city centre. Although, the car park erased all history of the site, once the medieval ambury which was used for grazing outside the medieval city wall, along with the Broad Quay working terraces. These social cultures established on the site are lost.
The Medieval wall showing surrounding pasture
Broad Quay under water. The cranes are still visible above the waterline
Sketch of Avon Street. The poorest street in Bath
Due to park and rides around the city of Bath, it is proposed in the Folk Theatre project masterplan to remove the entire car and coach parks. The edges of the site will still be accessible by vehicle, although will not be able to pass through. Traffic will be diverted through the city via St James Street West and Lower Bristol Road.
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Illustration of Medieval Bath. The river edge is not built up like modern day Bath. The ambury and ham are visible.
Park and Ride Map
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1:200 Site Model 60
Design Concept Development - Speedplanning - Masterplanning - Concept Precedent - Concept Models - Refinement - Explanation
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In speedplanning the block forms created a dense urban zone. The densification of the dogon were reflected in this speedplanning exercise.
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Individual site massing. Initial models 1:200
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Folk festival paths to site
Bath Folk Festival-Cultural Paths to Site
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Bath City Farm
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Green Spaces
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Borderlines
Tourism
Retail
Sport
Flood Conveyance
Agrarian Urbanism
By removing the canalised river bank along the site and created conveyance strips the risk of flooding on the site would reduce. This action is also an attempt to soften the river edge, creating a green corridor which draws people in. The factory and office buildings across the river act as a borderline, blocking off the population south of the river from the site. In an attempt to break that borderline, a bridge was proposed in the design development stages.
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Green Belt along river
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River Conveyance strips. Remove canalised system
Green park station farmers market
Produce transported down river
Block off mainstream culture, ‘The tesco drones’
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1:1000 Concept masterplan
A continuation of the Avebury avenue. The stones on site create a space which acts like a metaphor machine. An informal primitive performance.
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Friedensreich Hundertwasser
Hundertwasser was a naturist and non-conformist. His work on facade regeneration inspired me to take a twist on the masterplan and rework the facade facing into the site.
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1:1000 Building Iterations
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A Summary
Parti
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Design Proposal The Folk Hub
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1:1250 Site Plan
1 - Permaculture plots and husbandry 2 - Wild produce plots 3 - Apple Orchard 4 - Jetty for canal trade 5 - Anaerobic digester compound
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1:200 model Connection to the River
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Arrival
Meal Local produce
Folk Music or Play perforance
Drink at the Bar. Cider from orchard
Stumble Home
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6pm, Mid July
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Ground Plan 1:400
1 - Theatre space 2 - Backstage, dressing rooms, props, outfits and instruments 3 - ‘Cross Axis’ delivery entrance. 4 - Kitchens 5 - Cafe and Gift shop 6 - The Interchange 7 - Crane for canal deliveries 8 - Dispatch Zone, bottling and packaging 9 - Theatrical Entrance 10 - Main Entrance 11 - Fire assembly points 12 - Anaerobic Digester compound 13 - Canal Jetty 14 - Riverside market stalls 15 - Apple Orchard 16 - Compressor condenser compound 17 - Bakery 18 - Butchers 19 - Cider production 92
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The Interchange
The building combines a working factory with a gig space. Where people spill out of the theatre during or after the performance to reach the bar, a space was required to lead them in the right direction and not wander into the factory. The building has been designed to be very open plan around the theatre structure, consequently requiring strategies for human flow through the building. Opposite illustrates the Interchange. The lightest space of the building allowing natural light to flow in through the louvred south facing facade. The floors adjacent to the interchange are cut from basement to 1st floor level for light to reach the spaces which otherwise would be very dark. The section over the page shows how the interchange works in relation to the floors it connects.
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Bar
Seating
Balcony
Louvred window To Theatre
Feature tree To Plant facilities Seating
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Section through the Interchange
Solar/Light chimney
Roof Light Timber louvres reduce solar gain
Riverside Market Folk Craft
Jetty
Bakery
Produce Crane
Air conditioned food stores
Produce delivery entrance
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1st Floor Plan 1:400 1 - Theatre space 2 - Bar 3 - Restaurant 4 - Potting Shed 5 - Folk craft and performance studios 6 - The interchange 7 - Delivery crane 8 - Bar balcony 9 - Music lessons 10 - Main Entrance 11 - Fire assembly points 12 - Anaerobic digester compound 13 - Canal Jetty 14 - Riverside market 15 - Apple orchard 16 - Compressor condenser compound
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Model Views, 1st Floor of Factory building 101
The Food Factory and Folk School Opposite illustrates a perspective view of the potting shed along with the south facade. The south facing facade shows a proposed timber louvre system which intends to reduce solar gain along with covering all mechanical services extracts. The south facade, much like Baths typological back facade has all the buildings workings and ancillaries whereas the north facade has a much cleaner aesthetic.
Food factory long section proposal for final crit.
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Basement Plan
1:400
1- Theatre storage 2 - Air conditioned food stores. Cheese, Bread, Cider, Veg, Meats 3 - Air Handling unit plant room 4 - Natural Gas boiler plant room (Theatre and Restaurant) 5 - Workshop 6 - Food overflow store 7 - Anaerobic Digester - CHP plant room. BMS system 8 - Comms room 9 - Fire assembly points 10 - Compressor condenser compound
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Storage spaces are regulated with split unit ac systems 107
2nd & 3rd Floor plan
1:400
1 - Theatre space With the 2nd & 3rd floor plan it is a chance to highlight the arrangement of space within the theatre tower. The circulation up and down the tower is within the external stone tower skin and the internal theatre. The theatre is encased in a slip formed concrete structure. Much like the projects key precedent, the Broch towers, two towers are constructed with the circulation space linking the two. Fire cores and toilet facilities are also located within the circulation and constructed with the slip form. The Roof plan of the wrap building shows roof lights located on the north facade for ambient light. The ambiasciata mesh over the roof hides the roof lights from the building elevation when standing in the orchard. This was inspired by the Feeringbury barn designed by Hudson Architects. In the centre of the roof for the factory, a suspended container for Air handling compressor condenser sets is located. The ambiasciata mesh acts in the same way a louvred wall acts for allowing fresh air circulate the space. In the engineering portfolio the container is detailed for access and drainage. The potting shed has a rooflight located on the south elevation for veg to grow in a controlled environment. Also the three solar/light chimneys can be seen in the roof plan.
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A Walk through the tower..
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Theatrical entrance
1:200 tower model
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1st floor circulation
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Lift cores within circulation
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View to balconies from stage
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Thumbnail Sketches
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Tower Section
1:200
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A walk through the Factory 1 - The potting shed located at the most westerly end of the building. To work in collaboration with the permaculture and vegetable plots on the site. 2 - The Factory delivery entrance. Light spills in from the south to illuminate the abstraction of a traditional threshing floor. 3 - The Folk craft and art open plan work spaces. To fill the factory with music and create an environment which unlike conventional learning spaces, gives the occupants a very community feel to the building. (Smells from the bakery below permeate up through the floor breaks).
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The Factory Section
The form of the building created a dynamic shape for the factory. As the building wraps around the tower it splays out as it heads west. This form creates problems in terms of the roof. For a traditional slate roofer, i can imagine there apprehension at covering a pitched roof of this shape. To avoid creating a roof which would have an ever decreasing pitch angle, the further west you went, the roof projects up. This allows for a 30 degree pitch angle along the whole roofline making roofing a simpler but still not simple task. It was decided during design development to use a galvanised roof and cover with an ambiasciata mesh. See construction details in the technical resolution for clarity. The 1:200 section shows how the roof projects upward, along with space relationships and floor connections. The Light/ Solar chimneys are positioned to allow diffuse light into key areas of the ground floor work areas.
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Factory Section
1:200
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North Elevation
1:600
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South Elevation
1:600
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Restaurant Entrance, top left. Factory Entrance, above.
Site Sections
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Collaging
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Technical Resolution The Tectonic - Development - 1:1 Detail - Materiality - Structural Overview - Detail Proposals
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Following on from the masterplanning and initial building forms, i started to abstract traditional vernacular barns to create a form for the factory building. Whilst working with models it became apparent, due to the span to include steel wire tension in the frame. This hybrid creates a stronger more rigid structure. The cables also create wind bracing when diagonally connected to adjacent bay frames.
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The stone tower model was created to explore the structure of the key precedent (the Broch Towers of northern Scotland). Those towers were constructed as a dry stone wall so no mortar was used. All the stones interlocked into a circular tower which through compression held together. The folk theatre intends to create a stone tower where the stone is not load bearing, it is a skin. The stone is supported by a glu-lam timber structure which also supports a lightweight timber insulated wall to improve the U-Value of the external envelope. The notion that a timber structure was a method for supporting a stone structure until it was complete. The timber was then removed or burnt away to leave the stone standing. This process is called vitrification. The aesthetic of the tower in the folk theatre projects intends to have a raw vernacular look. The longevity of vernacular structures is a key driver in the project.
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The 1:1 Detail
The intention of the 1:1 detail was to consider how the roof to my theatre would be designed. The initial plan was for a removable roof or some sort of removable aspect. The detail was intended to work out how a mechanically operated louvre system could be supported over a completely glazed roof. This would allow light in when wanted and shield from solar gain on sunny days. Above the louvre system is a tension wire grid for cleaning and servicing of the louvres. Also a key component of the detail was the flashing detail around the timber glu-lam. As this breaks the external barrier of the building it was a complicated detail to figure out. Overall the idea of a removable roof detracted from the vernacular language of the building. Therefore unfortunately the detail was not used although was an important and stimulating exercise to complete. Although i would use a pillow next time!
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Materiality The decision for the material palette came from the raw vernacular materiality of the main precedents for the scheme.
Oak Glu-Lam
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Cornish Granite
Softwood pine
Recycled Concrete
Copper Roof
Ambiasciata Mesh
Tower
Oak Glu-Lam
Factory
Black Weatherboarding
Softwood pine
Recycled Concrete
Corrugated Aluminium
Ambiasciata Mesh
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Alluminium corregated roof with ambiasciata mesh.
Timber Floor with underfloor heating
Black weatherboard cladding with concrete panal ‘dung walling’
Oak Glu-Lam A-Frames with steel tension rods
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Glu-Lam Arch roof. Copper Cladding
Stone Skin (Egg Shell concept. Compression)
Oak Glu-Lam Timber vitrification structure
Concrete slip form inner tower.
Stone Sub Structure
Oak Glu-Lam fixing to stone sub structure 147
Detail Proposals
Key detail precedent
Renzo Piano, Cultural Centre
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Feeringbury Barn, Hudson Architects
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1:50 Detail Section Inspired by the Feeringbury Barn designed by Hudson Architects, the roof structure supports a ambiasciata mesh which shields the skylights from view outside the building at ground level. This allows for a clean minimal facade so the wing building can show off the tower. The steel wire tension cables hold in the glu-lam timber frames which lean out to accentuate the dynamic shape of the factory. Concrete wall panels act like dung walling on a conventional farm barn and are partially covered by the vertically laid black weatherboard cladding. The glu-lam frames are supported off abutments cast into the concrete basement.
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1 - Roof Structure -1.6mm ambiasciata mesh -Clear corrugated roof cladding -Corrugated aluminium sheet, joins sealed with butyl tape -Anti condensation, breathable membrane -100mm rockwool insulation -400x75mm timber purlins -100x100mm timber battens -300mm woodfibre insulation. Mechanically fixed onto beams -18mm Birch ply with fire retardant finish -Steel tension cables fixed to steel fixing plates
3 - 1st Floor -300mm timber floor joists spanning 6m -200mm mineral wool insulation -Aluminium heat diffusion plate for underfloor heating -Underfloor water flow heating pipes -18mm birch ply -Ceiling finish
2 - Wall -Black weatherboard cladding -250x75mm timber cross beams -16mm fire retardant cement board -200mm rockwool insulation -Aluminium window frame -Triple glazing -Concrete interlocking panels
4 - Ground Slab -400mm Concrete slab -Re-bar -Raised floor timber studwork -Timber ply floor finish
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1:20 Detail Section Due to paper size, image has been reduced to 1:50
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1:20 Model showing glu-lam structure and ring beams.
1:20 Detail
300x75mm timber purlin
16mm Ambiasciata mesh
Cornish granite stone wall
100mm Mineral wool insulation
Concrete ring beam parapet cap
Lead flashed guttering leading to downpipe
Timber packers
Oak Glu-Lam Ringbeam 1mx300mm
200mm rockwool insulation
Beach sapling weave
16mm plywood studboard
200x75mm Timber studwork
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Compliance
- Part B - Fire Strategy - Part M - Access Strategy - CDM Information - Costing + Building Weight
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Fire Strategy
Part B The Folk Theatre project encompasses a heavyweight stone building surrounded by a timbrel structure. The detailing of the structure has been considered for longevity incase of a fire to allow structural integrity for a suitable period of time to evacuate the building. Due to positioning and masterplanning on an easily accessible site, the building provides straightforward exit routes to safe fire assembly points. B1 - Means of Warning and Escape
B2 - Internal Fire Spread and Linings
B4 - External Fire Spread
The building shall be designed to provide appropriate provisions for the early warning of fire. Appropriate means of escape will be considered so occupants can flow freely out of the building without congestion. 2 fire assembly points are located in safe positions outside the building for use at all material times. There will be no obstructions in these zones at all times.
All internal finishes within the building are fire retardant for increased protection time of the main structure.
The external walls adequately resist the spread of fire with fire retardant material on all there internal finishes. The spread of fire from the factory building to the tower is reduced by an installed sprinkler system which slows the spread of fire. The tower can be compartmented with the 5 passageways between the tower and wing building all having heavy duty fire doors installed.
The building has a total of 4 fire detailed concrete cores for means of vertical escape which provides enough capacity to evacuate all occupants at peak usage times, (during a performance). Signage is proved for all exits and cores are well lit. The design includes a fire alarm system and smoke detection as the smoke is the primary danger at the start of a fire. Visual and audible alarm signals are included for occupants with impaired hearing. As the factory space is predominantly open plan, heat smoke detectors will be located within each 6 meter bay. The theatre, backstage and kitchen facilities will have heat smoke alarms located in all internal corridors and divided rooms. The heat smoke alarms installed should conform to BS-5446-1:2000. Alternative means of escape are available through delivery and dispatch entrances along with the main and theatrical entrances. This is due to a possibility of escape routes being rendered impassable due to smoke and fire in that zone. As this would be classed as an industrial building due to the food factory all areas of the building are within specified travel distances to protected means of escape. All areas are within 25 meters in one direction or 45 meters for a two direction exit. Exit routes are over 1 meter wide and up to 1.5 meters. Fire doors are installed and open towards the exit path for easy escape. All fire doors have push handles and are not too heavy for difficult operation. Handheld fire extinguishers are found throughout the building. 160
Where rooms are located, all doors are specified as fire doors and the spaces reduce the spread of fire by compartmenting zones with fire resisting walls. In the open plan area of the factory, all finishes are finished with fire retardant cement board for greater protection of the structure to allow time for full evacuation. Within the roof structure, ventilation grilles are located so smoke can escape the building.
The closest adjacent building is 20 meters so spread of fire to other buildings is unlikely.
B3 - Internal Fire Spread and Structure
The building has a mains water connection and water storage compound located just of the factory for use by firefighters. The 3 main access routes to the building are clear. The main access for firefighters is down green park road eastbound. This route leads to the centre of the site and does not cross the fire assembly points.
The tower has an oak glu-lam structure supporting the outer stone skin. All exposed glu-lam columns and ring beams are appropriately sized to retain structural integrity during building evacuation. All load bearing structures are designed to be compliant in terms of fire resistance with Appendix A, Table A1 in Part B. As the kitchen is a key fire hazard in the building, it is compartmented and cavity wall barriers are installed to reduce the spread of smoke. Ventilation ductwork includes fire dampers to reduce the spread of smoke throughout the building.
B5 -Fire and Rescue Facilities
All access is tarmac and suitable for vehicular passage.
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Access Strategy
Part M The Folk Theatre provides lift provisions and disabled WC’s around the building. Consideration has been made in the landscaping of the site to reduce difficult terrain for visitors. Ramps up to the building entrances have a gradient no greater than 1 in 15. All verticle travel within the building has appropriate handrailing and landings are provied where a distance of 3.6 meters or higher has to be travelled.
All horizontal travel routes are 1500mm or wider for ease of wheelchair access. There are no change in levels on all floors in the factory building. The theatre steps up on the balcony levels to accomodate underfloor plenums for air distribution. Small ramps are available for the 250mm rise. Passenger lifts are located in the theatre building and access all levels. All stairs comply with Part M regulations Due to the open plan layout of the factory, this provides an easier route through the building. Natural escape routes have very slight gradients out of the building and back to existing site level.
Sanitry Part M complient disabled WC’s are located at every sanitary facility throughout the building. The correct number of WCs and washbasins has been provided for the number of occupants. Showers are located in the factory for cyclists who work or visit the building.
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Construction Design Management
CDM Management A Project Manager and CDM consultant will be appointed at the beginning of the project. The CDM consultant will brief all site workers of potential risks and perform site inductions before a worker can commence on site. All workers on site will hold a CSCS card and all plant operators will hold the appropriate CPCS cards. All relevant health and safety concerns will be briefed to team members of management team and workers.
Site Management Delivery compounds are located at the east and west of the site. The 2 compounds intend to eleviate congestion on large delivery days. The site office is located by the west delivery zone. Risk Management As the site is within the floodplain, this is of key importance in the risk assessment of the project. The stone structure of the tower is another risk during initial stages. As the tower gains height, through compresion the structure strengthens. The Oak Glu-Lam will be erected first to support the outer stone skin. The slip form structure of the theatre wall is the strongest component and this structure is what the external towers will be fixed off of. Within the site office compound, WCs, canteens, changing, first aid and offices are located.
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Costing
Due to the complexity of the structures and the complex detailing required for weatherproofing, the building has been priced to current material costs to achieve a reliable estimate.
Sub total = £13,520,234 Theatre Structure - 1024.33m2 x £3800 = £3,892,454 Food Factory - 2831.7m2 x £3400 = £9,627,780
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+ landscaping @ 12.5% = £15,210,263.25 + contingencies + statuatory fees @ 22% = £18,556,521.17
Building Weight
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For Environmental Strategy and Part L compliance, see Environmental Engineering portfolio. The building will have an SBEM analysis performed along with all building services schemtics and strategies.
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Conclusion After spending the summer working in the Cornish landscape, the first reasonably dry summer in 4 years allowed for the appreciation of the uplands landscape. Usually a harsh environment with horizontal rain and gail force winds forced you to take refuge whenever possible and arrive home sodden and miserable. The summer of 2013 allowed for the uplands landscape to be explored more and led to intrigue in the moorland vernacular. Granite eminencies stretching and scarring a view dotted with small farmsteads and fir tree plantations created sightlines to glimpses of lowland richer pasture created by small river valleys meandering down towards the Atlantic. On a clear day, both the north and south coasts can be seen from Cornwall’s highest peak, Brown Willy. This experience influenced a type of Architectural interest which can be seen throughout the British landscape. It was very much the British Vernacular which highly influenced this project and after spending a year studying those vernacular buildings which really intrigued me, made for a very enjoyable project.
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