Basil Spence 2011 - Elisabeth Frink's Museum of Sculpture (BSc Arch, University of Bath)

BASIL SPENCE 2011

ELISABETH FRINK’S MUSEUM OF SCULPTURE GROUP 26 Grace Chan Derek Siu Gaudre Znutaite

engineer Thomas Butler

01 BRIEF

site overview historical development site analysis Elizabeth Frink

04 MATERIALISATION

concept overall lighting study & strategy sectional construction perspective facade optic fibre columns the lightwell interior visuals

02 CONCEPT response to site relation to Frink’s work the lightwell precedents

03 ARCHITECTURE

aerial view distribution of the programme plans sections

05 STRUCTURE

06 ENVIRONMENT

main structural components skin global structural strategy lightwell calculations

concept climate zoning & ducting straegy environmental sections sustainability

07 CONCLUSION final models

01 BRIEF

The site of the project is located in Millbank, south of Westminster. It spreads over 3500 sq meters of the Rootstein Hopkins Parade, which has recently become a popular event venue, and extends onto Atterbury street running towards the river Thames. Tightly enclosed by the complex of Grade II listed Chelsea College of Art - former Army Medical School, - and the museum of Tate Britain, the site bears a strong architectural character. The area also distinguishes itself in London’s context due to the neighbouring Millbank estate - a vast social housing complex built from red brick that has been recycled after a demolition of Europe’s largest prison, the Millbank Penitentiary.

SITE OVERVIEW

1.1

Thames flood disaster.

Pimlico underground station opened.

1928

Vauxhall Bridge completed.

1972

1816

HISTORICAL DEVELOPMENT

1.2

National Gallery of British Art (Tate Britain) opened.

Millbank Estate constructed.

Queen Alexandra’s Military Hospital opened.

Royal Army Medical College and Regimental Mess completed

1897 1902 1905 1907

2005

1977 1979

Chelsea School of Art moved in.

Queen Alexandra’s Military Hospital closed.

Final quarter of Tate Britain filled.

Three quarters of Tate Britain built.

Millbank Penititiery demolished.

1892

1937

Millbank Penitentiary completed.

1821

Access routes to the site and adjacent buildings

Sun shading path throughout the year Disintegration of adjacent zones

During our visit to the site we realised that despite being very spacious with respect to its context and having a strong architectural character, the courtyard of the School of Art lacked a sense of space. The site could only be approached from sides by a pavement along the Atterbury street, or through another side entrance in between the two college buildings, which felt like a backyard passage. Apart from the lack of ‘welcoming’, the site also felt too penetrable to keep people staying in it and seemed to lack intimacy for recreational activities that were taking place in it.

Occupation pattern of the square seemed to be directly dependant on its division into shaded and sunlit zones. Thus top part of the site seemed to have a lot more potential for accommodation activities, however, most of it was unavailable because of the road. On the other hand bottom part of the square had a lot stronger relation to the buildings, but it felt significantly disadvantaged by being shaded most of the time.

Previously having been one integral site unified by the Penitentiary, today the area seemed to be broken up into smaller zones which lacked continuity between them. Despite its potential to become a communal space shared by both the Chelsea College of Art and Tate, the square seemed significantly dissociated from the latter by a presence of the road. The road also seemed to disconnect Tate’s front entrance zone from its side entrance and the Henry Moore courtyard which could otherwise be linked to create one continuous landscape.

SITE ANALYSIS

1.3

Elisabeth Frink distinguishes herself amongst the rest of the post-war British sculptors by her commitment to the Figurative Tradition and by her ability to use the naturalistic forms and themes to convey the essence of the inside of human and animal beings. Using a distinct and vigorous technique of repeatedly coating an armature with layers of wet plaster and then carving off each coating Frink would shape the contorted forms and broken surfaces of her works.

This bold manner of sculpting allowed Frink to materialise powerful subjects of archetypal human nature, masculine strength, mystery, struggle and aggression combined with vulnerability, dignity and hope. As well as exploring humans Frink was interested in our impact on the animal world and the earth itself. Strong relation to nature is a fundamental background for all of her works, and the artist has always expressed a wish for her works to be seen in a natural context, surrounded by life.

ELISABETH FRINK

1.4

02 CONCEPT

In order to redefine the site and to reunify the context we decided to place our building in a way that smaller and better distinguished spaces would be formed, and at the same time their natural continuity would be maintained.

To animate the shaded part of the site and to draw views towards the center of the square a multifunctional pavilion would be placed in the same line as the entrance of Tate.

The Atterbury street would be pedestrianised to become a public walkway that ramps down to join the level of the Tate entrance, slips under the new museum building and rises back up to the original site level.

Public plinth would be located on edge of the square, along the walkway, with main entrance and reception of the museum at the same level as the entrance of Tate, and a café and a library on the

The enclosed ‘box’ containing exhibition spaces would rest above the penetrable public level, and the two would be linked by circulation cores.

square level.

RESPONSE TO THE SITE

2.1

In order to create a range of ambiences that would provide the best spaces for accommodating Elisabeth Frink’s works, we took her three main themes of exploration as a starting point for establishing a different character on each floor:

First floor [HUMAN NATURE] neutral start to the visit with continuous, coherent spaces

Second floor [STRUGGLE] compressed, contrasting spaces, creating more dramatic experiences

Third floor [HARMONY] unity of spaces

RELATION TO FRINK’S WORK

2.2

top floor light coming through the roof. lightwell as a solid object in the space, with few independent ‘islands’ of enclosed spaces scattered around it.

2nd floor dimmer light penetrating through its skin. ‘field’ of spaces enclosed by implied ‘curtains’ of darkness, creating environment for more controlled lighting.

1st floor lightwell seen as a glowing object, surrounded by ‘through’ spaces and filling them up with a uniform light.

Tapered lightwell penetrates through three layers of the museum daylight descending onto the walkway, and thus relating interior spaces of the building and its overall volume to the public space below. The gesture of tilting the lightwell would result in creation of dynamic light effects animating the surrounding environment.

In relation to the theme of each floor and the need of reflecting the light down, the skin of the lightwell would vary from being almost completely reflective at the top to becoming almost translucent at the bottom.

LIGHTWELL

2.3

LIGHTWELL STUDY MODELS

2.4

1

3

5

2

4

6

Structure of the lightwell would be a stiff shell made of steel columns and ringbeams. We wanted it to become a continuation of the roof structure, similarly to the lightwell at the National Assembly of Wales by Richard Rogers (1)(2).

Despite the robust volume of the building, its tectonic materialisation would be of a fragile nature.

Lightweight steel ‘box’ would be wrapped around by overlapping layers of timber louvres, as seen in St Mary Magdalen Academy by Feilden Clegg Bradley Studios (3).

A mesh skin would run down the lightwell creating a veil like surface (4).

Translucent inner layer of the façade would create a barrier between the gallery spaces and the outside world, meantime keeping the interior immersed in daylight and allowing through hints of the life outside in form of shadows and silhouettes, like in Peter Zumthor’s museum in Bregenz (5)(6).

PRECEDENTS

2.5

03 ARCHITECTURE

AERIAL VIEW

3.1

DISTRIBUTION OF THE PROGRAMME

3.2

CONTEXT PLAN

3.3

B

C

13

14

15 16

10 1

3

A'

9 11

11

6

12

11

5

4

2

7

A 8

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Reception Cafe Retail Meeting Room Office Reception & Admin. Office Lobby Frink’s School of Sculpture Central Store Preparation Storage Server Room Refuse Store Maintanence Transformer Room Security Room

C C'

B' B'

PLAN LEVEL -1

3.4

B

C

5

3

4

2

1

A'

8

6

A 7

1 2 3 4 5 6 7 8

Cafe & Restaurant a Kitchen Library Archive Loading Bay y Multi-functional o Pavilion n Store & Control m Green Room

C C'

B' B'

PLAN LEVEL 0

3.5

B

C

A'

A C'

B' B'

PLAN LEVEL 1

3.6

B

C

A'

A C'

B' B'

PLAN LEVEL 2

3.7

B

C

5

2

4

3

2

A'

1

A C' C

B' B' 1 2 3 4 5

Artist’s in residence d Studio Workshop d Resource Studio Store Basins

PLAN LEVEL 3

3.8

SECTION AA’

3.9

SECTION BB’

3.10

SECTIONAL PERSPECTIVE CC’

3.11

04 MATERIALITY

The materiality of the museum gives birth to the different light effects and qualities we would like to create in the space.

The lightwell is conceived as a continuous surface which, commencing as a membrane on the roof, melts away under the sun to become the fabric of the lightwell that trickles down the building and flares out in the manner of an undulating skin. This elaborate gesture is accompanied by three ‘embryotic lightwells’ - strands of optical fibre running down through three leftover columns reverberating the symphony of light orchestrated by the lightwell. The facade is a delicate double skin that wraps around the museum; the inner translucent layer muffles the museum space from the hustle bustle of the exterior, thus engaging visitors more to their journey through the three museum floors each with a different ambience.

The outer layer is a timber louvre system that ‘maps out’ the movement of the sun around the building and the context through varying its density and having rotatable louvres that dance around the facade. The pavilion resonates the museum by having the inverse of the double skin - transparent glazing wrapping around timber louvres.

In a way, light is the carpenter that carves out and accentuates the surface of the museum.

CONCEPT OF MATERIALITY

4.1

The lightwell serves to bring a dynamic light effect to the public walkway, while excluding or admitting light to the adjacent museum space to create different light qualities and thus creating the associated ambience on each floor.

Metal mesh is used to achieve this. Its density decreases down the floors such that light rays are reflected downwards once they hit the top of the lightwell. Each piece of mesh is held in place like a fabric, the concave or convex surface thus created reflects or lets light through as the direction of the grain in the mesh dictates.

The facade works in conjunction with the lightwell to establish the light quality through differing the density of the louvres.

OVERALL LIGHTING STUDY & STRATEGY

4.2

Key details are taken horizontally across the section to illustrate the relationship among the three main tectonic components of the building: the facade, column with the optical fibres, and the lightwell.

As the building unveils itself by stripping from the facade towards the lightwell, the details reveal a gradation from simplicity to sophistication.

SECTIONAL CONSTRUCTION PERSPECTIVE

4.3

N

W

S

E

N

Results of Ecotect Direct Solar Radiation on facades The timber louvre facade system is designed based on the exposure to sunlight of the four facades. The study revolved around analysing the amount of direct solar radiation on each of the facades on the computer programme Ecotect. The overshadowing by surrounding buildings and the museum itself, coupled with the fact that the site lies in a north-east orientation create an interesting relationship across the facades from which parameters were drawn up to design the louvres.

FACADE STUDY

4.4

FACADE FOLD-OUT ELEVATION

4.5

1

Density corresponds with 3 layers

2

Density decreases from south to north to reduce solar gain & acquire north light

harmony struggle N

human nature

3

5

Rotatable louvres concentrate on the most exposed parts of facade

4

W

S

E

N

Spatial modification to the variation of density

Panels of timber louvres overlap to create a layering effect that resonates with surfaces of Frink’s sculptures

PARAMETERS OF FACADE DESIGN

4.6

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1

1

5

2

3

4

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

5

2

3

4

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

[1]

Structure:

[3]

Spandrel:

250mm steel CHS column, fireproof-painted

Aluminium metal sheet cladding DPM 185 plywood insulation unit

[2]

Floor Slab:

[4]

Facade:

25mm screed cast with underfloor heating pipes, polished 25mm rigid insulation 100mm composite metal decking on steel i-beams 10mm plasterboard, rendered white ventilation grill

inner layer 100mm Kalwall translucent cladding system

outer layer 30mm timber louvres on steel RHS structure fixed back into facade i-beam 30mm motor-rotated timber louvres on steel RHS structure

DETAIL 1 FACADE

4.7

Crematorium, Berlin

by Axel Schultes Architekten

The optical fibres are brought down through three ‘left-over’ columns from the post-and-beam structure of the museum. The illumination of the top of the columns not only differentiate them in space, but also allude them to ‘embryotic’ lightwells. Their position being halfway between the facade and the lightwell naturally give more reason for them to bear more meaning by bringing in light.

OPTICAL FIBRE COLUMNS

4.8

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 1

2

3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

2

3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

[1]

Structure:

[3]

Optical Fibre Panel:

300mm steel CHS column 400mm steel sheet encasement, fireproof-painted

metal hangers bolted to composite metal decking luminaire panel

[2]

Floor Slab:

25mm screed cast with underfloor heating pipes, polished 25mm rigid insulation 100mm composite metal decking on steel i-beams 10mm plasterboard, rendered white ventilation grill

DETAIL 2 OPTICAL FIBRE COLUMN

4.9

The elaborate surface of the lightwell commences from the roof in the form of glazing with building-integrated photovoltaics (bipv). It flows down the lightwell in triangular pieces of metal mesh alike a fabric that delicately veils the lightwell. This continues to wrap the underside of the first floor, flaring outwards to cover the whole of the ceiling, creating an undulating surface that subtly defines space on the ground floor.

LIGHTWELL

4.10

LIGHTWELL FOLD-OUT ELEVATION

4.11

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1

1

2 5

3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

4

4

2 5

3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

[1]

Structure:

[3]

Spandrel:

300mm steel CHS column, fireproof-painted 800mm fenestrated i-beam

Aluminium metal sheet cladding DPM 150mm rigid insulation insulated ventilation flap

[2]

Floor Slab:

[4]

Glazing:

25mm screed cast with underfloor heating pipes, polished 25mm rigid insulation 100mm composite metal decking on metal floor hanger 10mm plasterboard, rendered white ventilation grill

6mm float glass + 16mm argon filled cavity 2 x 6.4mm laminated safety glass metal glass clip on column structural silicon joining glazing pieces

[5]

Metal Mesh:

steel glass spider attached to metal rod bolted to i-beam steel tension rods connecting glass spiders steel rod with hinge joint metal mesh attached to rods

DETAIL 3 LIGHTWELL

4.12

VISUAL - FIRST FLOOR

4.13

VISUAL - SECOND FLOOR

4.14

Workshop

Store

Resource studio

Workshop

Artist's in residence studio

VISUAL - THIRD FLOOR

4.15

05 STRUCTURE

the steel box the concrete plinth

portal frame a simple portal frame structure allows quick construction of the pavilion in the courtyard

roof a continuous space frame structure supported by outer perimeter ring beam and internal structural light well.

light well an inclined structurally load-bearing component. It is open from top to bottom, and supports the roof and 2nd and 3rd floors down to the 1st floor where the load is transferred down to the concrete pillars through cantilevered transfer structure.

frame it is composed of universal structural elements and unique specified box welded elements. the majority of the frame is simply connected with pinned joints, however the light well is a stiff, continuously welding structure within the frame.

bracings and cantilevered transfer structure consist of standard bracing members and cantilevered load-transfer members, where the load of the light well structure is transferred down through into the concrete pillars supporting the structure.

floors a composite floor system is used throughout the structure. The floor also serves as a wind diaphragm, transferring lateral forces into the cores. cores provide lateral stability exerted from both the wind, and the lateral component of the light well at the 1st floor. pillars supporting the steel frame structure and transfer the load down through to the piles.

foundation and piles piles placement corresponds to the positioning of columns at basement to 1st floor. by having the loading transferred directly onto the piles axially, it reduces the structural work by the basement slab, as it does not have to distribute the loading.

MAIN STRUCTURAL COMPONENTS

5.1

kalwall

steel mesh

louvres structure

building integrated photovoltaic panels

rotated louvres timber cladding

timber cladding glazing

CONSTRUCTION SKIN

5.2

The overall scheme can be broken down into two elements.

lightwell, slabs and beams resist compression

The main gallery building, a steel framed structure.

The founding structure, i.e. Basement area and first floor public space, which is predominantly concrete.

steel framed structure

concrete structure moment generated from resistance to lightwell, but relieved by the lateral action at the bottom of the lightwell

structural grid

GLOBAL STRUCTURAL STRATEGY

5.3

inclined column

pre-fabricated connection

ring beam

stiffenings

plate connector

The light well is a continuously welded structure. To ensure maximum quality control, critical portions of the structure will be fabrication off-site under factory controlled conditions, as will the transfer structures. Of particular importance are where the inclined column elements connect with the ring beams.

The sections will be lifted into place and propped from a temporary support structure which will surround the light well, as

well as supporting it internally. When the positioning is satisfactory, the elements will be welded together using high quality Tungsten Inert Gas (TIG) welding.

TIG welding gives the welder greater control over the weld, and although a slower process produces higher quality and stronger welds, essential in its selection, as the stresses running the structure are particularly high.

This method will also be used in the pre-fabrication of all light well elements.

CONSTRUCTION LIGHT WELL

5.4

structural layout

variable loading

Structural Layout and Loading 3rd floor

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Structural Layout and Loading 2nd floor

Subcategory C39 B2 C13 C11 D1

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4.0 3.0 3.0 2.0 4.0

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6.0 4.5 4.5 3 6.0

Permanent Loading

Permanent or ‘dead’ loading can differ depending on the fabrication of the structure and the amount of material used. NA BS EN 1991-1-1:2002 was used to determine what differs these values are. All Variable or ‘live’ loading depending on permanent the purposeloading of the isfloor Loading , of 1.35 assigned a partial factor, đ?›žđ?›žđ??şđ??şwas space. NA BS EN safety 1991-1-1:2002 used to determine what these values are. All variable loading is assigned a partial safety factor, đ?›žđ?›žđ?‘„đ?‘„ , of 1.5 Structural Element đ?‘Žđ?‘Žđ?’Œđ?’Œ (đ?’Œđ?’Œđ?’Œđ?’Œ/đ?’Žđ?’Žđ?&#x;?đ?&#x;? ) đ?œ¸đ?œ¸đ?‘Žđ?‘Ž đ?‘Žđ?‘Žđ?’Œđ?’Œ (đ?’Œđ?’Œđ?’Œđ?’Œ/đ?’Žđ?’Žđ?&#x;?đ?&#x;? ) đ?&#x;?đ?&#x;? đ?&#x;?đ?&#x;?

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Variable Loading

material used.Loading NA BS EN 1991-1-1:2002 was used to dePermanent termine values are. Allonpermanent Permanent what or ‘dead’these loading can differ depending the fabrication ofloading the and the of material NA BSđ?›žđ??ş, EN 1991-1-1:2002 isstructure assigned a amount partial safetyused. factor, of 1.35 was

1st floor

Figure 11: Structural Plan

Basil Spence | Frink Exhibition Gallery

used to determine what these values are. All permanent loading is assigned a partial safety factor, đ?›žđ?›žđ??şđ??ş , of 1.35 Structural Element Gallery Flooring: 150mm composite decking, 25mm insulation, 25mm screed, Partition loading (1kN/m2) Roof (Solar PV & glazing paneled space frame)

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Assumed 3.0

4.05 6

This gallery floorfactored ultimate This gives gives thethe gallery floor ultimate loadingfacas 13.05kN/m2 tored loading as 13.05kN/m2

basement and ground floor

Figure 11: Structural Plan

Basil Spence | Frink Exhibition Gallery

CALCULATIONS LOADING + STRUCTURAL LAYOUT 6

5.5

Beam and Column Sizing

Loading

Member

Self-weight: Assuming the light 400x400mm square, with a ste AutoCAD, gives a total steel le this gives a total dead weight o

Advance 355 steel. Taken from tata steel ‘blue book’. Worst Case members.

beam and column sizing advance 355 steel. taken from tata steel ‘blue book’. worst case numbers.

2nd floor E5G5 2nd floor G4G5

Effective Length (m) 11.3

Mmax (kNm)

Section Required

537.4

UKB 457 x 191 x 74

7.75

894.4

UKB 610 x 229 x 101

Pmax (kN) Column G5 5 3185 CHS 323.9 x 10 N.B. Required section includes the inclusion an additional 10% of Mmax to account for N.B. Required section the inclusion an additional 10% of Mmax to factored dead load of theincludes member itself. account for factored dead load of the member itself

At the base of the light well th down to give us the axial comp lateral force exerted on the st around the circumference of th analysis.

7196.2kN

Light Well (ultimate load captured)

52.5˚

Roof Load =350m2x4kNm-2=1400kN

light well (ultimate load captured) 3rd Floor =183m2x13.05kNm-2 + beam self-weight =2487kN

loading self-weight: total steel length =

steel section weight = total dead weight = fully factored this figure =

377m x 1.186kN/m 447kN. 603.6kN.

the total combined factored load at the base of the light well

=

7196.2kN

the 1st floor loading

=

1643.2kN

total loading taken by the transfer structures

=

8839.8kN

horizontal laid taken by each of the special transfer members

= =

8839.8kN / 6 1473.3kN

resolving at 1st floor

We can combine the 7196.2kN loading taken by the transfer s 1st floor along the grid line 4, 5 distributed evenly among these entire lateral component is tak and beams. The transfer struct these, member G4-RB14 is the

2rd Floor =201m2x13.05kNm-2 + beam self-weight =2702kN

1st Floor Loading = 123m2 x 13.05kNm-2 + beam self-weight = 1643.2kN

Figure 12: Loading through light well

The entire lateral component is taken back to the cores, which is transferred through the slab and beams.

Figure 13: Resolving at 1st F

1

Ring Beam

Basil Spence | Frink Exhibition Gallery

loading through light well

CALCULATIONS BEAM AND COLUMN SIZING + LIGHT WELL

5.6

cantilevered transfer structure internal stiffening plates

Design

Critical Member: Member: 1st Floor, G4-RB4

There are 3No. critical sections along the member which determine the design. The member will be construction of an s355 steel box welded, trapezoidal beam with plate thickness 15mm.

1473.3kN 35.6kN/m Ra=370.6 kN Ra

Rb

9.3m

The Design shows that the structural design is acceptable, though suggests an overlyconservative design for moment capacity. Further modeling of this element would help determine a more efficient design, which may include the use of a thinner plate thickness.

Rb=2291 kN

3.26m

M2

M1=2105 kNm

M1

B:

M2=4992 kNm Design

Critical Member: Member: 1st Floor, G4-RB4

There are 3No. critical sections along the member which determine the design. The member will be construction of an s355 steel box welded, trapezoidal beam with plate thickness 15mm.

1473.3kN 35.6kN/m Ra=370.6 kN Ra

Rb

9.3m

S:

S =1473 kN

The Design shows that the structural design is acceptable, though suggests an overly1 conservative design for moment capacity. Further modeling of this element would help determine a more efficient design, which may include the use of a thinner plate thickness.

Rb=2291 kN

3.26m

S2=2105 kN

M2

M1=2105 kNm

M1

B:

S2

M2=4992 kNm

S1

Figure 15: Iso-Cutway Sketch of Transfer Element

Figure 14: Moment and Shear

S1=1473 kN

S:

S2=2105 kN S2

S1

Location Determined by: Location @M Determined by: Moment Section Section

Figure 14: Moment and Shear

1

Moment of Inertia Area Section Modulus - Zx Capacity Suitability

6.7664 x 109 mm4 461978 mm2 24679 cm3 8343 kNm OK

Basil Spence | Frink Exhibition Gallery

Moment of Inertia Area Section Modulus - Zx Capacity Suitability

Figure 15: Iso-Cutway Sketch of Transfer Element

@ M1 Moment @M 2

Moment

2.9664 x 1011 mm4 2780660 mm2 359058 cm3 121395 kNm OK

6.7664 x 109 mm4 461978 mm2 24679 cm3 8343 kNm OK

Basil Spence | Frink Exhibition Gallery

@ S2 Shear

@ M2 Moment

@ S2 Shear

cantilevered transfer element the member will be construction of an s355 steel box welded, trapezoidal beam with plate thickness 15mm.

4.1012 x 109 mm4 367778 mm2 17380 cm3 2436 kN OK 8

2.9664 x 1011 mm4 2780660 mm2 359058 cm3 121395 kNm OK

4.1012 x 109 mm4 367778 mm2 17380 cm3 2436 kN OK 8

CALCULATIONS CRITICAL MEMBER

5.7

06 ENVIRONMENTAL

FACADE

natural lighting

OPTICAL FIBRE COLUMNS

ventilation

passive solar design

LIGHTWELL

solar power generation

rainwater recycling

The environmental strategies of the museum is conceived to be integrated into its architecture. The three tectonic elements are called into play around which various means of enhancing the energy performance of the building are utilized.

ENVIRONMENTAL STRATEGY CONCEPT

6.1

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Climate Zones Mechanical ventilation grill zone South-facing zone prone to heat gain North-facing zone prone to heat loss

Climate Zones Mechanical ventilation grill zone South-facing zone prone to heat gain North-facing zone prone to heat loss

Mechanical ventilation outlet zones are structured around the facade, the three optical fibre columns and the lightwell. This not only makes the ventilation strategy more clear and coherent, but also conveys a sense of clarity and elegance down to the level of detailing.

In terms of climate zones, the mass of the building can be divided into a south-facing zone which is more prone to heat gain and a north-facing zone more prone to heat loss. Two service cores sit on each of these zones respectively, providing opportunities for underfloor heating to operate individually in response to the internal thermal conditions in the zones.

CLIMATE ZONING & DUCTING STRATEGY

6.2

summer sun optical fibre bring natural daylight into different floors

building-integrated PV for generating energy

rotatable louvres close to reduce solar gain

natural ventilation (also as night time cooling)

rainwater recycling for flushing toilets

ENVIRONMENTAL SECTION SUMMER

mechanical ventilation using heat recovery unit

6.3

winter sun

optical fibre bring natural daylight into different floors

building-integrated PV for generating energy

rotatable louvres open to enhance passive solar gain

geothermal boreholes to extract heat for underfloor heating

rainwater recycling for flushing toilets

mechanical ventilation using heat recovery unit (natural ventilation same as summer)

ENVIRONMENTAL SECTION WINTER

6.4

non-structural concrete slabs made with recycled aggregate from excavation of the site

timber from wellmanaged forests

recycled steel

structural concrete walls and foundations made from blast furnace slag cement

SUSTAINABLE MATERIALS

6.5

07 CONCLUSION

CONCLUSION FINAL MODELS

7.1

CONCLUSION FINAL MODELS

7.2

CONCLUSION

7.3