Architectural Works - Strathclyde year 4

Fadhlyana Fadhil Year 4 Portfolio (2014 / 2015)

Department of Architecture University of Strathclyde James Weir Building 75 Montrose Street Glasgow G1 1XJ

Table of Content 4

................................................ Introduction

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...................................................... AB 418 Architectural Design Studies 4A

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...................................................... AB 419 Architectural Design Studies 4B

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...................................................... AB 420 Cultural Studies 4: Dissertation

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...................................................... AB 421 Special Study Projects 4: Urban Design

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

Introduction (as stated in student handbook)

1.1 Study Programme Year 4 is the BSc Honours Year for continuing students; the first year of a two year PgG Dipl in Advanced rchitectural Design, and the first year of a two year Masters in Architectural Design International (MADi). We refer from now to all these courses as ‘Year 4’. The study programme for Year 4 helps the students consolidate their architectural design skills, introduces them to the idea of architecture as responsive to ‘issues’, and provides the setting where they begin to define an area of interest in their choice of specialist optional classes, and within the Cultural Studies 4 (Dissertation). The Dissertation in particular affords students the opportunity to pursue in depth, through academic inquiry, this idea of personal interest.

On completion of the study programme, students will be able to: • demonstrate sophisticated and comprehensive capability in design through all its stages and constituents; • define an area of personal interest; • document the research and critical evaluation of a chosen area of interest.

The first year of the PG Dipl/MArch in AAD counts as the first of the two years required for Part 2 Exemption from ARB/RIBA, whilst the first year of the PG Dipl/MArch in Architectural Design International (MADI), counts as the first of the two years course accredited by RIBA Part 2. The second year of both courses (Year 5) will grant the full Part 2 for either ARB/RIBA (AAD) or RIBA (MADI). As such, the Year 4 and Year 5 ethos are closely linked and form a coherent body of study.

Fourth year is where architectural issues and interests are initiated and discovered, to further inform work undertaken in Year 5. The Year is organised and coordinated by the Year 4 Director. The Part 2 Director and Director of Education are also involved in the smooth running of the year and its constituent parts.

1.2 Curriculum The normal curriculum of Year 4 consists of 100 credits of compulsory classes, (60 of Design Studio, 40 of Cultural Studies) and an additional 20 of Optional Classes offered as Special Study Project 4. Details of the required classes are given below.

Classes Semester Credits AB 418/AB 419 Design Studies 4A/4B 1 & 2 60 AB 420 Cultural Studies 4 1 & 2 40 AB 421 Special Study Project 4 1 & 2 20 It is the responsibility of the student to ensure that they have a complete academic portfolio (including all briefs, class assignments, feedback sheets and all submissions) available for internal and external examinations/ assessment at the end of Semester 2.

1.3 Design Projects Two design projects are carried out in Year 4. One 20 credit project in Semester 1 and one 40 credit design project in Semester 2. The objectives and nature of these design projects are described in Section 2 of this document. Students are organised in tutorial groups, each under guidance of an assigned pair of experienced tutors.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) 1.4 Compulsory and Optional Classes The studio constitutes half of the overall curriculum, which students will undertake during the year. The other half comprises both Cultural studies and Optional Classes. These are crucial elements aimed and helping students develop analytical, critical, organisational skills as well as explore areas of special interest in relation to the department’s research portfolio and interests. All students are normally required to submit a written Dissertation as part of Cultural Studies 4. The objectives and nature of this class are described later in this document. Students are also expected to select one Special Project class worth 20 credits from a menu specified by the Department.

1.5 Study Programme The criteria by which all work is assessed are defined within each Class Module Descriptor. Each class and each design studio defines these criteria through the learning outcomes. The total submission/s of assignments cumulatively establish the learning outcomes of the class.

Whilst these have quantitative similarities in the amount of work expected, their specific characteristics will vary according to the programme of each project. The assessment of design work cannot be reduced to the quantitative accumulation of points. Credit collection is not and should not be perceived as the core objective.

There will always be aspects of creative activity, which involve work of an exploratory and unpredictable nature which cannot be quantified through checklists. Nevertheless within each project there are general criteria irrespective of the project with regards to presentation, development of the brief, of form, of space, of technology, by which the project will be evaluated. Subject classes establish assessment criteria according to individual assignment requirements.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

AB 418 Architectural Design Studies 4A

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

AB 418 Module Title Architectural Design Studies 4A Module Registrar Mr David Reat Other Lecturers Involved Studio Design Tutors Credit Weighting 20 Semester 1 Compulsory/optional/elective class Compulsory Academic Level Year 4 Prerequisites ARB/RIBA Part 1 Studies Resit Examinations August Diet

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Introductory Project

When you grasp a door handle, you are doing more than just opening or closing a door, you are shaking hands with the building.

- Juhani Uolevi Pallasmaa

Handles matter because they are the first part of the building you touch and set up your whole experience of the building.

-Edwin Heathcote

A door handle is used to open or close a door. It can represent the first physical contact we have with a building.

It symbolises the introduction to a piece of architecture, how it looks, how it feels, how it operates…

‘Primacy of Touch’

The boundary line between ourselves and the world is identified by our senses. All the senses, including vision, are extensions of the tactile sense; the senses are specialisations of skin tissue, and all sensory experiences are modes of touching, and thus related with tactility. The view of Ashley Montagu, the anthropologist, based on medical evidence, confirms the primacy of the haptic realm: “[The skin] is the oldest and the most sensitive of our organs, our first medium of communication, and our most efficient protector… Touch is the parent of our eyes, ears, nose, and mouth.

It is the sense, which became differentiated into the others, a fact that seems to be recognised in the age-old evaluation of touch as ‘the mother of the senses’” Juhani Uolevi Pallasmaa

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) TO CARE (PART 1) - HOSPICE Introduction

“It is not length of life, but depth of life” “He who has a why to live can bear almost any how”

—Ralph Waldo Emerson —Friedrich Nietzsche

The project concerns the design of a Young Adults (16-25 years old) Hospice, to be sited on the edge of either one of Glasgow’s principle parks – Glasgow Green, located in the east, or Kelvingrove Park to the west of the city.

Hospice (Latin hospes, referring both to guests and hosts) is both a type and a philosophy of care that focuses on the palliation of a terminally ill patient’s symptoms. Hospices (originally conceived by the Crusaders circa 1065) were established in the early 14th century by the order of the Knights Hospitaller of St. John of Jerusalem, to provide refuge for travellers and care for the ill and dying. Many of the foundational principles by which modern hospices operate were pioneered in the 1950s by Dame Cicely Saunders. She prosthelytised that terminally ill patients needed compassionate care to help address their fears and concerns as well as palliative comfort for physical symptoms – which can be physical, emotional, spiritual or social in nature. Saunders emphasised focusing on the patient rather than the disease and introduced the notion of ‘total pain’, which included psychological and spiritual as well as the physical aspects.

Many children with a life-threatening or life-limiting condition now live into young adulthood due to advances in medical care. The need for respite care to extend beyond children’s services is important to meet the individual needs of these young people. The journey to adulthood itself can be uncertain and because of illness young people and their families can be faced with many challenges.

Young adults have their own unique needs that are different to those of children and a children’s hospice no longer meets their individual requirements. Focused support through this period of transition from children’s to adult services is essential.

The new facility would provide support for young people with palliative care needs. The facility would provide care centred on privacy, dignity and independence.

Young adults are able to come to the new hospice for respite visits. These visits are available throughout the year and can be booked to suit the needs of the young person. Sometimes a visitor may stay for a couple of days, and at other times they may choose to visit for a whole week.

Each young person is offered 14 nights respite each year. Young adults are provided with privacy, dignity and independence during their visit and facilitate as many experiences for them as possible. It is up to the individual to decide how they want to spend their respite visit but is usually is a great opportunity to meet new people, try new things or relax. Visitors usually book their respite in advance, but sometimes if an emergency occurs, emergency support will be offered If parents or partners wish to stay, while a young person visits, this is possible. A self-contained flat for families to use, should therefore be considered.

Hospices rely on their architecture to do a significant amount of the passive palliative work, setting the scene for people going through a traumatic experience. They are places where people draw on strengths they may 10

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) they may not have realised they had, in order to maximise their own capacity to cope. The buildings should provide the chance for people to read themselves differently, as individuals in unusually difficult circumstances, not as patients, let alone terminally ill ones. The building must feel safe and welcoming. They need to be small, and domestic in scale, yet retain a strong sense of dignity. The architecture should exude hope, giving the users a place to turn to which is surprising, thought provoking and even inspiring.

As well as stitching itself between the city and the park, the hospiceshould be designed to increase the sense of connectedness between people: they are not alone in this situation and people can find ways of moving forward from the crisis of a diagnosis. The architecture should be thinking about the human relationships and assisting those connections, presenting spaces that make people feel better rather than worse (like most hospitals). As an architect, you must be aware of the balance of promoting infection control whilst simultaneously retaining a sense of dignity for the user at all times. You are asked to subject your own thesis ideology as to contemporary hospice design –especially single-occupancy rooms versus ward strategy. Inherent social factors such as culture, religion, sex, relationships and bespoke places of worship should be considered in conjunction with fundamental considerations, such as maximising daylight and the opportunity to be able to look out (and even step out) from inside to outside, should be addressed. This must not however, be to the expense of simultaneously retaining a strong degree of privacy for the more intimate spaces.

The hospice should serve as an interface, both physically and metaphysically. The importance of the dichotomies of inside/outside, inclusion/exclusion, life/death - all situated in a location between city and park - is intrinsic in its design.

Design Development

The health of the eye seems to demand a horizon. We are never tired, so long as we can see far enough.

- Ralph Waldo Emerson

The main facts in human life are five: birth, food, sleep, love and death.

-E. M. Forster

During the studio, we will develop design proposals to a scale of 1:100 and 1:50 demonstrating an understanding of spatial organisation, programme response and inherent structural and environmental systems. Each of the two sites come with their own set of challenges and site specific needs. It is therefore important to consider how your design proposal relates to issues of daylight and lighting, its urban design impact and the massing that it will form and the relationship between its exterior, the park and city. In particular, you should investigate the relationship between the quality of the architecture and its impact on the user’s experience.

Important also, will be varying scales required to meet the needs of those users. The building should be approximately 1,200-1,500m2 including circulation. External space is a requirement but it is at your discretion what the extent and location of this is.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Site Analysis • The site is located near to the river (water source).

• This proposed site is surrounded by contours of the parks that can give natural barrier and is secluded for privacy purpose.

• Location of the hospice proposed site will not interfere with the visitor views of the park as it is located at the lower area of the park.

• Located near the service entrance from Eldon Street, for ambulance easy access.

• 5 minustes away from Kelvinbridge Subway Station.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Healing Tree Hospice Design This hospice facility was created to meet the growing needs of the community for respite and end-of-life care.

From nursing services and social work to volunteer and bereavement services. Rather than assume the form of a standard hospice, the contemporary needs of the patients and health-care workers are being studied. With a firm grasp of those needs came the desire to also create a comfortable and home-like user experience for all.

The theme: WARMTH, COMFORT, PRIVACY, CONNECTIVITY AND SOLIDITY.

The goal for hospice is to provide compassion, comfort and dignity and to emphasize quality of life for persons and their family so they may live every moment of their life to the fullest. In order to streamline the traffic brought on by this diversification, public, semi-public and patients’ private floors were established and program elements organized accordingly. This ensures the privacy of the inpatients located on the top floor from the daily traffic of the outpatient facilities on the ground floor.

As user of the building enters, they will entertained by the health-care workers. The consultations room situated near the public area that can be used by visitors and also the patients of this hospice. The facilities of this hospice includes a small multi faith space, library, multipurpose space, large dining room and lounge where families can prepare and share meals and socialise with other patients or family on the ground floor. For the purpose of medical improvements of the patients, snoezelen room and a hydrotherapy pools are offered in this building. On the first floor, 12-bed facilities are provided which, 10 of the rooms are designated for inpatients and two for respite care.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) The design offers large patient rooms full of natural light with different views. The rooms can either viewing towards the river and tower of Glasgow University, or viewing towards the park and Park Circus. The feature double doors wide enough to roll a patient’s wheelchair onto the terrace. There are two sleeping rooms at the ground floor for family members and pull-out sleep chairs in patient rooms, dining and living rooms at the patient’s floor that act as a common areas for families to gather. These ding and living spaces can be combined along with the terrace to accommodate patient’s community events. The bi-folded doors helped these flexible space to open up towards the park. Thus, it creates integration of the space and the Kelvingroves Park.

Fundamental to the design of the project is the fully glazed inner courtyard from which all other spaces can be visible. This outdoor space allows direct sunlight into the core of the building on all floors. Given the private nature of the facility, it provides protected outdoor space for users, as well as transparency and clear sightlines across the project.

Several sustainable features were inherently related to clients’ health care and overall comfort. Thus, they were seamlessly integrated into the design. For instance, primarily private green spaces, such as the courtyard and roof garden, can be enjoyed by patients, and high-efficiency tinted glass ensures privacy from the street, protecting users from UV rays and infrared while minimizing heat gain. The courtyard and operable windows allow for cross ventilation for fresh air and temperature control.

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Location Plan (nts)

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

Site Plan (nts)

Roof Plan (nts)

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

Ground Plan (nts)

1. Drop off area 2. Parking 3. Ramp 4. Entrance 5. Lounge 6. Reception & information centre 7. Cloakroom 8. Storage 9, staff area 10. Filing room 11. Staff toilet 12. Reading area 13. Changing room

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14. Hydrotheraphy pool 15. Multifaith room 16. Consultation room 17. Living room 18. Snoezelen 19. Family bedroom 20. Multi purpose area 21. Dining area & kitchen 22. Toilet 23. Lift 24. Stairs 25. Refuse chamber

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

First Floor Plan (nts)

1. Ramp 2. Lounge 3. Viewing room 4. Nurse station 5. Patient bedroom 6. Lift 7. Stairs 8. Laundry 9. Commont area 10. Plant room

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

1. Balcony 2. Patient bedroom 3. Toilet 4. Courtyard 5. Corridor 6. Hydrotheraphy pool 7. Multipurpose area

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8. Stairs 9. Lift 10. Toilet 11. Kitchen 12. Dining room 13. Multipurpose area 14. Family bedroom 15. Balcony 16. Common area 17. Laundry 18. Patient bedroom

Section A-A (nts)

Section B-B (nts)

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Typical Bedroom Layout (nts)

1. Entrance door with glass 2. Hand sanitizer dispenser 3. Built in closet 4. Patient bed 5.pull out sleep chair 6. Chair 7. Wall mounted television 8. Window 9. Double wide glass door 10. Balcony 11. Wc 12. Sink 13. Curtain 14. Side wall supports 15. Shower

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Sectional Details (1:50) ROOF CONSTRUCTION: -50mm roof membrane -60mm polystyrol thermal insulation sealant layer -19mm mm plywood panel -76mm/1.5mm sheet metal decking -50mm mineral wool thermal insulation vapour barrier -90/260mm dolid wood beam -2440/1220/20mm marine plywood giled finish -210/1250mm Glued laminated timber beam

INSULATION GLAZING: -10mm toughened glass -18mm cavity -2 x 6mm laminated safety glass

WALL CONSTRUCTION: -Finishes white paint coating -250mm brick wall -100mm polysocyanutate insulation -100mm cement with coating

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Material Studies Brighten up the hospice spaces with white brick walls to give calm down living spaces to the patients who definitely need a calm and bright mood.

Environmental Studies

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

AB 419 Architectural Design Studies 4B

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

AB 419 Module Title Architectural Design Studies 4B Module Registrar Mr David Reat Other Lecturers Involved Studio Design Tutors Credit Weighting 40 Semester 2 Compulsory/optional/elective class Compulsory Academic Level Year 4 Prerequisites ARB/RIBA Part 1 Studies Resit Examinations August Diet

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Introductory Project The chosen site for park design is along river clyde at govan. One of the planning goals is to maximize year round waterfront use by introducing a new layer of public open space along the existing riverside. The stretch establishes focal points that enhance the length of the esplanade space and at the same time link the City to the waterfront.

New amenities such as pavilions under the FDR Drive, public access to piers, designated pedestrian and bike lanes will provide a mix of activities for residents and visitors through out the year. These new locations also enhance established links into adjoining neighborhoods and create further commercial, cultural and social opportunities along the length of the waterfront.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

View 1

View 2

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View 3

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) TO CARE (PART 2) - BATH HOUSE Introduction

“Healing is a matter of time, but it is sometimes also a matter of opportunity.”

—Hippocrates

“Health is the greatest gift, contentment the greatest wealth, faithfulness the best relationship.”

—Buddha

The project concerns the design of a Bath House, to be sited within whichever of Glasgow’s principle parks you previously selected – Glasgow Green or Kelvingrove Park. This project will complement your previous design from semester 1, and must be conscious of its relationship with its partner - in addition to its own unique responsibilities to context and programme.

Public Baths originated from a communal need for cleanliness, becoming incorporated into the social system as meeting places. Bathing is the washing or cleansing of the body, with its principle purpose for personal hygiene, however it is also a preventative measure to reduce the incidence and spread of disease. From the 1840s, hydrotherapy (hydropathics) was established across Britain, with Scotland particularly well represented. Hydrotherapy involves the use of water for pain-relief and treating illness, having been recorded historically in ancient Egyptian, Greek and Roman civilizations. Other cultures noted for a long history of hydrotherapy include China and Japan (Onsen) which predate the Romans (Thermae). In addition Balneotherapy (Latin: balneum, “bath”) is the treatment of disease by bathing, considered distinct from hydrotherapy, albeit with similarpractices and underlying principles. Your design should take cognisance of these responsibilities in addition to the buildings inherent programme.

Some of the earliest descriptions of western bathing practices originate in Greece, who began bathing techniques that formed the foundation for modern spa procedures. Similarly, the Roman bath became a focal centre for social and recreational activity and in many ways; baths were the ancient Roman equivalent of modern community centres. The Romans emulated many of the Greek bathing practices, surpassing the Greeks in the size and complexity of their baths. They elevated bathing to a fine art and their Bath Houses manifest these advancements. They were called Thermae, with a Public Bath composed of three principal rooms: the caldarium (hot bath), the tepidarium (warm bath) and the frigidarium (cold bath) all accessed from the Atrium, which served as a promenade for visitors to the baths. The various components of the bathing ritual, (undressing, bathing, sweating, massage, and resting), required separated rooms which the Romans constructed to accommodate those functions and their designs are discussed by Vitruvius in De Architectura. The Thermae had many attributes in addition to the baths: libraries, spaces for poetry recitals, and restaurants, such as at Caracalla, Diocletian & the Baths of Trajan. The elaborate rituals, and the resultant architecture, served as precedents for later European and American Baths facilities, with their modern equivalent becoming a synthesis of library, art gallery, mall, restaurant, gym, and spa. Having demonstrated a more humane approach to public buildings from your previous design, you should consider how to modify and manipulate the brief you have been set, to establish an exemplar centre for bathing within the formal park structure of your site.

Culturally, famous baths are as diverse as the famous Gymnasium in Ancient Greece to the Esalen Institute at Big Sur, California, USA. Roman style public baths were reintroduced to Britain, by returning Crusaders in the medieval period, with bathing taking place in public Bath Houses. In Western Europe, the Turkish Bath (Hammam) as a method of cleansing and relaxation became popular during the Victorian era, with formal garden spaces and opulent architectural arrangement equal to those of the Romans reappearing by the end of the eighteenth century. In Eastern culture, Onsen & Sentō are a type of Japanese communal bath house, quite utilitarian with one large room whilst the Jjimjilbang comprises a large, gender-segregated public bathhouse, in 32

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Korea. Through thorough research and intense investigation, referencing appropriate precedents, you should propose a new paradigm for bathing on your site. The ensuing dialogue your architectural proposal will have with your Hospice design will be enriched by the wider conversation with the park, the city of Glasgow and the culture of healing with water itself.

Design Development

“Water, air, and cleanness are the chief articles in my pharmacy.”

“Water is the driving force of all nature.’

— Napoleon Bonaparte —Leonardo da Vinci

We will develop design proposals to a scale of 1:200 and 1:100/1:50 demonstrating an understanding of spatial organisation, programme response and structural and environmental systems. Each of the two sites suggested come with their own set of challenges and site specific needs. It is therefore important to consider how your design proposal relates to issues of daylight and lighting, urban design impact and buildings form massing and the exterior to the park and city. In particular, you should investigate the relationship between the quality of the architecture and its impact on the user’s experience. Important also, will be varying scales required to meet the needs of those users. The building should be approximately 3,200m2 (including circulation). External space is a requirement but it is at your discretion what the extent and location of this is

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Site Analysis

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Kelvin Bath House Design Swimming pool are different from other public facilities because users are practically need to be naked. Some users especially women would love to have women’s only time (or the Mens’), not due to religious reason but due to self conciousness and body image issues. Swimming should especially accessible to those whom other types of exercise may be difficult such as for obese people, elderly, disabled, etc. Thus, this kelvin bath House is designed to courages all type of person to exercise and achieve good health without worrying about other genders.

Research on why segregations are needed; . • Women experience more forms of partner abuse on average than men (Scottish Government, 2010) • Women are more likely to report psychological abuse and to suffer a greater range of psychological abuse (Scottish Government, 2010) • Women who experience domestic abuse are more likely to be severely victimised, experience ill health and be less financially independent than men who experience abuse (Gadd et al, 2002) • Women who experience abuse are more likely to experience fear than abused men (Hester, 2009; Gadd et al, 2002) • Compared to women, men perpetrate abuse of greater intensity and severity • Men are more likely to be repeat perpetrators of domestic abuse

(Hester, 2009) (Hester, 2009)

• Sexual violence can be used to assert authority, humiliate women and intimidate children (Humphreys, 2008) and there is a clear gender division between perpetrators (men) and victims (women) which supports the gendered analysis of domestic abuse. The direct impact of abuse compounded by social factors mean that women are likely to have fewer options and resources to exit an abusive situation (Johnson, 2008).

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Site Plan (nts)

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Roof Plan (nts) 37

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1. Entrance 2. Lobby and waiting area 3. Gift shop 4. Saloon 5. Toilet 6. Restaurant 7. Kitchen 8. Storage 9. Rest area 10. Changing room 11. Main fool 12. Cold pool 13. Hot pool 14. Sauna 15. Drop off area 16 services drop off 17. Plazza Ground FloorPlan (nts)

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

18. Gymnasium 19. Treatment room 20. Physiotheraphy room 21. Foot spa 22. Jacuzzi 23. Office First FloorPlan (nts) 39

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

24. Air handling unit 25. Electrical panel 26. Boiler rooom 27. Electrical generator 28. Sterilization 29. Irrigation tank 30. Compensation tank 40

Basement FloorPlan (nts)

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

Section views (nts) 41

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Sectional Details (nts)

Material Studies

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Construction Details (nts)

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Exploded View

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) MVHR plans

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Passive Studies

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AB 420 Cultural Studies 4: Dissertation

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

AB 420 Module Title Cultural Studies 4 Module Registrar Jacqueline Lister Other Lecturers Involved All Academic Staff in the Department of Architecture Credit Weighting 40 Semester 1 & 2 Compulsory/optional/elective class Compulsory Academic Level Year 4 Prerequisites ARB/RIBA Part 1 Studies Resit Examinations August Diet

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Introduction The Architectural Dissertation is a chance to identify, define, explore and articulate an area of investigation of students’ own interest; this investigation should be descriptive, analytical and critical. The student will develop an argument and demonstrate their position using evidence from research. The Dissertation should be a piece of original academic writing of 10,000 words incorporating relevant illustrations and references unless this would disadvantage students with special needs. In such cases, the Dissertation may be produced in other formats as agreed between the Dissertation Convenor, the supervisor and the student.

The content of the work will be drawn from a study of literature in a chosen area, fieldwork and/or experimental investigation, followed by informed evaluation and/ or speculation.

Syllabus Seminars are a fundamental part of the work. They provide indications on how to select a topic; the learning outcomes expected to fulfil by the conclusion of the work; the possible means of delivery of the dissertation (whether a written piece of academic writing or something else); how to manage time and how to carry out research. Indicative content of Seminars: • Time Management • Academic Writing • Widening your Research • Academic Standards A complete copy of the project/assignment submission, plus a record of progress and any associated activity must be retained by the individual student in their Academic Portfolio.

General requirements Our architecture course requires all students in Honours Studies Year 4, and normally Non-graduating Direct Entry students unless exempted by approved prior learning (in which case an alternative curriculum will be developed) to submit a Dissertation. The Dissertation is the final assessed conclusion of your research and writing undertaken for AB420 Cultural Studies 4 and is worth 40 credits. It is a compulsory subject of the curriculum.

The Dissertation is an opportunity to focus your work for a limited but concentrated period of time on some aspect of architecture that interests you that you want to investigate with particular attention. The Dissertation will start in Semester 1 and conclude in Semester 2, to benefit from Semester 1 Optional Studies. You should use the understanding gained from these classes for independent work, and in particular in researching, developing and managing the dissertation. Where appropriate, students should take advantage of the expertise on particular topics offered by tutors in the Optional Classes.

A short series of compulsory seminars will precede the production of Dissertations to clarify expectations and to provide guidance to students. The Dissertation could allow you to develop an area of specialised interest and expertise with a view to further study at higher degree level.

What, How, When Selecting a dissertation topic and a Supervisor Each Dissertation student will carry out the work under the supervision of a member of academic staff. According to his or her own interest, the student proposes a dissertation topic for supervision; topics will be agreed by the Dissertation Convenor and Supervisors. Student and Supervisor will work together throughout the year; they will organise and manage work together; they will keep each other and the Dissertation Convenor informed on the progress of the work. Failure to do so might result in failure of the dissertation.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) ZERO CARBON ISN’T REALLY ZERO : CARBON REDUCTION THROUGH RETROFIT Introduction Zero carbon building is becoming a trend in architecture sectors as it is considered to be zero-net carbon emissions and zero-net energy consumption. Its aim is to reverse all the damage that the society is facing due to global warming and anthropogenic emissions of greenhouse gases. It is argued that the term ‘zero carbon’ can only be used to a new building but not old building. Thus, this study is to focus mainly on the carbon reductions through retrofitting. Retrofit aims to reduce carbon emissions and energy consumptions. It will improve the condition of old buildings and will be a win-win situation for everybody.

Literature reviews from books, journals, magazines and articles about retrofit processes has been done and the calculations of their carbon emissions and energy consumption is being collected and analysed. Few case studies of domestic buildings in Scotland from the year of construction 1945 – 1965 are used in order to collate information of their approaches and performances after retrofitting. At the end of this dissertation, potential business for architects will be point up and guide for architects to work on retrofits projects will be presented.

Research Objectives The aim of this research paper is to have deeper studies on architectural industries and its emissions throughout the process. Besides, information on how to reduce the carbon emissions through retrofitting are seek as solutions to global warming issues. In line with the aims, the objectives of this research paper are as follows; a)

b)

c) d)

To study zero carbon design process from establishing the baseline or requirements, to designing and construction process and after the building is used, To study about building retrofitting in details through its depth, stages, and how it achieve energy efficiency, To measure the impact of behavioural components of energy savings, and To encourage architects and designers take part in achieving zero-net carbon emissions when designing a building especially by retrofitting.

What is Retrofit?

Retrofit is a process of changing or modifying something that has been manufactured. In the process of building retrofitting, we refurbish our old and traditional homes to be in the best and comfort to buildings to stay in by including new technology to our buildings. Retrofitting building means to improve their amenities for the occupants or owners and improve the performance of the building. It can also allow reductions in carbon emissions and energy to achieve the ambition of Zero Carbon Homes by 2016.

Why Retrofit?

Below are building performance issues that become the aim of driving retrofit; • Lighting • Plug and process loads • Building fabric • Heating, ventilation and air conditioning (HVAC) • Service hot water system 56

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) How to Retrofit?

There are SIX connected items that should be consider in planning deep retrofit. In building retrofit buildings, these items shouldn’t stand alone as they need each other to achieve excellent retrofit buildings.

Discussion Case Studies

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

AB 420

Special Study Projects 4: Urban Design

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

AB 421 Module Title Urban Design 1 Module Registrar Dr Ombretta Romice Other Lecturers Involved Prof Sergio Porta Credit Weighting 20 Semester 1 & 2 Compulsory/optional/elective class Optional Academic Level Year 4 Prerequisites ARB/RIBA Part 1 Studies Resit Examinations August Diet

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Syllabus The class is structured in two parts; Part 1 introduces students to the theories and principles of urban design, presenting the contrasting views and approaches developed in the past Century and concludes with the current debate on urban sustainability.

Part 2 introduces students to techniques and methods in urban design to study, assess and plan space. Space syntax, Multi-centrality Analysis, Community Potential Analysis, streetscape analysis, capacity check, and other forms of environmental assessment will be explained and applied in practical exercises.

• Lecture 1: notions of urban design. Theories, perspectives, frameworks.

• Lecture 2: elements in urban design • Lecture 3 and 4: a selection of revolutionary urban design ideas: the work of J. Jacobs, C. Sitte, K. Lynch, C.Alexander, J. Gehl, O. Newman.

• Lecture 5-8: seminars. Students present readings and discuss them in the class.

• Lecture 9: Urban sustainability. New theories and developments.

• Lecture 10: urban design in practice, with guest speaker/s presenting current practices in urban design.

• Lecture 11-13: (Streets and blocks) Streetscape assessment and urban morphology.

• Lecture 14-16: Neighbourhoods: Space Syntax, Multi-Centrality Analysis and Community Potential Analysis.

• Lecture 17-19: Environmental impact analysis at urban scale.

• Lecture 20 conclusions and essay presentation (task).

Assessment Method(s) Students attending the class will be assessed on three separate tasks: • Seminar presentation (30%) • Workshop (40%) • Essay (30%) Learning Outcomes By the end of the class students will be able to: • Generate and amalgamate theory that responds to social, environmental, contextual and economic conditions; • Apply this theory to the analysis and judgement of contemporary urban projects and frameworks.

• To generate briefs for a more sustainable, people friendly and cost effective urban form.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Part 1 - Walkable City (GEORGETOWN, PENANG.) Penang is one of the state in Malaysia that is located in the Northwest Coast of Peninsular Malaysia by the Straith of Malacca. Penang heritage sites are one of the most numerous in Malaysia. It is well-preserved cultural and historical heritage city. With the recognition of its heritage value, Georgetown, the capital of Penang state has been award as a UNESCO World Heritage Site.

Walking down the streets of Georgetown is like walking through the paths of history. The historical sites encompass residential and commercial buildings constructed by the British in the era from the end of the 18th century. The influences of Asia and Europe have endowed the town with a specific multicultural heritage that is both tangible and intangible.

In this Georgetown Heritage Trail, I have tried to cover most of the significant architectural styles in the historic heart of Georgetown. At the end of this trail, the influence of the heritage buildings with the product of its people, activities, and character of the town will be identified in accordance to my Urban Class studies for this semester.

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) Part 2 - Measuring Success (BUCHANAN STREET VS. ARGLYE STREET) Known as two of the main shopping thoroughfares in Glasgow both Buchanan Street and Argyle Street reflects different building typologies and styles, different retail types and atmospheres.

What are the qualities that make one street better than the other?

TOOLKITS;

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Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015)

BUCHANAN STREET Both Buchanan Street and Argyle Street are known as two of the main shopping thoroughfares in Glasgow. However, both have different building typologies and styles, different retail types and atmospheres.

PUBLIC SPACES & URBAN EXPERIENCE

VS

ARGYLE STREET

What are the qualities that make one street better than the other?

Buchanan Street A central stretch of Glasgow's famous pedestrian shopping district is known for being the second best shopping destination in the United Kingdom, after London.

It was redeveloped in 2011 with more upmarket range of retails.the area between Argyle Street and St. Vincent Street is particularly popular with street performance and buskers.

20 %

Argyle Street An extension to the shopping street from Sauchiehall Street and Buchanan Street, Argyle Street forms major shopping section of the road, including the St. Enoch Centre and the Argyle Arcade. It is the longest street in Glasgow, connecting the West End and the East End of the city. The street is pedestrianized from Trongate to Queen Street.

36%

10 %

MOVEMENT & FUNCTION Methodology:

In this section, number of users, type of shops and their opening hours are calculated in order to discuss on the movement and function of both streets.

The number of users were calculated by observing the number of passerby per minute in multiple locations on both street. The observation was also done twice in a week to get a clearer and more accurate reading. This is significant in determining the difference in the number of street users on these streets. The operating hours of shops and type of shops are determined through on-site observation and internet findings. These information are essential to investigate the type of shops that influence the operating hours of both streets to determine the difference in their operating hours.

More people jogging and cycling in Buchanan Street compared to Argyle Street

More people in Argyle Street during weekdays

39 % More people in Buchanan Street during weekends

NUMBER OF USERS

More people walking with their pets in Buchanan Street compared to Argyle Street

Generally, there are more people in Buchanan Street compared to Argyle Street. This portray the superior commercial performance of this street and the welcoming ambience it gives to the users. Higher number of people were also seen to walk their pets and perform recreational activities in Bunchanan Street which illustrate the perceived higher level of comfort on this street. However, more people are found to be using Argyle Street during weekdays. This may be a result of the close proximity of public transport accesses to the street which are heavily used by the locals to get to their respective workplaces.

OPERATING HOURS

9hrs 36mins (Mon - Sat)

7hrs 14mins

BUCHANAN STREET

30mins After 7pm (Mon - Sat)

(Sun)

22mins After 7pm (Sun)

9hrs 36mins (Mon - Sat)

7hrs 4mins

ARGYLE STREET

18mins After 7pm (Mon - Sat)

(Sun)

TYPES OF SHOPS

17mins After 7pm (Sun)

The duration of operating hours for shops from Monday to Saturday and Sunday are calculated. An average (duration of operating hours / total shops) are displayed on the clock diagram on the left. The result shows that the average for duration of operating hours (Mon Sat) on both streets are similar. However, Buchanan Street displays a higher average for duration of operating hours on Sunday. To compare which street is more active at night, the duration of operating hours after 7pm on Monday to Saturday and Sunday and their average (duration of operating hours after 7pm / total shops) are also calculated. It is shown on the clock diagram on the left that Buchanan Street has higher average of duration of operating hours after 7pm on Monday to Saturday and Sunday. These are due to more boutique and department stores in Buchanan Store (shown in pie chart on the left) which operate longer hours to serve customers coming after normal working hours.

Methodology:

FORM

Sense of enclosure generally measures the ratio of the height of a building to the width of a street. Building heights along the streets are measure and compare to see the relativity of height to the perception of pedestrian on the street and sense of enclosure. An average of the buildings height along with the highest and lowest height. The composition of the street width is analysed to understand the relativity of pedestrian comfort to the size and quality of street.

TOPOGRAPHY

BUCHANAN STREET

Buchanan street has a higher street level and wider pedestrian pathway which pedestrian could move freely from opposing sides of the shops without distractions. The multiple levels creates intresting spaces that are utilized as resting spots and art performances.

Meanwhile Argyle street has narrow pedestrian pathway and the continuation of the pedestrian movement has been broken down by the road in between. People have to cross the roads to the opposite shops.

ARGYLE STREET

BUILDING HEIGHT

BUCHANAN STREET

ARGYLE STREET

Building heights are important in creating a sense of enclosure to the street. In a glance, the buildings on both streets are of similar heights to each other. However, the present of gaps in between buildings projects the image and idea of height differences. Smaller gaps in Buchanan street allows a continuous image of building lines enveloping the street. Enclosing street with a continuous buildings with minimum gap, creates a greater sense of intimacy , with a grandeur environment and defines a space as an urban space. Whereas bigger gaps in between buildings in Argyle breaks the rhythm of building heights making the street less enclose. Pedestrian generally are

STREET USAGE

BUCHANAN STREET

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ARGYLE STREET

Buchanan Street pave for people. With vehicle motorways cutting across the streets, 94.8% of the street are usable for pedestrian and multipurpose activity such as outdoor seatings for retails and street performance. The consistency of width along the street ensures equal foot and street activity. When unused, the multipurpose area in the middle of the street acts as an extension to the pedestrian pathway. A more comfortable space for higher pedestrian activity is achieved. However with the motorways running along the street of Argyle and major of its pedestrian footways are restricted along the footpath. The existence of fences in some part of the street isolates and restrict passive surveillance of pedestrian. With 26% of the street being the motorways, Argyle’s footpath are inconvenience for users to move from one side to the other side of the street. The inexistance of zebra crossing forces pedestrian to cross at traffic light junctions along the street and difference in material used in between vehicular and pedestrian indicates that vehicles are prioritized over pedestrian. Although 45% of the street nearer to Trongate are vehicle free, the number of pedestrian are seen to decrease due to the inconsistence of pedestrian width along the street.

Fadhlyana Fadhil | Year 4 Portfolio (2014 / 2015) PERMEABILITY & LEGIBILITY

ARGYLE STREET

BUCHANAN STREET

2

Methodology:

SUBWAY STATIONS

10 %

JUNCTIONS OVER TOTAL LENGTH

PERME ILI Y I

5%

S

ACTIVE GAPS OVER TOTAL STREET LENGTH

3

2

1

BICYCLE PARKING

SUBWAY STATIONS

BUS STAND

14 %

JUNCTIONS OVER TOTAL LENGTH

5

%

0.8 % ACTIVE GAPS OVER TOTAL STREET LENGTH

C

ARGYLE STREET

BUCHANAN STREET

14

H 5%

S

S

10 % S

k 0 8%

SOUND ND NOISE POLLU ION

k S

S

S

S

91 dBA ffi

Average noise level at Argyle Street.

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STREETSCAPES BUCHANAN STREET

Methodology:

ARGYLE STREET

DISPL Y & F C DE I 79%

L NDSC PE G

23 nos.

30.0m

S

0.15m

Distance between two lamp post in Buchanan Street is approximately 30.0m.

Argyle Street use recessed type of lighting method with distance of 0.15m between two lights.

13 nos.

S

Outdoor seatings in Argyle Street have average distance of 5m between each seats.

CONCLUSION ffi

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Buchanan Street has less numbers of outdoor seatings with distance between them approximately 500m or more.

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30

S

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0 nos.

Argyle Street doesn’t provide any planter box along the street.

45%

x

S Total number of planter box in Buchanan Street.

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S

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GROUP MEM ERS: W N NUR F REEH IN I W N ZMI | NUR F DHLY N IN I MOHD F DHIL MUH MM D ZRI DZULKEFLI | CH I DI LUN | HENG YI WEN | N JW H ZIER H IN I S NUSI

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