Refurbishing Cultural Heritage: Environmental Retrofit of the Beiruti Rose House by Elias Anka

ARCHITECTURAL ASSOCIATION | GRADUATE SCHOOL M.ARCH SUSTAINABLE ENVIRONMENTAL DESIGN DISSERTATION PROJECT JANUARY 2017

Preserving Cultural Heritage

Environmental Retrofit of the Beiruti Rose House ELIAS ANKA

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ABSTRACT â&#x20AC;&#x153;Central Hallâ&#x20AC;? houses were once a predominant effective environmental model in a detached urban context. Density, poor urban planning and lack of conservation laws have contributed to a 76% reduction of these houses in the last twenty years. The Rose House, an 1882 ottoman structure, is still standing amid an alarming exploitation of its direct coastal surrounding. Its contemporary reality mirrors an increasingly widespread Lebanese phenomenon: being torn down to become yet another profitable lot in the city. These structures present some substantial possibilities for art production, artistic encounters, and accessibility. This dissertation explores the adaptation of the Rose house to the socio-cultural scene of the city by addressing the topic of cultural built heritage and its associated themes: light, time, space and memory. Retrofitting design strategies enhance daylighting levels by collecting light from the roof, offer adaptive lighting control by diffusing light at different levels and preserve thermal comfort in a multidisciplinary art space. Keywords: Vernacular, Heritage, Refurbishment, Exhibition space, Daylighting, Reflectors, Light, Color, Visual Comfort, Air flow, Activity, Thermal Comfort

Preserving Cultural Heritage

AA-SED | M.Arch 2015-2017

AUTHORSHIP DECLARARTION FORM AA- SED Architectural Association School of Architecture Graduate School Programme

M.Arch Sustainable Environmental Design

Submission

M.Arch Dissertation Project 2015-2017

Title

Preserving Culutral Heritage: Environmental Retrofit of the Beiruti Rose House

Number of words (excluding footnotes and references) 13 950 Student name

Elias Anka

Declaration â&#x20AC;&#x153;I certify that the contents of this document are entirely my own work and that any quotation or paraphrase from the published or unpublished work of others is duly acknowledged.â&#x20AC;? Signature Date

27th January 2017

Preserving Cultural Heritage

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ACKNOWLEDGEMENTS I would like to acknowledge the AA bursary committee for the bursary I was awarded to attend the SED M.Arch course 2015-2017. I would like to thank the Sustainable Environmental Design staff and invited tutors for their great knowledge. I would like to express my gratitude towards my tutor, Jorge Rodriguez Alvarez, for his constant support and evaluative guidance throughout the term. Many thanks to Simos Yannas, Paula Cadima, Gustavo Brunelli, Herman Calleja, Joanna Gonsalves, Klaus Bode and Nick Baker for their constructive feedbacks that helped reinforce the topic and push it furthermore. The development of this thesis wouldnâ&#x20AC;&#x2122;t have been possible without the support of Tom Young, whose art and passion has been an inspiration and his valuable archive of the Rose House has been a fundamental factor of many design decisions. I would like to thank Ghassan Masri for granting me access to the casestudy Mansion, and Nadia el Jaroudi for allowing me to monitor the thermal performance of the Rose House. I would like to acknowledge my SED colleagues for making this experience worthwhile. Special thanks to Elena, Shruti, Varunya, Paolo and Olga for all the discussions we had that helped ideas evolve and mature. My warmest regards to Wan Fong Wu for her knowledge, patience and kindness. Finally, to Evangello, for his positive spirit and emotional support throughout. And above all, to my parents, Milad and Marie Anka, for their unconditional love.

Preserving Cultural Heritage

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TABLE OF CONTENTS ABSTRACT AUTHORSHIP DECLARATION ACKNOWLEDGMENTS LIST OF FIGURES

03 05 07 11

1.0 INTRODUCTION 1.1 Cultural Background [1] Cultural Urbicide [2] Politics of Art and Space [3] Collective Initiatives 1.2 Methodology 1.3 Conclusion

2.0 CONTEXTUAL BACKGROUND 2.1 Climate Analysis 2.2 Central Hall: Stand-alone Model [1] Context [2] Ventilation [3] Building Envelope [4] Thermal Comfort 2.3 The Rose House [1] Urban Context [2] Organizational Structure [3] Chronology of Construction [4] Chronology of Occupancy 2.4 Conclusion

3.0 RESEARCH SCOPE 3.1 Research Questions 3.2 Design Brief

4.0 THEORETICAL BACKGROUND 4.1 Daylighting Theory [1] John Soane's Museum [2] Dulwich Picture Gallery [3] New Tate Modern [4] National Assembly for Wales 4.2 Vernacular Precedents [1] Villa Paradiso [2] Beit Beirut [3] Mansion

5.0 FIELDWORK ANALYSIS 5.1 Case study: Mansion [1] Thermal monitoring [2] Daylighting 5.2 Rose House [1] Thermal monitoring [2] Daylighting 5.3 Conclusion

6.0 ANALYTIC PROCESS 50 6.1 Base Case: Overview 6.2 Refurbishment Steps : Building Envelope [1] Step 1: Mass Obstruction [2] Step 2: Glazing Properties [3] Step 3: South Overhang 6.3 Refurbishment Steps : Internal Layout [1] Step 4: Atrium Design [2] Step 5: Glazed Passages 6.4 Light and Activity [1] Exhibition Space [2] Social gatherings and events [3] Lecture and performance hall 6.5 Air and Activity 7.0 MASTER PLAN 7.1 Rose House scale 7.2 Lighthouse scale

8.0 CONCLUSIONS

REFERENCES APPENDICES

76 78

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LIST OF FIGURES 1.0 INTRODUCTION Fig.1.1 Pre-dominance of high rise constructions on the city's old urban fabric, Beirut, Lebanon. (source: SBH, 2015)

Fig.1.2 Creative Interventions Fig.1.3 Art on 56th, a permanent art gallery (source: www.arton56th.com)

Fig.1.4 Rose House temporary exhibition (source: www.tomyoung.com)

2.0 CONTEXTUAL BACKGROUND Fig. 2.1 Climate Zones

(source: After Thermal Standards of Buildings in Lebanon, 2005)

Fig. 2.2 Mean Monthly Temperatures (source: After SED Spreadsheet)

Fig. 2.3 Sunshine Duration Analysis (source: After Meteonorm 7.0)

Fig. 2.4 Radiation Analysis (source: After Meteonorm 7.0)

Fig. 2.5 Mean monthly irradiance of global radiation received for horizontal and vertical surfaces (source: After Meteonorm 7.0)

Fig. 2.6 Wind Velocity

(source: After Meteonorm 7.0)

Fig. 2.7 Wind Rose Jun1- Sep31 (source:Grasshopper, Ladybug)

Fig. 2.8 Wind Rose Nov1- Apr31 (source:Grasshopper, Ladybug)

Fig. 2.9 Typical Central Hall space distribution Fig. 2.10 Beirut, Geographical pattern, 1936 (source: After Richard Thoumin, Geographie Humaine de la Syrie Centrale)

Fig. 2.11 Beirut, 1936

(source: Save Beirut Heritage)

Fig. 2.12 Typical stand-alone Central Hall (source: Maroun Ghassab Kassab)

Fig. 2.13 Evolution of the central bay (source: After Saliba, 2009)

Fig. 2.14 Manara area, Beirut Fig. 2.15 Rose House Fig. 2.16 Urban Situation (source: Tom Young Archive)

Fig. 2.17 Environmental key points (source: Maroun Ghassab Kassab)

Fig. 2.18 First floor plan Fig. 2.19 Triple Arches- North Elevation Fig. 2.20 Riwaq element (source: Karim Sakr)

Fig. 2.21 First floor: Central Hall, 2010 (source: Tom Young archive)

Fig. 2.22 Basement Floor: 1896-2017 comparison (source: Tom Young archive)

Fig. 2.23 Second floor: damaged structure Fig. 2.24 West elevation Fig. 2.25 Classification of construction elements (source: After Jneid, 2016)

Fig. 2.26 Use of accent lighting Fig. 2.27 Wall composition during the art exhibition Preserving Cultural Heritage

LIST OF FIGURES

3.0 INTRODUCTION Fig. 3.1 Design Matrix 4.0 THEORETICAL BACKGROUND Fig. 4.1 Location maps of the precedents Fig. 4.2 Front elevation of the house Fig. 4.3 View over the back of the museum (source: Fontoynont,1999)

Fig. 4.4 Section through the museum (source: After Fontoynont,1999)

Fig. 4.5 Plan of the museum (source: After Fontoynont,1999)

Fig. 4.6 Lighting sequences of the entrance (source: Bruce ,2014)

Fig. 4.7 Convex mirrors of the Breakfast Room (source: Fontoynont,1999)

Fig. 4.8 Material properties of the Breakfast Room (source: After Fontoynont,1999)

Fig. 4.9 Plan of the Breakfast Room: Daylight factor and composition (source: After Fontoynont,1999)

Fig. 4.10 Section through the Breakfast Room Fig. 4.11 Picture Room (source: After Fontoynont,1999)

Fig. 4.12 Material properties of the Picture Room (source: After Fontoynont,1999)

Fig. 4.13 Plan of the Picture Room: Daylight factor and composition (source: After Fontoynont,1999)

Fig. 4.14 Section through the Picture Room Fig. 4.15 Isometric view of Dulwich Picture Gallery (source: Varzgani, 2016)

Fig. 4.16 The Mausoleum, Dulwich Picture Gallery (source: Varzgani, 2016)

Fig. 4.17 Materials properties of Dulwich Picture Gallery (source: Varzgani, 2016)

Fig. 4.18 Base case illuminance levels (source: Varzgani, 2016)

Fig. 4.19 Case I: Reflectors (source: Varzgani, 2016)

Fig. 4.20 Case II: Skylights (source: Varzgani, 2016)

Fig. 4.21 Suggested design (source: Varzgani, 2016)

Fig. 4.22 Photo at Tate Modern: July 3rd at 16:00 Fig. 4.23 Photo at Tate Modern: July 3rd at 16:00 Fig. 4.24 Assembly of Wales: Front view (source: www.assembly.wales)

Fig. 4.25 Assembly of Wales: Section (source: Senedd- Annual Energy Consumption Report, Issue 2)

Fig. 4.26 Villa Paradiso refurbishment process (source: Tom Young archive)

Fig. 4.27 Exhibition Layout Fig. 4.28 First floor plan of Villa Paradiso Fig. 4.29 North and South elevations of Villa Paradiso Fig. 4.30 Photo showing the limit of solar access: July 28th at 16:30 Fig. 4.31 Section explaining ventilation and shading strategies Fig. 4.32 Beit Beirut (source: www.beitbeirut.org)

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LIST OF FIGURES

Fig. 4.33 Section explaining ventilation and daylight strategies (source: After www.beitbeirut.org)

Fig. 4.34 First floor plan of Mansion Fig. 4.35 North and South elevations of Mansion Fig. 4.36 Exterior panoramic view of Mansion Fig. 4.37 Central Hall of Mansion Fig. 4.38 Projection in the Central Hall 5.0 FIELDWORK ANALYSIS Fig. 5.1 Central Hall of Mansion, Beirut (source:mansion-blatt.blogspot.co.uk)

Fig. 5.2 Similarities between Mansion and the Rose House Fig. 5.3 Working schedule of Mansion Fig. 5.4 Data Loggers installation Fig. 5.5 Instruments positions in the halls, Mansion Fig. 5.6 Thermal performance of the ground floor: July 19th till July 22nd, Mansion Fig. 5.7 Thermal performance of the first floor: July 22nd till July 26th, Mansion Fig. 5.8 Spot measurements: Surface Temperature, Mansion Fig. 5.9 Spot measurements: Illuminance levels, Mansion Fig. 5.10 Instruments positions in the halls, Rose House Fig. 5.11 Thermal performance of the ground floor: Aug 11th till Aug 21st, Rose House Fig. 5.12 Spot measurements: Surface Temperature, Rose House Fig. 5.13 Spot measurementsL Illuminance levels, Rose House Fig. 5.14 Beirut, the Lighthouse- 1910 (source Tom Young Archive)

6.0 ANALYTICAL PROCESS Fig. 6.1 Central Hall of Mansion, Beirut (source:mansion-blatt.blogspot.co.uk)

Fig. 6.2 Materials properties of the first floor of the Rose House Fig. 6.3 Base Case: 1st floor plan- Daylight Autonomy (source: DIVA)

Fig. 6.4 Base Case: 1st floor plan UDI<100 (source: DIVA)

Fig. 6.5 Base Case: 1st floor plan 100<UDI<300 (source: DIVA)

Fig. 6.6 Visible sky angle provisions (source: After Littlefair, 2011)

Fig. 6.7 Rose House: Visible sky angle Fig. 6.8 First floor: Structural cracks and fillings Fig. 6.9 Mass subtraction Fig. 6.10 First floor: Mean solar radiation (source: Grasshopper + Ladybug)

Fig. 6.11 1st floor: Step 1: Daylight Autonomy (source: DIVA)

Fig. 6.12 1st floor: Step 1: Daylight Availability (source: DIVA)

Fig. 6.13 Triple arched glazing, Rose house Fig. 6.14 Glazing solar radiation- South Facade (source: Grasshopper + Ladybug)

Fig. 6.15 Glazing Replacement Fig. 6.16 1st floor: Step 2: Daylight Availability (source: DIVA)

Fig. 6.17 1st floor: Step 2: 100<UDI<300 (source: DIVA)

Fig. 6.18 1st floor: Step 2: 300<UDI<3000 (source: DIVA)

Preserving Cultural Heritage

LIST OF FIGURES

Fig. 6.19 1st floor: Step 3: Daylight Availability- 60cm (source: DIVA)

Fig. 6.20 1st floor: Step 3: Daylight Availability- 80cm (source: DIVA)

Fig. 6.21 1st floor: Step 3: Daylight Availability- 100cm (source: DIVA)

Fig. 6.22 Section through the central hall Fig. 6.23 Schematic diagrams of the concept Fig. 6.24 Raytracing of light beams (source: Grasshopper + Ladybug)

Fig. 6.25 Illuminance on surfaces on 21st June at 16:00 (source: DIVA, Radiance)

Fig. 6.26 Illuminance on surfaces on 21st December at 12:00 (source: DIVA, Radiance)

Fig. 6.27 Illuminance on surfaces on 21st June at 09:00 (source: DIVA, Radiance)

Fig. 6.28 Illuminance on surfaces on 21st June at 12:00 (source: DIVA, Radiance)

Fig. 6.29 Illuminance on surfaces on 21st June at 16:00 (source: DIVA, Radiance)

Fig. 6.30 Illuminance on surfaces on 21st December at 09:00 (source: DIVA, Radiance)

Fig. 6.31 Illuminance on surfaces on 21st December at 12:00 (source: DIVA, Radiance)

Fig. 6.32 Illuminance on surfaces on 21st December at 16:00 (source: DIVA, Radiance)

Fig. 6.33 Vertical wall surface: 300<UDI<3000 (source: DIVA)

Fig. 6.34 1st floor: Daylight Autonomy (source: DIVA)

Fig. 6.35 1st floor: 1st floor: 300<UDI<3000 (source: DIVA)

Fig. 6.36 GF floor: Daylight Autonomy (source: DIVA)

Fig. 6.37 GF floor: 1st floor: 300<UDI<3000 (source: DIVA)

Fig. 6.38 Exhibitions at the Rose House (source: Karim Sakr)

Fig. 6.39 Section over the central hall: Reflector position 1 Fig. 6.40 Illuminance on surfaces on 21st June at 12:00, Reflector position 1 (source: DIVA, Radiance)

Fig. 6.41 Plan of Scenario 1 Fig. 6.42 Gathering Space, The Rose House (source: Tom Young)

Fig. 6.43 Section over the central hall: Reflector position 2 Fig. 6.44 Illuminance on surfaces on 21st June at 12:00, Reflector position 2 (source: DIVA, Radiance)

Fig. 6.45 Plan of Scenario 2 Fig. 6.46 Lecture and performance hall, Rose House (source: Karim Sakr)

Fig. 6.47 Section over the central hall: Reflector position 3 Fig. 6.48 Illuminance on surfaces on 21st June at 12:00, Reflector position 3 (source: DIVA, Radiance)

Fig. 6.49 Plan of Scenario 3 Fig. 6.50 Air flow and velocity Jun21st 09:00 (source: Autodesk CFD)

Fig. 6.51 Air flow and velocity Jun21st 16:00 (source: Autodesk CFD) 14 AA-SED | M.Arch 2015-2017

LIST OF FIGURES

Fig. 6.52 Air flow and velocity Jun21st 09:00 (source: Autodesk CFD)

Fig. 6.53 Air flow and velocity Jun21st 16:00 (source: Autodesk CFD)

7.0 MASTER PLAN Fig. 7.1 Axonometry 1: Ground floor and upper slab Fig. 7.2 Axonometry 2: First floor and roof slab Fig. 7.3 Ground floor plan Fig. 7.4 First floor plan Fig. 7.5 Lighthouse and surroundings Fig. 7.6 Section through the site Fig. 7.7 Master plan of the site

Preserving Cultural Heritage

1.0 INTRODUCTION 1.1 Cultural Background

In order to explain the struggle of refurbishment in a society that lacks concern and guidelines for conservation and preservation of heritage, three main issues are therefore taken into consideration: [1] Cultural Urbicide1 Beirut’s swift urbanization caused by internal migration and natural growth rates in the population grew by tenfold between 1932 and 1980. Today, the property sector is worth $ 10bn per year. With limited empty spaces left in the city, construction is growing vertically, poorly planned and un-monitored. Of a list of 1248 traditional buildings compiled by The Lebanese NGO Association for Protection of Natural Sites and Old Buildings in 1995 ,that survived war, fewer than 300 remain. The government’s 1933 law of listing buildings dating back to pre-1700s as heritage rules out the 1800-1900s Neo-Ottoman and French influence on the traditional architecture of the city. It also excludes the traditional Beiruti central hall house and its adaptive variants, a model once largely spread across the city because of its flexibility to adapt to different climates, orientations, lifestyles and social class. The weakness of the Lebanese state and the lack of concern of its citizens lead to a common conception that individual property rights triumph over the well-being of the community. The city today is not short on idealistic conceptions of how developers perceive the notion of spatial environment and cultural heritage. (Fig. 1.1) [2] The Politics of Art and Space The majority of the creative people in the last 10 to 15 years have migrated from the city because they couldn’t afford to rent studios to work or display their art. Despite its distinction on the international art scene, the city still lacks governmental support to sustain art as a cultural discipline. New waves of artists are responding to the socio-political situation by revitalizing abandoned urban structures into artistic workshops and exhibition spaces. To make a bigger statement, they turned their attention to the very few houses left. The lack of public space has led to an interesting phenomenon where these houses are being negotiated as cultural built heritage incorporating the notion of public space into a historical context. Having survived civil war and large scale reconstruction schemes, they became part of the city’s identity and play a key role in architectural reclamation.

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Fig.1.1 Pre-dominance of high rise constructions on the city's old urban fabric, Beirut, Lebanon. Source: SBH, 2015

1.0 INTRODUCTION

Fig.1.2 Creative Interventions Source: Author

Fig.1.3 Art on 56th, a permanent art gallery Source: www.arton56th.com

Fig.1.4 Rose House temporary exhibition Source: www.tomyoung.com

[3] Collective Initiatives New creative interventions are being established to provide accessible work spaces for artists and prevent the demolition of the structures they occupy (Fig 1.2). Figure 1.3 portrays ‘Art on 56th’, a central hall house that has been repurposed into a permanent art gallery. Figure 1.4 shows ‘The Rose House exhibition’, a three months collective initiative by artist Tom Young to host talks, lectures and exhibit his work. Other notable projects such as “Mansion”, “Villa Paradiso” and Beirut Art Center have been negotiated as polyvalent art hubs and are playing a key role in engaging society with art and cultural practices. In an article reviewing Lebanon’s endangered buildings issued by online magazine Portal 9, former architect Ghassan Maasri, cofounder of Mansion, says “Lebanon itself is quite unique in light of the quantity of urban dead points. Such structures present some substantial possibilities for art production, artistic encounters, and accessibility”. (Badran, 2013) These initiatives are working on creating a radical shift in their surroundings by influencing other private owners to negotiate these uninhabited structures into creative spaces that foster and help generate awareness towards the built environment.

Notes

1- Term used to express violence against the city. It was first coined by author Michael Moorcock in 1963 and later used by critics of 1960s urban restructuring in the US. Preserving Cultural Heritage

1.0 INTRODUCTION

1.2 Methodology Design: Embodied Memory Design was informed by investigating cultural memory recorded about the Rose house throughout its active years. The large collection of archive was procured by artist Tom Young, during design research, and played a role in informing the retrofitting process of the space. In that sense, its embodied memory acts as token of architectural potency and cultural influence. A detailed description of the house is necessary to inform the design and create new contextual experiences. An understanding of its embodied memory liberates the design from mimicking its original conditions to adapting them to new environmentally driven contexts.

Process Research and design were established following a structured process divided into five main points: An understanding of the architectural and environmental features of a typical central hall house designed as a stand-alone unit is necessary to comprehend what makes the Rose House stand out from its early vernacular model. Being well informed about its urban context, cultural value, and occupancy throughout the last century will better inform the reader on the scope of intervention. An understanding of its architectural construction chronology will justify design decisions where alteration of the building envelope was needed. Literature review and built precedents include three major themes: Vernacular precedents were inspected to understand how other houses within a similar context have achieved their status as cultural hotspot in the city. Daylighting precedents were analyzed to be informed about benchmarks and natural light properties in an art gallery space. Rose House precedents were considered as design alternatives for different briefs and contexts. On the bases of the theoretical background, Mansion, a central hall house repurposed into a co-working space, was monitored to investigate and analyze its thermal performance. Sharing a similar urban context, the acquired results were then referenced during fieldwork analysis of the Rose House due to structural damage and unglazed openings on the top floor that could alter the output. Finally, design refurbishment decisions were made and analyzed by computational studies to validate and optimize results. A design suggestion of an extension is then proposed that is contextually and environmentally aware.

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1.0 INTRODUCTION

1.3 Conclusions â&#x20AC;&#x153;Art in public space is not necessarily of a permanent nature, and could include temporary interventions and symbolic gestures. The city functions as a starting point, the artwork as a trigger for a focus on things which are already present, rather than newly added valuesâ&#x20AC;?. (Verschelden, 2012) The Rose House, as considered in this dissertation, is an urban crack that offers the possibility to fuel collective learning processes and adapts itself to the changing dynamics of the city. The structure is repurposed into a multidisciplinary art space offering adaptive opportunities to provide different properties of natural light that meet the requirements of the space it occupies. Design could then be extrapolated to befit central hall houses, in the city, that are being negotiated as urban art hubs.

Preserving Cultural Heritage

2.0 CONTEXTUAL BACKGROUND 2.1 Climate Analysis 35

(°C)

Inland Zone

High-mountain Zone

Mid-mountain Zone

Beirut 15

Coastal Zone

Med

iterr e

nea n

0 Jan

Feb

Mar

Apr

Mean Daily Diffuse Horizontal Solar Radiation (kWh/m2)

Fig.2.1 Climate Zones

Source: After Thermal Standards of Buildings in Lebanon, 2005

May

Jun

Jul

Aug

Mean Daily Direct Horizontal Solar Radiation (kWh/m2)

Sep

Oct

Nov

Average Wind Speed (m/s)

Dec

Comfort Band

(°C)

Fig.2.2 Mean Monthly Temperatures Source: After SED spreadsheet

Coordinates 33 89 N, 35 50 E The city is located on the eastern shore of the Mediterranean with one of the highest urban density in the area of 21 000 inhabitants/km2 (PDSPL, 2015). UN-Habitat (2011) reported a 2% increase of population growth in urban and suburban area between 2009 and 2011 reaching 4 587 000 capita by 2020. They also reported an expected expansion rate of the urban fabric reaching 10Km2/ year. The accelerating expansion, with poor urban planning and an increase in the housing sector, will endanger the existing urban fabric and reduce public spaces in the city. Dense urban areas with high rise buildings and tight urban canyons affect temperature, wind and air quality therefore accentuating the urban heat island effect by increasing air temperatures in the center of the city where congestion is at its peak compared to the suburban and rural areas where roads are larger and vegetation is denser. According to Koppen-Geiger climatic classification. the country falls into the Subtropical Mediterranean zone. In 2005, the Lebanese Ministry of Public Works and Transport divided the country into four climatic regions: Coastal, Mid-mountain, High-mountain and Inland. (Fig. 2.1) Beirut, the city capital, falls into the first region characterized by mild winters and hot dry summers. The cold period is defined between November and April with temperatures falling between 11 C and 24 C. The warm period is defined between June and September with temperatures falling between 24.6°C and 31°C, mostly peaking in August. October and May are the two months of the year with moderate temperatures falling between 22°C and 27°C. This is defined as the mild period of the year. (Fig. 2.2) Monthly average relative humidity values range between 55% and 70%. The city has clear sky conditions for 65% of the year. The remaining percentage is characterized by intermediate to cloudy skies. Figure 2.3 shows that the sun shines for an average of 12 hours a day during the hot period of the year. This value drops to an average of 7-8 hours for the rest of the year, which is still relatively high. Astronomical sunshine hours, including twilight and dusk, range between 10 and 14 a day. Radiation analysis (Fig. 2.4) shows global solar radiation peaking at 230 KWh/m2 between June and August.

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Sunshine duration (h)

12 10 8 6 4 2

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sunshine Duration

Fig.2.3 Sunshine Duration Analysis

Sep

Oct

Nov

Dec

Astronomical Sunshine Duration

Source: After Meteonorm 7.0

240

Radiation (KWh/m2)

200 160 120 80 40

Jan

Feb

Mar

Apr

May

Jun

Jul

Diffuse Radiation

Fig.2.4 Radiation Analysis Source: After Meteonorm 7.0

Aug

Sep

Oct

Nov

Global Radiation

Dec

2.0 CONTEXTUAL BACKGROUND

W/m2 350 300 250 200 150 100 50 0

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

GGh

Sep

GvE

Oct

Nov

Dec

GvS

GvW

GvN

Fig.2.5 Mean monthly irradiance of global radiation received for horizontal and vertical surfaces

Fig.2.7 Wind Rose Jun 1 - Sep 31

Source: After Meteronorm 7.0

Source: Grasshopper, Ladybug

m/s 10.0

Wind Speed m/s

9.0

8.0 7.0

6.0

5.0

3.0

4.0 2.0

11 00

1.0 0.0

1 Jan

3 Feb

5 Mar

Fig.2.6 Wind Velocity

Source: After Meteonorm 7.0

7 Apr

9 May

11 Jun

13 Jul

15 Aug

17 Sep

19 Oct

21 Nov

23 Dec

Time (h)

Fig.2.8 Wind Rose Nov 1 - Apr 31 Source: Grasshopper, Ladybug

An analysis of mean monthly incident solar radiation for horizontal and vertical surfaces was conducted to compare different orientations (Fig. 2.5) The mean irradiance for horizontal global radiation peaks at 315W/m2. South oriented vertical surfaces gets the highest values between November and March with a peak of 190 W/m2. East and West orientations have the same mean average during the year. They peak between May and August reaching 170 W/m2 in July. North oriented vertical surfaces do not get any substantial sunlight. Figure 2.6 to 2.8 show that predominant winds are South-West and NorthEast during the cold period with average velocities ranging between 2.0 and 3.0 m/s,. These values are usually higher between 12:00 and 16:00. On the other hand, predominant winds are West and South-West during the hot period with average velocities ranging between 2.7 and 4.0 m/s. These values are usually higher between 09:00 and 12:00. Designing with natural ventilation strategies in mind during the hot periods helps reduce indoor temperatures to maintain thermal comfort.

Preserving Cultural Heritage

2.0 CONTEXTUAL BACKGROUND

2.2 Central Hall: Stand-Alone Model The central hall, as the name says, is a large space that serves as a general living area for gatherings of family and friends. It’s characterized by its high ceiling and triple arched central openings filling the space with natural light. The ground floor functions were mostly services and storage areas while the upper floor contained the living spaces. Rooms are on double sides of the central void and only accessible from it. The high pitched red tiled roof is one of the main characteristics of the model but was most of the time unoccupied. Central hall houses differ in sizes ranging from 100 to 500 m2 but maintain the same spatial distribution. (Fig. 2.9)

Rose House

River of Beirut

Isolated Houses

Fig.2.9 Typical Central Hall space distribution

[1] Context Up until 1926, Beirut was an independent port-city. Detached houses used to compose the water front landscape and spread out across the hills. (Fig. 2.10 to 2.12) Private outdoor spaces and gardens were always a recurring element in every dwelling which meant houses were always at a distance from each other, unobstructed and with wide views over the sea and the hills. This configuration insured sufficient solar access and natural ventilation all year long. [2] Ventilation The vernacular model was oriented according to the prevailing winds which would allow the central hall to be cross-ventilated through the triple arches opened on both sides. The side rooms were well ventilated and well lit. Every room had at least two rectangular windows on each of its external wall. “Small round apertures were built into the external walls relatively close to the room ceiling.While the rectangular windows were glazed and closed with external wooden shutters, these round apertures were sometimes left unglazed, enabling an undisturbed flow of air in and out of the room during summertime. During winter, an inner wooden plate was used for sealing them” (Aleksandrowicz, 2012). Night ventilation helped purge the excess heat of the day and cool the stone walls. [3] Building Envelope The thickness of the walls varies between 60cm and 90cm. The high thermal mass properties of the local sandstone along with reduced external openings resisted well to heat and minimized solar gains to create cool indoor thermal conditions. “The building envelope of a traditional house forms an effective barrier against the worst extremes of the external climate. It provides a filtering which modifies the climate sufficiently for the internal conditions to be more acceptable” (Collier, 1995). Shading devices like overhangs and external wood shutters were used to enhance indoor comfort during summer by reducing solar access through the glazings.

Houses without gardens

Fig.2.10 Beirut, Geographical Pattern, 1936

Source: After Richard Thoumin, Geographie Humaine de la Syrie Centrale

Fig.2.11 Beirut, 1936

Source: Save Beirut Heritage

Fig.2.12 Typical Stand-alone Central Hall Source: Maroun Ghassan Kassab

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Houses with gardens

2.0 CONTEXTUAL BACKGROUND

Traditional facade with a corbelled balcony

Transitional facade with corbelled balconies and portesfenetres

Transitional facade with a central bay setback

Modern facade with a central bay setback and veranda Fig.2.13 Evolution of the central bay Source: After Saliba, 2009

[4] Thermal Comfort A study made by Or Aleksandrowicz (2012) investigates the thermal performance of central hall houses in the Israeli/Palestinian coastal plain. Being in the same Subtropical Mediterranean zone as Beirut, the research was investigated to determine whether thermal comfort conditions could be achieved in a central hall house during the warm months of the year without the use of any mechanical cooling. The computer-based simulations analyzed the performance of three existing houses in Tel-Aviv and Haifa sharing a similar layout of a main central hall linking smaller rooms along its walls. Natural ventilation was proven to have a very important role in maintaining indoor thermal comfort during summer. The high thermal mass property of the stone walls coupled with night ventilation kept the indoor temperatures low. The results proved that the central hall was mostly warmer than the side rooms during a hot day due to the fact that it has less external wall surface and lower air change rates. Nevertheless, it was the most occupied space throughout the day due to its architectural typology and space distribution. Figure 2.13 shows how, with the introduction of cement and concrete in 1930, the typology was liberated from the constraints of load bearing stone walls and allowed to add floors or modify the layout of the house. The corbelled balcony with the central bay was aligned with the facade in the early traditional model. Structural characteristics of concrete allowed the facade to be setback offering a larger outdoor extension. This modification of the layout diversified the model and its adaptation to its context. The wide spread and dominance of that type of residential models suggests that its natural characteristics equipped with adaptive strategies offered the occupants pleasant indoor thermal conditions against the heat and high level of humidity. This type of architecture was not only implemented in domestic architecture. Throughout the capital, few buildings adopted the model to accommodate new functions: hotels, municipality headquarters, and mixed-use buildings.

Preserving Cultural Heritage

2.0 CONTEXTUAL BACKGROUND

2.3 Rose House ‘The Rose House’ is a 19th century three stories Ottoman house in the Manara area (Lighthouse area) in Beirut. It's classified as a central hall type of houses. It stands on a heavily exploited residential hill facing the sea surrounded by dense vegetation and palm trees. The house and its outdoor spaces form the last urban “void” in the area. It can only be seen whilst passing by the corniche (a large sidewalk longing the shore). Its intense shade of pink makes it noticeable from afar. Built in 1882, the house hosted families of different social classes, mostly artists and socialites, making it a well recognized cultural icon in the city. Following the death of its last owner, the house was bought by a rich developer. This transaction awoke fear that the house will become yet another profitable real-estate lot, a modern habit of the city’s stakeholders. This phenomenon raises questions surrounding the topics of cultural built heritage and refurbishment- the two being strongly interlinked- which this dissertation will address, in specific relation to the Rose House. [1] Urban Context Figure 2.16 illustrates the densification of the hill where the Rose House stands, for the last 120 years. Postcards dating back to 1896, 1927 and 1942 were compared with a recent aerial shot of the area. The earliest photo shows the house standing alone facing the sea with very few houses far away from it spreading down the hill towards the shore. The 1927 and 1942 photos portray Beirut as a port-city with trading boats and the inauguration of the lighthouse right behind the Rose House. The trading industry meant more settlements which increased the population and densified the area. The most recent aerial shot sheds the light on the gravity of the situation. The house stands amidst high concrete blocks dominating the skyline of the city. The lighthouse is barely seen, hidden by the aggressive landscape and merged with its context. The West facade of the house is exposed to the unobstructed prevailing winds which offers a potential for exploring natural ventilation strategies during hot periods, particularly at night. It’s South and East facades are obstructed by the neighboring buildings affecting solar heat gains and solar access as well as daylighting levels indoor, throughout the year. Its unused outdoor spaces offer potential for regeneration and creating public spaces, a notion the city substantially lacks. (Fig. 2.17)

Sea

Rose House

Fig.2.14 Manara area, Beirut

Fig.2.15 Rose House

Seafront

Unobstructed West prevailing winds

1896

1927

1942

45m

15m W

South and East obstructions

Unused outdoor spaces Fig.2.16 Urban situation Source: Tom Young archive

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2017

Fig.2.17 Environmental key points

2.0 CONTEXTUAL BACKGROUND

Bedroom 3

Sea Room Study Room

Riwaq: Colonnaded Hall

Fig.2.19 Triple Arches North Elevation

Bedroom 2

Entrance Central Hall

Fig.2.20 Riwaq Element Source: Karim Sakr

20.00m

5.35m

Kitchen

Bedroom 1

Central Hall

Side Rooms

Studio

East/West

Fig.2.18 First floor plan

A sun patch diagram analysis (see Appendix 1) done at 09:00, 12:00 and 15:00 for March 21st, June 21st and September 21st shows that while the south elevation doesn’t get any sun because of the high rise obstruction, the slab of the house is highly exposed mostly at 09:00 and 15:00 am and east exposed in September due to the low angle of the sun.

Fig.2.21 First floor: Central Hall, 2010 Source: Tom Young Archive

1896

2017

1896 2017 Fig.2.22 Basement Floor: 1896-2017 comparison Source: Tom Young Archive

Fig.2.23 Second Floor: Damaged structure

[2] Organizational Structure The plan of the house (Fig. 2.18) follows a typical central hall house spatial distribution with the central space serving as an access point to all the East/ West side rooms. It’s composed of three floors, the top two being identical while the basement floor differs in size and type. The Central Hall is 20m long and 5.35m wide with only the North and South facades exposed to the exterior. The hall is 5.50m high and is divided into three parts: - The North hall, called the Sea room, characterized by its triple arched 3.8m high glazed openings. - The Central Hall, assembly point leading to all the functions of the house, limited by two triple arched openings connecting the two other halls together.. - The South Hall, which used to be an artistic workshop, characterized by a single reduced opening to minimize solar gains. West rooms are offered an outdoor covered extension called the Riwaq, a traditional element in Lebanese architecture (Fig. 2.19). It’s a colonnaded hall longing the full facade of the house. It shades the West rooms from the sun during the hot period and protects it from strong winds, rain and blizzards during the cold period. Bedrooms are placed West to take advantage of the sea view. East rooms are mostly service areas and larger in size. Access to the house is a narrow corridor between those rooms leading to the central hall. Both East and West oriented rooms have at least one or two openings on every exterior wall. They're also well proportioned in size making them, in theory, well lit . The problem lies within the 20m deep plan central hall where the only source of natural light is the obstructed south facade, considering the north orientation elevation doesn't get any direct solar access. Figure 2.20 to 2.22 illustrates how occupants used the three floors. The basement floor characterized by its high vaulted ceiling doesn’t belong to the central hall typology. The ground floor has been mainly used as a residence particularly after civil war partially destroyed the top floor leaving it with structural cracks and demolished walls. Preserving Cultural Heritage

2.0 CONTEXTUAL BACKGROUND

1st period 1882

22m

5.50m

2nd F

5.50m

1st F

5.50m

2nd period 1920

3rd period 1940

4th period 1970+

Sandstone (U-value 3.88 W/m2K)

Fig.2.24 West Elevation

[3] Chronology of construction The house was built in four stages, with different construction techniques and materials used, depending on the era it was built in. (Fig. 2.25) The first construction period started with the basement floor serving as a hunting lodge. Sandstone was used as an original construction material. covered with lime plaster from the inside. The load bearing walls liberated the space from structural points and allowed the integration of barrel and cross vaults, a recurring element in traditional Lebanese architecture. The second construction period, dating back to 1920, saw the extension of the house vertically and the addition of the central hall, limited to one floor at the time. Sandstone was used as well with wall thickness ranging between 40 and 50cm., including lime plaster. The ceiling was made out of a wooden structure. The top central hall floor was added at a third stage when concrete started being employed in construction techniques. This stage dates back to 1940. Brick walls were used for internal partitions while the ceiling was a mix of I steel beams and concrete fill. Balconies and terraces were added over the two floors. The Riwaq element was added using concrete to build the arcades. In 1970, the ceiling of the top floor was replaced and a part was added to the basement floor using hollow block for the walls and eternit metal for the undulated roof. In the design process, preservation of the basement and first floor were extremely favored while an architectural intervention seemed more likely to happen in the second floor of the house, particularly the top slab added most recently. [4] Chronology of occupancy The house was inhabited from 1882 up until 2014, when a rich developer bought the house and the last occupant had to move out. Up to this date, no one is sure of its fate. During the moving out process, artist Tom Young negotiated the house as an exhibition space and a cultural hub and painted in the Rose House for three months. His exhibition, centered around the themes of heritage, memory and identity, awoke a sense of responsibility in the involved community. 26 AA-SED | M.Arch 2015-2017

Fig.2.25 Classification of construction elements Source: After Jneid, 2016

2.0 CONTEXTUAL BACKGROUND

In her social and anthropological thesis titled “Occupying the Rose House”, Ziade (2015) describes this awareness as an empowerment that serves to nurture grass root movements which challenge dominant regimes and reflects the varied citizen conceptions of cultural built heritage, time and space.. Here are two testimonies from Edward Nickoley a scholar who lived in the house in 1917, and Tom Young the artist who exhibited his work in 2014:

Civil War

1882-[1975-1990]-2014: Multi-family residence “You know where the house is, don’t you? The upper story of the Ardati’s between the lighthouse and the sea […] It is out over the road which winds down the hill towards the pottery. On the west, a broad porch, partly covered runs the whole length of the house. I had nothing between me and the starry heavens and I dropped off while the stars were twinkling down at me from the immeasurable blue which in these climates seems more immeasurable than elsewhere […] A refreshing sea breeze blows in, pure and unpolluted, from over the blue Mediterranean and it is all mine.” Edward Nickoley, August 1917, Beirut

Source: AUB Archive

November-January 2014: Art exhibition space "It is a suitable context for my work, which is concerned with memory, heritage, decay and survival in the face of adversity. The individual works and the space in which they are exhibited are inextricably linked- the paintings grow from the space, and my experience of being there."

Tom Young, October 2014, Beirut

During the exhibition, it's been noticed that the use of accent light during the day was necessary because of the low quality of natural light falling on the paintings and the underlit aspect of the hall used for the exhibition. Paintings were displayed on the walls of the central hall while the north and south hall were used to display art installations and modern sculptures. Paintings were limited to a 2.10m height for visual comfort leaving about 2m of the walls unused. These areas could be used to provide more light into the space or enhance East/West cross ventilation. Fig.2.26 Use of accent lighting Unused height h= 1.90m

Exhibition space h= 2.10m Unused height h= 1.10m Fig.2.27 Wall composition during the art exhibition Preserving Cultural Heritage

2.0 CONTEXTUAL BACKGROUND

2.3 Conclusion entral hall houses, with limited literature and research about the subject, present efficient environmental qualities due to their orientation, high ceilings, triple arches, wall thickness and thermal properties. Urban densification, along with lack of green spaces and high level of activities, raise the air temperature in the urban canyons and affect the performance of these houses. The Rose House, an endangered cultural icon in Beirut, is located on the sea shore of a densely developed urban area. Obstructed mostly south by a 45m high residential tower, the central hall of the house, oriented north-south, shows limited solar access and very low levels of natural light entering the space. The slab of the roof of the house gets a significant amount of sun all year long particularly at noon and in the afternoon, making it a potential source of light that could be diffused inside. When the space was used as an art exhibition, accent lights on the paintings were placed to enhance visual perception. This hypothesis will be validated in the following chapters by computational analysis. The houseâ&#x20AC;&#x2122;s orientation offers potential benefits in using the west predominant winds to maintain indoor thermal comfort. Adapting its layout to a more modern configuration could also contribute in enhancing daylighting levels. These key elements will be the drive behind the refurbishment process of the house, intervening mostly on the parts that has been recently added or mostly damaged: the second floor of the house and the slab of the roof. Repurposing the space into a cultural hub will reinstate the house as a beacon of art and collaboration and offer a platform of expression for artists and creative people in the city. The following chapter will set out how the space will be used in the refurbishment process. Along with conclusions from literature review and built precedents, the Rose House will be readapted to its context to enhance the visual experience in the central hall with minimum effect on its thermal performance.

28 AA-SED | M.Arch 2015-2017

Preserving Cultural Heritage

3.0 RESEARCH SCOPE 3.1 Research Questions The most problematic part of the house is the central hall spaced over two floors. The 20m deep plan is the most frequented room in the house and serving as a buffer space to the adjacent rooms. Its west and east walls are adiabatic. Its south wall is obstructed for most of the time of the year. Its north wall doesn’t receive any direct solar access. The space doesn’t achieve the required levels of natural lighting to be repurposed into a multidisciplinary space, particularly when hosting an art exhibition. This scenario is recurrent in most of the central hall houses that are being repurposed into cultural spaces. As seen in the first chapter, most of these houses currently exist in a dense urban situation, having at least two of their facades obstructed by new high-rises. This dissertation aims at enhancing the performance of these houses as a first step in reinstating them back into the community. The environmental study will focus on the Central Hall itself because it’s the space occupied most for the longest period of the day. It’s also the most active during the year, accommodating different needs and a multitude of activities. The architectural intervention will take into consideration the house as a whole followed by a conceptual design of its extension. South/East Obstruction How to use the roof of the building to diffuse daylight to the 20m deep-plan of the central hall while respecting the benchmarks for lighting in art gallery spaces? Retrofitting What are the limits of retrofitting an unlisted vernacular model non-subjected to conservatory and preservation guidelines to achieve adequate levels of daylighting? Extension How to use solar geometry to sculpt the mass of the extension of the traditional building while respecting its architectural value and taking into consideration the learnings of the latter?

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3.0 RESEARCH SCOPE

3.2 Design Brief The brief is divided into five large fragments: Central Hall 200 sqm as a multidisciplinary space for exhibitions, public talks, concerts and lectures Experimental ateliers 300 sqm 8 affordable workshops for young motivated professionals involved independently in the visual arts and creative industries Living studios 500 sqm 10 units to accommodate visiting artists and professionals Incubator: Research facilities 800 sqm including a library, multimedia, a lecture hall and meeting rooms Wood manufacturing workshops 500 sqm for making, mending and learning. With on-site assistance, the workshop lends resources such as wood equipment and offers space to assemble large models.

Individual thermal ctrl.

Security

Glare Control

Privacy

Natural Ventilation

Views

Solar Access

Daylight

A design matrix was established to compare the different parts of the brief. (Fig. 3.1) Environmental and architectural parameters were chosen to categorize functions according to their requirements. The central hall will host exhibitions, social gatherings, and lectures/ performances. The side rooms will be refurbished into experimental ateliers for people involved into visual arts. This configuration was chosen to limit the source of additional internal heat gains. Art gallery spaces and visual art ateliers do not require any equipments, hence no additional heat gains would alter the thermal performance of the house that will be monitored in the next chapters. The only source of gains that should be taken into consideration is heat generated by occupants activity and lighting. The second part of the brief will be allocated to the extension, that will be designed accordingly.

Area (m2)

Illuminance (Lux)

5000

Gallery

200

Experimental Ateliers

300

Working Spaces

400

300-500

Residential Studios

400

300

Research Incubator

750

500

Manufacturing Workshops

550

2000-5000

Restaurant

200

Fig.3.1 Design Matrix

Essential

Desirable

200-3000

200

Non-essential

Preserving Cultural Heritage

32 AA-SED | M.Arch 2015-2017

4.0 THEORETICAL BACKGROUND This research is addressing two main topics: Daylighting strategies and vernacular architecture. A brief initial research was conducted on art galleries and museums in London, and on central hall houses in Beirut that have been refurbished into exhibition spaces (Fig. 4.1). The aim of this research was to review and analyze ways to exhibit in central halls and how to achieve good levels of daylighting in exhibition spaces. The chapter is organized into two sections: Daylight Theory, mostly reviewing the work of architect John Soane through two of his buildings: [1] John Soane’s museum and [2] Dulwich Picture Gallery.

John Soane's museum Dulwich picture gallery

New Tate Modern

Welsh Assembly Hall

London, United Kingdom

In addition, [3] New Tate Modern, London and [4] Welsh Assembly Hall, Cardiff were briefly researched for better understanding of modern methods and innovative daylight techniques. Vernacular Precedents in which three houses were visited and analyzed in Beirut: [5] Villa Paradiso [6] Beit Beirut [7] Mansion, in which fieldwork was conducted in the following chapter.

The Rose House Mansion

Villa Paradiso

Beit Beirut

4.1 Daylighting Theory and Precedents “Museums and art galleries pose a difficult challenge, due to the display of materials that are sensitive to light radiation. In addition, contrast inside the space is one of the most important factors to enhance visual acuity and to enable a comfortable appreciation of the displayed work. Daylight has the potential to fulfill the required color and appearance. Therefore it is being used as the main source of illumination.“ (Vargzani, 2016) Light, in an exhibition space, is a key element to consider in architectural design and therefore should be well designed in a way to achieve desired quality of light illuminating the space. “ Lighting designers working within museums, galleries and historic interiors are presented with a large range of spaces and exhibits, many requiring a unique or specific approach to lighting. A successful lighting solution, either for a gallery space or for specific objects, is developed with an understanding of a number of key lighting principles.” (CIBSE LG08, 2015)

Beirut, Lebanon Fig.4.1 Location map of the precedents

Preserving Cultural Heritage

4.0 THEORETICAL BACKGROUND

John Soane is a neo-classical architect known for his intricate art and work with light in architectural spaces. Throughout his projects, he uses indirect lighting to illuminate the interior by reflecting light off the walls. The site for his home in Lincoln’s Inn Fields is a confined space impossible to allow light in throughout conventional windows (Fig. 4.2). Built in phases between 1792 and 1824, the house also serves as an exhibition space for his antiquities and valuable collection of paintings. “Soane’s series of roof lanterns, lumières mystérieuses, allowed him to illuminate the house by letting the light into the space along a flank wall, both reflecting light into the space and illuminating the objects displayed on these walls. This technique generated a contrast of lighter and darker spaces, an effect which is similar to the lighting conditions in Le Corbusier’s chapel Notre Dame du Haut” (Weber, 2013) The house occupies the front side of the building over three floors while the museum is dedicated to one single storey at the rear of the site.

Fig.4.2 Front elevation of the museum

Figure 4.3 reveals a variety of innovative daylighting systems using skylights, mirrors and hidden artificial light sources over the back of the museum developed by the architect as part of his experimental laboratory to craft space and atmosphere through light manipulation. A section over the length of the museum shows different skylights for different rooms, each letting through different properties of light to enhance the experience. (Fig. 4.4) “The house has been designed to be predominantly side-lit in order to provide visual contact with the external environment, and the museum is essentially top-lit to maximize wall space for the display of Soane’s work” (Fontoynont, 1999)

Fig.4.3 View over the back of the museum Source: Fontoynont,1999

Due to the size of the museum, the study was concentrated on two main rooms, situated at entrance level: the Breakfast Room (1) and the Picture Room (2). (Fig. 4.5) Figure 4.6 portrays the entrance of the house towards the crypt showing sequence of different spaces and lighting conditions as part of the architectural experience. This method allows the visitor to experience the house’s continuous modulation of light to dark, fragmentation of rooms and depth of field.

Fig.4.4 Section through the museum Source: After Fontoynont,1999

1 Breakfast Room

2 Picture Room

Fig.4.5 Plan of the museum Source: After Fontoynont,1999

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Fig.4.6 Lighting sequences of the entrance Source: Weber, 2014

4.0 THEORETICAL BACKGROUND

Breakfast Room Built in 1812, the room sets an example of how characteristic Soane’s work is. The dimensions of the room are 3.80 by 5.50 with a height of 3.30m. The space has a domed ceiling supported by arches on four pilasters. Each spandrel of the dome has a convex mirror while the soffits of the arches have smaller convex mirrors (Fig. 4.7). The center of the dome has a lantern light with painted glass through which natural light poetically infiltrates the space. “By raising the lanterns above the line of the main ceiling, the architect creates a concealed lighting effect that extends the boundaries of the room and evokes an impression of the scalloped ceiling hovering over the main space” (Fontoynont, 1999) In addition, two skylights were placed at the north and south ends of the room, and two windows were placed east and south. The room receives light mostly from the east facing window. Figure 4.8 sets a breakdown of the material properties that compose the space. The yellow glazing of the roof light with a Northern transmittance value of 57% gives a warm effect in the room. Lightskylight bounces Domed off between the roof and the ceiling, hits the convex mirror and diffuses light ceiling onto the walls to illuminate the paintings. Figure 4.9 and 4.10 show how the daylight factor (ratio of indoor level of light over outdoor level ofOctogonal light in an lantern-light overcast sky condition) drops from 4% to 1% from the east window to the Glazed opening center of the room. Having a larger skylight glazing area, the north side of the room has a higher daylight factor than South (2% compared to 0.5%).

Northern skylight Domed ceiling Octogonal lantern-light Glazed opening

Southern skylight Fig.4.7 Convex mirrors of the Breakfast Room Source: Fontoynont, 1999

Glazed opening

Northern skylight

0.5

Domed ceiling

%0.5 %1

%2 %4

Southern skylight

Description Materials and Textures 5m (Properties)

0.5 1

Rooflight/ Glazing

57% (Tn) Yellow glazing

Walls/ Ceiling

Octogonal 29% (LRV) lantern-light Light Wood

Furniture

8% (LRV)Convex mirror DarkDomed Wood ceiling

Floor (Carpet)

Artwork 14% (LRV)

0 0.5

1 0.5

SouthernArtwork skylight Glazed opening

%1 %2

%0.5 1

Octogonal Octogonal lantern-light lantern-light Glazed opening Convex mirror Domed ceiling

LRV= Light Reflectance Values (Hemispherical) Tn= Transmittance (Normal) Glazed opening

Octogonal lantern-light

Convex mirror Domed ceiling Artwork %2

%1 %0.5 %0

Fig.4.8 Materials properties of the Breakfast Room

Vertical Daylight Factor

Source: After Fontoynont, 1999

11:00

12:00

13:00

14:00

15:00

16:00

17:00

60.0 Klux 32.0 Klux 64.8 Klux 12.3 Klux 10.8 Klux 24.0 Klux 10.1 Klux Northern skylight

Northern skylight

Domed ceiling

Octogonal lantern-light

%0.5 %1

Glazed opening

%2 %4

Glazed opening

Southern skylight

Southern skylight %4

Glazed opening %0.5 0

Glazed opening

%1 %2

0.5

Octogonal lantern-light %3

Artwork

%2 %4

11:00 12:00 13:00 14:00 15:00 16:00

%4 %0.5 1

%1 %2 5m

Fig.4.10 Section through the Breakfast Room

Fig.4.9 Plan of the Breakfast Room: Daylight factor and composition

Convex mirror Domed ceiling

%0.5 %1

Source: After Fontoynont, 1999 Octogonal lantern-light

(lux) 1000 900 800 700 600 500 400 300 200 100

Illuminance values- Fieldwork: June 7th 0.5

0.5

Convex mirror Domed ceiling

Preserving Cultural Heritage %3

Artwork %2

4.0 THEORETICAL BACKGROUND

Illuminance spot measurements were conducted on June 7th between 11:00 and 17:00 to validate the theory. Results were found to be coherent with the consulted literature. Highest values were found at 11:00 am because of the sun’s east position, outdoor illuminance values, and the large glazed east window. Although at 13:00 there’s more light outside, indoor illuminance values are lower because of the reduced glazed surface in the southern side of the room.

Central rooflight

Picture Room Built in 1824, the room illustrates Soane’s last style phase. The dimensions of the space are 4.60 by 4.80 with a height of 5,85m. The walls of the room has continuous clerestories on the south, north and west facades (Fig.4.11). A round roof light is placed in the centre. Figure 4.12 shows a breakdown of the material properties that compose the space. With low reflectance values for the floor, walls and roof, the architect was able to provide a uniform distribution of illuminance to exhibit his artwork using clear and translucent glazing of high and low transmittance (19 to 48%). Light is diffused before it reaches walls exhibiting his artwork. Figure 4.13 and 4.14 show a drop of Central vertical daylight factor to 0.7% on the west wall because no clerestories wererooflight used on the east facade. The rest of the walls have values of 1 to 1.6%. The central skylight was added to increase daylight factor by 2% on ground level.

0.5

%2 %1

%0.7

0.5

5m 1

Central rooflight

10% (LRV) Grey

3 Wall panels

5% (LRV) Dark Wood

4 Floor

22% (LRV) Wood

%4 %0.7

Source: After Fontoynont, 1999

0.5 12:00

13:00

14:00

15:00

16:00

17:00

60.0 Klux 32.0 Klux 64.8 Klux 12.3 Klux 10.8 Klux 24.0 Klux 10.1 Klux

Central Central 1000 rooflight rooflight

%2 %1

0.5

0 1 1 0.5 0.5

Fig.4.13 Plan of the Breakfast Room: Daylight factor and composition Source: After Fontoynont, 1999

Continuous clerestories (N,S and W)

%1 %0.5 %0 5m

(lux)

Central rooflight

%1.4 %1.6

Vertical Daylight Factor

11:00

Fig.4.12 Materials properties of the Picture Room

%0.8

0.5

36 AA-SED | M.Arch 2015-2017

5m 5m

900 800 700 600 500 400 300 200 100

%2 %1 %2 %1

0 1 1 0.51

0 0.5

0.5

5m 5m 5m

Fig.4.14 Section through the Breakfast Room Central Central rooflight rooflight Continuous Continuous clerestories clerestories and W) (N,S (N,S and W)

1 0.5

0.5

(N,S and W)

2 Wood/Walls

Continuous clerestories (N,S and W)

19 to 48% (Tn) Continuous clerestories Translucent glazing

1 Clerestory

0.5

Central rooflight

Materials and Textures (Properties)

Source: Fontoynont, 1999

LRV= Light0 Reflectance Values (Hemispherical) 1 5m 0.5 Tn= Transmittance (Normal) Description

Fig.4.11 Picture Room

11:00 12:00 13:00 14:00 15:00 16:00 17:00

%0.

4.0 THEORETICAL BACKGROUND

Reflections from the daylight coming though the clerestories glass was reported to cause problems when the visitor tries to look at the paintings hanging high up. Fieldwork was also conducted in the Picture room to validate literature review theories. Figure 4.14 shows higher Illuminance values were found in the middle of the room because of the central roof light, particularly at noon. [2] Dulwich Picture Gallery, London, UK The gallery was designed in 1811 with vertical glazing and ceiling monitors. Refurbishment works, after war damage, followed the same principles set by its architect John Soane. Oriented north-south with rooflights (Fig. 4.15), the galleries were designed for an even distribution of daylight. The yellow tint glazing used in the Mausoleum, one of the galleries, brings warm feeling and a positive mood to the space (Fig 4.16). Figure 4.17 shows the material properties of the space. A study by Ameer Varzgani (2016) performed on the Dulwich Picture Gallery analyzes the space as it is through false color renderings then simulates the

Fig.4.15 Isometric view of Dulwich Picture Gallery Source: Varzgani, 2016

LRV= Light Reflectance Values (Hemispherical) Tn= Transmittance (Normal) tn= Transmissivity Description

Fig.4.16 The Mausoleum, Dulwich Picture Gallery

Source: Varzgani, 2016

Fig.4.18 Base case illuminance levels Source: Varzgani, 2016

Materials and Textures (Properties)

1 Roof Light

Tn= 0.59; tn=0.64 Translucent glazing

2 Ceiling

71% (LRV) Colonial White

3 Walls

19% (LRV) Terracotta Pink

4 Floor

37% (LRV) Da Vinci Wood American Oak

Fig.4.17 Materials properties of Dulwich Picture Gallery Source: Varzgani, 2016

Fig.4.19 Case I: Reflectors Source: Varzgani, 2016

Fig.4.20 Case II: Skylights

Source: Varzgani, 2016

Fig.4.21 Suggested design Source: Varzgani, 2016

Preserving Cultural Heritage

4.0 THEORETICAL BACKGROUND

addition of a reflector and the relocation of the roof-light to monitor daylight enhancements. Figure 4.18 shows how light is reflected towards the middle of the gallery due to the angle of the ceiling. It also shows an uneven spread of light on the walls caused by having a lower reflectance value than the floor. Having the walls painted in light colors with high reflectance value should be essential for any gallery design. Figure 4.19 analyzes daylight levels after adding an opaque reflector (LRV: 80%) under the rooflight, similarly to the breakfast room in Lincoln Inn Field’s site. Inter-reflections from the surface directs light on the wall causing sun patches and creating potential glare problems for paintings displayed on a higher level. After relocating the skylights, an analysis was done to assess improvements. Figure 4.20 shows an uneven distribution of light on the wall. The author designed a module (Fig. 4.21) based on the learnings of Dulwich Picture Gallery to achieve a uniform distribution of light and avoid monotony in the space. “By understanding the adaptability of the eye, it was observed during the fieldwork that monotony in spaces can lead to fatigue and tiredness. Simultaneously, change in atmospheres from one space to another refreshes and can help in efficiency. Viewing angles has to be carefully adjusted as unappropriated display can lead to glare. The transitional experience should be smooth.” (Varzgani, 2016) Finally, surfaces at various angles helps reflect light and create more dramatic experiences throughout the building.

Fig.4.22 Photo at Tate Modern: July 3rd at 16:00

[3] New Tate Modern Fig.4.23 Photo at Tate Modern: July 3rd at 16:00

Fig.4.24 Assembly of Wales: Front view

Source: www.assembly.wales

of natural light

nd allow natural

creased cooling s of space. For daylight into the

d and go beyond amatically in the of broadcasters and Committee

Main Report

In some galleries, the roof geometry does not allow illumination through lanterns or rooflights. In the case of Tate modern museum, high glazed side windows provide the exhibition space with plenty of light to illuminate art. Figure 4.22 is a photo taken on July 3rd at 16:00. It shows solar access reaching the other side of the room, hitting the wall where no art is exhibited. Sun patch on the walls and floor of the exhibition spaces are not usually favored. “Normal windows are not usually provided in new exhibition spaces unless they are heavily screened to avoid very bright elements in the field of view. Windows also take up valuable display space. However, they can be provided and used to advantage in circulation or rest areas, provided they do not interfere with the visual adaptation state of visitors as they move about the building” (CIBSE LG08, 2015). Figure 4.23 shows how large windows with a bright view is moderated by low-transmission glazing and shaded by outdoor vegetation. It is very important not to place any paintings on the wall beside the openings because of the luminance difference between the interior and the exterior. Low transmittance glass should be used in that case, or tinted glazing that maintain the view to the outside without altering the color appearance of light. Figure 4.22 shows how the bright side of the room was used to exhibit art installations instead of 2D art and paintings, the latter being more sensitive to light. [4] Welsh Assembly Hall

e overall natural t in realising the

Debating Chamber – Daylighting Strategy Fig.4.25 Assembly of Wales: Section

Source: Senedd- Annual Energy Consumption Report, Issue 2

38 AA-SED | M.Arch 2015-2017

Natural light penetrates the private debating chamber of the project through a glazed lantern above the domed roof beneath a rotating wind cowl (Fig. 2.24, 2.25) Light is then reflected through a conical mirror suspended under the lantern. The mirror can move vertically to suit the required levels of daylighting to accommodate different activities including lectures and broadcasting. The mirror reflects low angle winter sun into the middle of the space. Direct solar access is only allowed when the chamber is not in session creating sun patches and shadow to animate the space and create a dynamic environment.

4.0 THEORETICAL BACKGROUND

4.2 Vernacular Precedents [5] Villa Paradiso One of the successful refurbishment central hall projects that was able to repurpose the house into a vibrant cultural is Villa Paradiso. The owners having been working on its renovation to preserve its identity. Concrete was used to fill bullet holes then painted over matching the original color of the wall. The damaged roof slab has been replaced by a concrete slab and the triple arched windows glazed with tinted glazing, close to the original conditions of the central hall. Figure 4.27 illustrates how exhibition in the central hall happen in three layouts: An open-plan exhibition gives priority to central installation pieces whereas 2D art is exhibited on the walls. Lighting in that case is directional where the light source follows the piece and controllable to highlight shadows and contrast. A partitioned space allows a defined user-path through using light partitions to divide the space and gain more surfaces to exhibit on. A peripheral exhibition liberates the centre for gatherings and limits exhibition surface to the walls of the central hall. Similarly to the Rose House, the central hall is oriented North and South with a high-rise building obstructing the southern elevation (Fig. 4.28). With a 13% Window-to-Wall Ratio (WWR) (Fig. 4.29), the facade was originally mostly shaded by a 15m palm tree that blocked solar access during summer. Wooden louvered shutters are used for additional shading on all facades. High ceilings enhance thermal stratification and enhances air movement in the hall so that warmer air goes up while cooler air stays at the occupants level. Fresh air is provided through North-South cross ventilation across the central hall. (Fig. 4.31) Figure 4.30 is a picture taken on July 28th at 16:00 showing the efficiency of overhangs in blocking solar access on the NorthWest facade.

High-rise building obstucting south facade

7.00m 5.45m

Central Hall

Hall extension

Side Rooms

Terraces

Fig.4.28 First floor plan of Villa Paradiso

Single glazing (U-value 5.80 W/m2K)

Building envelope: Sandstone (U-value 3.88 W/m2K)

Fig.4.26 Villa Paradiso refurbishment process Source: Tom Young Archive

South Elevation WWR 13%

Open-plan space Central exposition Directional lighting (Shadow, depth)

Fig.4.27 Exhibition layout

Partitioned space Lightweight partitionsSpotlights

Peripheral space Border exposition Directional lighting Spotlights

North Elevation WWR 24%

Fig.4.29 North and South elevation of Villa Paradiso Preserving Cultural Heritage

4.0 THEORETICAL BACKGROUND

High-rise building obstucting south facade

High ceilings enhance thermal stratification

Louvered external wooden shutters to block the sun but allow wind in

Height: 15m Palm tree shading 60% of the south elevation

4.80

5.40

Fig.4.30 Photo showing the limit of solar access: July 28th at 16:30

Fig.4.31 Section explaining ventilation and shading strategies

[6] Beit Beirut In the heart of Beirut lies a central hall house marked by bullet holes that goes by the name “The Yellow House”. It contains the stories of the people who lived in it before the war, and the snipers who occupied it, during, because of its strategic location. The building has been saved by activist and architect Mona Hallak for future generations. The building is a historic landmark that’s been refurbished into a museum and a cultural center. (Fig.4.32) The house is South-West/South-East oriented providing good solar access to maintain good levels of daylighting. The new glass structure , recently added, compliments the old building and connects to it by a central open air atrium, replacing an older inner courtyard, which the house was known for. At the bottom of the atrium, a glass skylight allows natural light to reach deep areas. Another circular window allows atrium light to continuously run down through to the basement. Perforation of the skin controls fresh air to cross ventilate the space and maintain thermal comfort by reducing indoor air temperatures (Fig. 4.33)

Fig.4.32 Beit Beirut

Source: www.beitbeirut.org

Natural light reaching deep plan areas through light wells

Rooftop bar Exhibition area Urban planning platform Cross ventilation through the skin

Cultural centre Open space Auditorium Archives

Fig.4.33 Section explaining ventilation and daylight strategies Source: After www.beitbeirut.org

40 AA-SED | M.Arch 2015-2017

4.0 THEORETICAL BACKGROUND

[7] Mansion

High-rise building obstucting south facade Pub

lic s

tree

17.85m

P:\0073 Fawaz House-tmp Samar\Drawings\0_Permit\2001-11-01permimodif\existant\010531_R6-1er.dwg, Model, 29/1/2015 6:28:02 PM, NAarch-40-DWG TO PDF.pc3, ISO A3 (420.00 x 297.00 MM), 1:125

The Mansion is a collective art space in Zoqaq el-Blat, Beirut. A 1930 Ottoman era residence at first, the house has been unoccupied since 1987 up until architect and activist Ghassan Maasri negotiated the house with the owner to turn the place into a multi-purpose art space. The new project hosts exhibitions, discussions and film screenings as well as 10 working studios for permanent residents. Mansion is an attempt at unlocking community rights to the city as users of the public and private realms, and the spaces-in-between. Relying on the help of collaborators and craftsmanship, he restored and rehabilitated the building with no external funding with recycling and reusing materials in mind. Materials needed have been procured over time. Furniture was donated by the communityâ&#x20AC;&#x2122;s elderly, valuable books for the library were found in other abandoned houses and scraps from art projects decorated the space. The house is 800 m2 over two floors following the classical central hall house typology (Fig. 4.34) Recent extensions were added to the house: the west wing was built in 1930 while the east extension was built in 1950. Sandstone was used as a construction material, similarly to the Rose House and Villa Paradiso. A comparison between the theoretical window-to-wall ratio, recommended by the Center for the Study of the Built Environment in Beirut, and the actual WWR factor of the house, shows a relatively close values for the North facade while the South facade exceeds the theoretical number by 7%. (Fig. 4.35) As extensions were being added to the house throughout the years, urban density and obstruction was taken into consideration thus increasing window surfaces to the South facade to allow more light in and maintain cross-ventilation throughout the central hall. A high-rise building obstructs the house south limiting solar access (Fig.4.36). There is currently no mechanical systems installed to provide heating or cooling. When it gets too cold, Occupiers of the house use a wood fired cased chimney to raise indoor temperatures to a comfortable level. (Fig.4.37) Figure 4.38 shows the space being used for projections on a screen that rolls down in front of two windows. With poor lighting quality and a high contrasted background, visual fatigue is anticipated. In an interview with the architect and current owner of Mansion, he reported overheating during summer in the second floor of the house and significant differences in temperatures between the first and second floor. In the next chapter, this difference of temperatures in the central hall was monitored, during fieldwork conducted on the house in July. Daylight spot measurements were also taken to analyze light levels inside the space.

5.25m

Central Hall

Hall extension

Side Rooms

Terraces

Outdoor Space

Fig.4.34 First floor plan of Mansion Single glazing (U-value 5.80 W/m2K)

Building envelope: Sandstone (U-value 3.88 W/m2K)

South Elevation WWR 17% WWR 10% (Center for the Study of the Built Environment)

Fig.4.36 Exterior panoramic view of Mansion

Fig.4.37 Central hall of Mansion

Fig.4.38 Projection in the Central hall

North Elevation WWR 21% WWR 19% (Center for the Study of the Built Environment)

Fig.4.35 North and South elevations of Mansion Preserving Cultural Heritage

42 AA-SED | M.Arch 2015-2017

5.0 FIELDWORK ANALYSIS 5.1 Case Study: Mansion As introduced in the previous chapter, Mansion is a traditional Ottoman house in Beirut with a central hall distributing to the side rooms and the other parts of the house. (Fig. 5.1) After itâ&#x20AC;&#x2122;s been unoccupied since 1987, the structure has been repurposed in 2012 and re-emerged as a multidisciplinary collective space. Having architectural and urban similarities with the Rose House (Fig. 5.2), Mansion was monitored for nine days to understand its thermal performance and analyze its daylight levels. Results were then referenced during fieldwork in the Rose House, where thermal and daylight monitoring couldnâ&#x20AC;&#x2122;t be done because of structural cracks and broken glazing failing to cover the full length of the openings. During the many visits to Mansion, hours of occupancy and number of occupants were surveyed. Figure 5.3 illustrates the different scenarios that have happened over the month of July. In normal working days, 12 to 15 people occupy the two stories house 24 7. The studios (side rooms) operate at an irregular schedule by regular occupants renting the space at a very affordable price. The house welcomes 2 to 3 guest artists over the length of their project. In a normal occupancy scenario, the central hall is almost vacant while the side rooms are fully occupied, with 2 to 3 people in every room. A medium occupancy scenario occurs when lectures or projection sessions are scheduled usually between 16:00 and 20:00, mostly after working hours. The central hall is then occupied by 20 to 30 people. A high occupancy scenario occurs when the occupants of the house and the guest artists exhibit their work in the central hall over two floors. It is estimated around 80 people are present at once in the central hall, after 18:00. Exhibitions usually happen once a month. People are observed to be moving around the space, not lingering in one spot or another. Mansion Rose House Central-Hall dimensions

17.85 x 5.25 94 m2

20.00 x 5.35 105 m2

Central-Hall orientation

North-South

Floors and ceiling height

2 Floors 5.20m

2 Floors 5.50m

Sandstone 0.4m

Glazing Type

Single Glazing

Urban context

South Obstruction 32m High-rise

Building Envelope

(U-value 3.88 W m2K)

Source: mansion-blatt.blogspot.co.uk

(U-value 3.88 W m2K)

(U-value 5.80 W m K)

Window-to-Wall Ratio

Fig.5.1 Central Hall of Mansion, Beirut

Ground Floor: Data logger ceiling position

(U-value 5.80 W m K)

South Obstruction 45m High-rise

South: 17% North: 21%

South: 15% North: 20%

Fig.5.2 Similarities between Mansion and the Rose House 70-100

High Occupancy Medium Occupancy Normal Occupancy

02:00

04:00

12-15

2-3

06:00

20-30

08:00

10:00

12:00

Exhibitions

Fig.5.3 Working schedule of Mansion

14:00

16:00

Viewings

18:00

20:00

Workers

22:00

24:00

Guest Artists

First Floor: Data logger ceiling position Fig.5.4 Data Loggers installation Preserving Cultural Heritage

5.0 FIELDWORK ANALYSIS

[1] Thermal monitoring

For a thorough analysis of the thermal performance of the house, a monitoring of each of the South, North and Central hall had to be done. Data loggers were placed as follows (Fig. 5.5) - One in each of the South and North hall, a meter high from the ground - Two in the Central hall, 40cm above ground and 40cm under the ceiling -One in the South Hall, its antenna pointing out to monitor outdoor temperature

South Hall 4

Central Hall 2

1 North Hall

+1.00m 1

+0.40m 2

+4.80m 3

+1.00m 4 Outdoor 5

Fig.5.5 Instruments positions in the halls, Mansion

Sky Conditions Wind Direction WSW

The position of the instruments in the central hall allows a better understanding of the thermal stratification, enhanced by the height of the ceiling (Fig. 5.4) and the air circulation. The whole process was performed over the two floors for a total period of 8 days, split evenly. Thermal results of both floors performed between the 19th and 26th of July are shown below coupled with daily direct solar radiation data (Fig 5.6, 5.7). Outdoor air temperature fluctuates between 27 and 30°C during the day and between 24.5 and 27 C during the night, staying within comfort. The comfort band ranges between 24.3 and 30.7 C for the month of July (as generated by the SED spreadsheet). The temperature in the North hall is coupled with the outdoor. It fluctuates following the same pattern. The triple arched single glazed openings oriented North receive no direct solar radiation. Due to high heat loss, indoor temperature remains below the temperature outdoor. Contrarily, on the ground floor, the South and Central hall are completely decoupled from outdoor and maintain a steady temperature during the day.

WSW

80.0

31.00

70.0

1.60k

30.0

1.20k

20.0

0.80k

33.00

Central Hall GF 0.40+ Central Hall GF 4.80+ South Hall North Hall Outdoor

July 22nd

0.40k 0.00k

Indoor Humidity (%) Direct Solar Radiation (W/m2)

WSW

00.0

12:00

09:00

06:00

03:00

23:00 00:00

21:00

18:00

July 21st

Fig.5.6 Thermal performance of the ground floor: July 19th till July 22nd, Mansion Sky Conditions Wind Direction

15:00

12:00

09:00

06:00

03:00

23:00 00:00

21:00

July 20th

18:00

15:00

12:00

09:00

06:00

03:00

23:00 00:00

July 19th

21:00

18:00

15:00

10.0

12:00

Temperature (°C)

25.00

2.00k

40.0

Relative Humidity (%)

27.00

50.0

Direct Solar Radiation (W/m2)

60.0 29.00

90.0 80.0 70.0

31.00

60.0 2.00k

40.0

1.60k

30.0

1.20k

July 22nd Exterior Walls Party Walls Roof Floor Windows

July 23rd U-values 25% 3.88 W m2 W F ratio 1.80 W m2 W W North 70% 4.00 W m2 W W South 17% 3.00 W m2 4.80 W m2

July 24th

Fig.5.7 Thermal performance of the first floor: July 22nd till July 26th, Mansion 44 AA-SED | M.Arch 2015-2017

July 25th Central Hall GF 0.40+ Central Hall GF 4.40+ South Hall North Hall Outdoor

12:30

09:30

05:00

23:00 00:30

18:30

14:00

09:30

05:00

23:00 00:30

18:30

14:00

09:30

05:00

23:00 00:30

18:30

14:00

09:30

05:00

23:00 00:30

18:30

00.0

14:00

10.0

Temperature (°C)

20.0 25.00

July 26th Indoor Humidity (%) Direct Solar Radiation (W/m2)

Direct Solar Radiation (W/m2)

27.00

50.0

Relative Humidity (%)

29.00

0.80k 0.40k

0.00k

5.0 FIELDWORK ANALYSIS

The Central hall shows a steady difference of -0.5K because it has no surfaces in direct contact with the outdoor. While air temperature under the ceiling of the Central hall and in the South hall are identical during the day, a big difference is noted at night. Warm air, mostly from the South hall, goes up during the day because of its density and is trapped under the ceiling, maintaining a steady temperature during the night. The poor envelope of the house causes a large thermal conduction with the outdoor which contributes to dropping air temperature by 1.3K. The slab of the first floor is directly exposed to solar radiation during the day. Differences in temperature in the Central hall during the day are significantly higher than in the ground floor. That difference peaks to 2.2K on July 23rd at 18:30. Mean irradiance for horizontal global radiation peaks at 315 W m2 during July which means the uninsulated slab of the roof is exposed to high solar radiation for prolonged hours during the day. Thermal stratification proves to be significant because of the height of the ceiling in the Central hall. The difference is negligible at night. Air temperature of the air at the top drops down by 4 degrees. Uninsulated, with a high u-value of 3.88 W m2, the building envelope delays heat exchange with the outdoor by 2 hours noticed mostly between 05:00 and 07:00 in the morning. Spot measurements taken on the 25th July shows surface temperatures of the walls and the ceilings of the house (Fig. 5.8). While the ground floor shows a 1K difference, the first floor of the house shows a significant difference of 4K between the wall and the exposed slab.

470

410

360

South Hall 3

[2] Daylighting

To investigate light levels inside the space, illuminance spot measurements were taken on the 26th of July (clear sunny sky) in the first floor of the house at 11:00 am (Fig 5.9). Results showed values ranging between 200 and 400 Lux next to the north and south glazed facades. While south oriented vertical surfaces should get significantly higher incident solar radiation than north, the high-rise building obstructing the house south blocks solar access and drops down light levels in the space. As we go deeper into the Central Hall towards the middle, the space becomes darker with values dropping down dramatically reaching 1 Lux. These values were found odd during analysis because, although the space was very under-lit, it wasn’t completely dark. Results obtained do not meet the 50 lux requirement of minimum light level for adequate visibility (CIBSE LG08, 2015)..

Central Hall 1

135

155

North Hall 215

280

380

4930

26 JUL

12:50

Clear Sky Sunny

Air Temperature from Wunderground: 28 °C

Relative Humidity Range 61-83%

North

South

100

200

300

400

500 (Lux)

Fig.5.9 Spot measurements: Illuminance levels, Mansion

Uninsulated roof Uninsulated walls

31°C 27°C 26°C 25°C

Fig.5.8 Spot measurements: Surface Temperature, Mansion Preserving Cultural Heritage

5.0 FIELDWORK ANALYSIS

5.2 Rose House [1] Thermal monitoring The same process was followed to achieve a better understanding of the thermal performance of the Rose House. (Fig. 5.10) Access was allowed to the ground floor of the house only as the first floor presented possible risks due to structural cracks and broken glass. A monitoring of the first floor in its current conditions is unnecessary as results are expected to be coupled with the outdoor. Data loggers were installed on the ground floor, with the same previous positioning, for 11 days, between 11th and 21st of August. The house has no equipments, no electric lighting and no occupants. Thermal fluctuation is due to solar gains through the glazing and the building envelope only. Three scenarios were monitored during the process. As a first step, to understand the effect of South-North cross ventilation, only the south and north windows were open. Doors leading to the west side rooms were closed. Then to analyze the effect of the west ventilation, doors to the side rooms and to the riwaq were left open for 4 days before closing everything, for the final step, to test the effect of the building envelope.

5 1 North Hall

Central Hall 2

South Hall 4

+1.00m 1

+0.40m 2

+5.10m 3

+1.00m 4 Outdoor 5

Results are shown in Figure 5.11. All throughout the monitoring, the air in the North hall is coupled with the outdoor with a temperature difference of 2K during the day and 0.6K at night. Its high window to wall ratio aspect receives no direct solar radiation which allows the space to be cooler than the outdoor. As monitored in Mansion, air temperatures in the central hall of the Rose house show a 1K difference during day and night, the air close to the ceiling being warmer than the air closer to the ground. South hall air temperatures are the closest to the upper limit of the comfort band. This is due to the fact that heat is trapped inside because of its low 13% window to wall ratio. While the North hall maintains comfortable temperatures, ventilation in the South hall is blocked because of the obstruction leading to a relatively steady temperature during day and night.

Fig.5.10 Instruments positions in the halls, Rose House

[10-16 August] Scenario 1: South and North windows open [16-18 August] Scenario 2: Scenario 1 + West ventilation effect [18-22 August] Scenario 3: All windows closed Sky Conditions Wind Direction

WSW

SW 1

SW 2

Calm

90.0 80.0

31.00

70.0 60.0

Aug 11th

Exterior Walls Party Walls Roof Floor Windows

Aug 12th

Aug 13th

U-values 3.88 W m2 1.80 W m2 4.00 W m2 3.00 W m2 4.80 W m2

Aug 14th

Aug 15th

W F ratio 24% W W North 77% W W South 13%

Aug 16th

Aug 17th

Central Hall GF 0.40+ Central Hall GF 4.85+ South Hall North Hall Outdoor

Fig.5.11 Thermal performance of the ground floor: Aug 11th till Aug 21st, Rose House 46 AA-SED | M.Arch 2015-2017

Aug 18th

Aug 19th

Indoor Humidity (%) Direct Solar Radiation (W/m2)

Aug 20th Aug 21st

1 West Windows Open 2 All Windows Closed

14:30