Design Studio 4.1

"OBJECTS"

GROUP 04

Liliana Prevedello

Alex Burrell

Alex Price

Rees Miller

Abdelkhaleq Yaghmour

Yana Shaban

Faith Muir

3. ENVIRONMENT

2. PROPOSAL

1. EXPLORATION

6. PROCESS

4. STRUCTURE

5. FUTURE

5. FUTURE

CONTENTS

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Exploration Brief Interpretation Client Analysis User Analysis Site and Context

Context Drawings 1:1000 Sections 1:250 Plans 1:250 Perspectives

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User Experience Tectonics

Analysis Design Intent

5.

Proposal

Future Modular Adaptability Changes in Form 2050 2100

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Process Chapter I-VIII

Environmental Strategy Building Fabric Overview Lighting Strategy Ventilation Strategy Heating & Cooling Strategy Acoustics

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4.

Structure Architectural & Design Intent Structural Strategy Kit of Parts Material Sourcing Fire Strategy Construction Sequence Cradle to Cradle

Final Reflections Liliana Prevedello Faith Muir Yana Shaban Abdelkhaleq Yaghmour

1.

EXPLORATION BRIEF INTERPRETATION CLIENT ANALYSIS USER ANALYSIS SITE AND CONTEXT ANALYSIS DESIGN INTENT

BRIEF Migration

1. Brief Analysis In our brief, we decided to tackle the main issue of misconceptions against migration through the exchange of objects. The heart of our building is a repository for people’s personal belongings where each object displayed comes with a unique story.

When moving somewhere else, we often bring back objects that we associate with memories and experiences from home such as a photograph, a piece of clothing, or even a childhood toy. In this way, the museum enables people to relate to multicultural yet universal stories through everyday possessions.

2. Our Target Audience We are focusing mainly on two types of users: people who have misconceptions about migration and migrants who want to reconnect with their roots and get closer to their community.

3. Individuals and Community We aim to provide a space that allows for introspective reflections as well as a shared experiences. This will be achieved through research labs serviced by social history and anthropology specialists from UCL. This will allow people to learn about personal objects of their culture and beyond. Overall, the museum will aim to promote discussions and interactions between people of different backgrounds.

4. Our Spaces From a macro to micro scale our building will be based on the theme of objects. Permanent and temporary exhibitions will focus on loaned cultural artifacts as well as personal objects from people around the borough and beyond. Located in front of King’s Cross and St Pancras stations, the museum is nestled at the heart of an iconic transport hub, creating a transient cultural environment where many national and international paths intersect.

“TRUST NOT TRANSACTION” 6

“Musei Wormiani Historia” depicting Ole Worm’s cabinet of curiosities.

A CABINET OF CURIOSITIES FOR THE COMMUNITY

CLIENT & ORGANISATION Migration Museum & UCL

OUR CLIENT Migration Museum The project was developed for the Migration Museum, an association that celebrates the impact of ethnic diversity in our society. The museum recognises that:

UCL

- There is an urgent need to give a voice to migrants and second generation migrants

Anthropology research

- Facilitate cultural transmission and dialogue between generations - Celebrating the contributions of migrants to their host societies - Informing about the history of migration to deconstruct stereotypes

CABINET

- Help migrants to increase their self-esteem and help them find a place in society

OUR ORGANISATION

MIGRATION MUSEUM

COMMUNITY

UCL Anthropology Research Our organisation is the UCL Anthropology Center that offers research facilities for biological anthropology, material culture, social anthropology and medical anthropology.

They can offer consultation staff and specialists to help the public learn about objects of different cultures. We can provide offices and labs as research facilities. These spaces can link to our object archive/ library.

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CLIENT ANALYSIS Migration Museum

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“ ROOM TO BREATHE”

WALL

HUMANÆ

A living room, a kitchen, a bedroom. These immersive exhibitions offer tactile experiences for the viewer as they navigate through the space and recollect memories that could be their own.

Large installation pieces like the WALL become a precedent for unofficial public art as a tool for radical social change. They are solely curated by and for the community.

These portraits encourage viewers to redefine their existing perceptions of people based on categories and stereotypes. In the end, the universal experiences we go through bring us all together.

USER ANALYSIS People Scenarios Hurray! I have spare time to visit the Migration Museum. It’s 12.30, my train for Paris leaves from St. Pancras at 13.30.

TOURIST Caroline, 32 years old

20 objects were brought to be displayed in the cabinet yesterday. I must inspect them for contamination before the boss arrives ...

I need to write an my essay on the Italian diaspora in London. I guess I’ll go to the Migration Museum library and read their books.

Is migration a positive thing? I always asked myself. I might find my answer by going to the Migration Museum.

LOCAL Jane, 27 years old

I was born and raised in the UK. I have always wanted to learn more about my parent’s home country, Jordan.

OFFICE WORKER

THIRD CULTURE KID

Chris, 52 years old

Hussein, 13 years old

STUDENT Lorenzo, 21 years old

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CONTEXT ANALYSIS General Context & Design Response

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CONSERVATION AREA

MATERIALITY

In order to respond to the adjacent Bloomsbury conservation area we are stepping down the building. The height of the building towards Argyle Square is approximately as tall as the adjacent residences.

Terracotta was used in order to respond to the surrounding hard materiality. The warm earth tone also fits well with the site’s colour palette. Explanations for the structural and environmental benefits of terracotta will be given further on in the report.

TERRACING

TERRACOTTA

KEY BUILDINGS Placing the Cabinet at the front celebrates the iconic location of the site. The cabinet will therefore be seen from every angle of St Pancras square.

PLACING OF OBJECT

VIEW FROM KING’S CROSS STATION 11

SITE ANALYSIS Immediate Context & Design Response

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STREET ELEVATION

ARGYLE SQUARE

SUN ANALYSIS

The low-rise residential buildings in the Bloomsbury Conservation area step up in height towards the stations.

As a benchmark, we avoided exceeding the height of the Standard Hotel

The terraces are zoned towards Argyle Square to reduce exposure to air and noise pollutants at street level

The atrium at the rear end is designed in conjunction with the terraces to maximize solar gains

RETAINING THE STRUCTURE

ATRIUM PLACEMENT

ATRIUM

EXISTING BUILDING ANALYSIS Belgrove House

REGULAR COLUMN GRID

CLOSED PUBLIC FRONT

NO AIR CAVITY WALL

The structure has a regular column grid which allows for flexibility of new build design.

Euston Road is the only active front which invites the public into the building. The other three façades are a blank wall on the public front which encourages anti social behaviour.

This is also one of the reasons why we decided the facade was not worth retaining.

Belgrove House has no air cavity wall. The cavity is needed to prevent condensation, therefore, moisture getting into the building. This would mean that if we keep the existing facade we would need to majorly increase the wall thickness by adding generous amounts on insulation.

Therefore we decided that to design a new facade which would ensure an airtight building for the next 100 years.

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OVERALL DESIGN INTENT Main Design Moves

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CABINET AS A LANTERN

OBJECT INTRUSIONS

TERRACING

The iconic cabinet becomes a beacon for the building both internally and externally

Positive and negative spaces are created by interactions of objects on all scales

Clear distinctions between the whole object at the front and the broken down objects at the rear

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JOURNEY OF THE OBJECT From the Individual to the Cabinet

THE CABINET

THE CABINET IS FULL!

The object passed quality control and is sent to the cabinet. Caroline is brought by the receptionist to the Cabinet where she can now display her Beret. With it she leaves a written message with a story behind the hat.

SHOP

LOBBY Caroline, 32 years old The object she brings to the museum is a traditional French Beret.

If there are replicas of mass produced objects in the cabinet, they will be sold as souvenirs in the shop and the money will be sent to fund the Migration Museum as a source of income alternative to ticketing.

QUALITY CONTROL Object is left at the lobby and brought to quality control in the basement to check for contamination.

The staff decides if it needs to be stored under special conditions in the basement archive.

THE ARCHIVE Objects that are classified as unique and irreplaceable are sent to the basement archive where they will not be exposed to any light and kept at an ideal temperature.

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OBJECTS TYPOLOGIES Objects Displayed in the Cabinet

ELECTRONICS

TEXTILES

PAPER BASED

TOYS

Viynls, CD’s, DVD’s ...etc.

Clothing, Carpets, Accessories ...etc.

Letters, Books, Photographs, Currency, Poststamps ...etc.

Children toys from different cultures, including sports equipment.

FURNITURE

ARTWORKS

JEWLERY

DOMESTIC EQUIPMENT

Traditional furniture showing world history of artisians and craft.

Paintings, Statues ...etc.

Displaying originals and making werable replicas for the public.

Kitchen utensils, house decoration ...etc.

UN SUSTAINABILITY GOALS Key goals at the forefront of the design

Allowing people to reconnect to their routes and ethnic diaspora promotes a sense of community, improving the overall mental health of individuals.

Providing spaces fully accessible to the public for people to be educated about cultures different from theirs.

Our building uses air source heat pumps, harvests solar energy and collects rainwater in order to decrease it’s overall operational carbon.

Constructing a building that uses modular prefabricated elements in order to ensure a resilient infrastructure over the next 100 years. (See chapter 7- Future)

Educating people about the positive contributions of migration and dealing with misconceptions promotes an overall more unified community.

Promoting a platform for London where communities can unite and feel empowered.

Maintaining the existing structure and adding a new timber structure in order to minimise the embodied carbon. Using sustainable strategies to minimise operational carbon.

Raise awareness about the unjust treatments migrants have to deal on a daily basis due to misconceptions. Providing a safe space where one can celebrate it’s culture.

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2.

PROPOSAL CONTEXT DRAWINGS 1:1000 SECTIONS 1:250 PLANS 1:250 PERSPECTIVES TECTONICS USER EXPERIENCE

CONTEXT PLAN 1:1000

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CONTEXT SECTION 1:1000

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EAST ELEVATION 1:250

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FACADE STUDY Precedents

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Hong Kong M+ Museum, Herzog & de Meuron

Malaga Residences, Alejandro Munoz Miranda

FACADE TREATMENT

TERRACOTTA

The large elements of the panel’s cross section are extended to create a seamless transition from solid to glazed walls, creating a light veil effect.

For the external facade we plan on using terracotta as it responsive to the context and represents ceramic as a shared artisan and craft across all cultures. Some of the sustainability advantages of terracotta are its thermal insulation, water protection, elimination of condensation, and thermal bridging.

FACADE SECTION SCALE 1:50 @A3

ROOF (7° pitch) Gutter to Greywater Collection 25 mm | WBP Plywood Sheathing Board DPM (underlayer) 150 mm | Rigid Foam Thermal Insulation 150 mm | Rigid Foam Thermal Insulation DPM (vapour-retarding layer) 20 mm | Plywood 400 mm | Services Gap 150 mm | CLT Sprinklers, LED Lighting EXTERIOR WALL 50 mm | Terracotta Panels 100 mm | SHS 100 mm | Vertical Steel Frame 150 mm | Cavity for Hidden Downpipe T Section DPM (moisture-diffusing facade membrane) 200 mm | Thermal Insulation Cork DPM 250 mm | Timber Stud Wall with PCM (phase change material) in between 20 mm | Plasterboard Finish INTERMEDIATE FLOOR 20 mm | Floor Tiles 30 mm | Acoustic Cork Tiles Raised Floor Stands 400 mm | Services Gap | Perimeter Trench Heating, 300 x 900 mm Fire Rated Vents with Fire Dampers, Electrical Wiring, Plumbing 150 mm | CLT Sprinklers, LED Lighting

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FACADE STUDY Strategies

PANELS

BALCONIES

GROUND FLOOR

The cross section of the panel varies as insets and outsets on different scales, reflecting the object intrusions in our spaces.

The larger vertical elements of the panel’s cross section extend to become shading louvres. The extruded balconies break the strong verticality of the flush terracotta panels.

To create a plinth effect, the ground floor is cladded with limestone. Similar to the balconies, the large vertical elements of the terracotta panels extend to level 1 to create a “tickling effect”. This creates a light curtain that slowly unveils the building.

Terracotta is a humble material which does not detract from the overall massing of the building while relating to contextual surroundings. Using a panel system ensures that they can be demounted for future reuse.

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BALCONY SECTION SCALE 1:50 @A3 BALCONY FACADE 50 mm | Terracotta Panels 50 mm | Terracotta Strip Elements on Vertical Steel Frame 100 mm | SHS Sliding Glass Door System Aluminum Flashing 25 mm | WBP Plywood Sheathing DPM (moisture-diffusing facade membrane) 200 mm | Thermal Insulation Cork DPM 250 mm | Timber Stud Wall with PCM Panels BALCONY FLOOR Aluminum Balcony Decking Boards on Joists Metal Grating Gutter with run-off leading to downpipe behind flush terracotta facade DPM 44 mm | Aluminum Sandwich Panel 180 mm | Channel Section 180 mm | Deep I-Beam 120 mm | Channel Section

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NORTH ELEVATION 1:250

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THE CABINET Precedents

Museum in Kansas City, Steven Holl

Yale Rare Book Library, Gordon Bunshaft

“LANTERN”

“THE CABINET”

Using a translucent material like Okalux subtly veil the shelving grid and displayed objects from the external realm, creating a sense of curiosity for our Cabinet.

Having a main heart to the building that clearly represents the character of objects was the main driving force of our project. The rare book library achieved this by celebrating a central book core which can clearly be interacted with.

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LONG SECTION 1:250

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PROGRAM LAYOUT Functions

L8 Cabinet, Library, MM Offices, Auditorium

LEGEND PROGRAM Library

L7 Cabinet, Library, MM Offices, Auditorium

L6 Cabinet, Library, UCL Offices

MM Offices UCL Offices

L5 Cabinet, Library, UCL Offices

Permanent Exhibition L4 Temporary Exhibition Auditorium Cafe’ Lobby (Object Exchange)

Temporary Exhibition, Permanent Exhibition

L3 Temporary Exhibition, Permanent Exhibition

L2 Temporary Exhibition, Permanent Exhibition

Archive CIRCULATION

L1 Cafe’, Auditorium

Public Private (Staff)

GF Object Exchange Lobby, Temporary Exhibition, Cafe’, Auditorium -1 (Basement) Archive, Services, Conservation Labs

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SHORT SECTION 1:250

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FRONT BUILDING NARRATIVE Key elements

CABINET AS A WAY FINDING STRATEGY

STORYTELLING ARCHIVE

The receding atrium in the temporary exhibition floors amplifies the presence of the Cabinet as soon as you enter the building. In this way, people can easily navigate the building as the Cabinet is visible throughout.

The first library floor acts as a story recording space for the objects stored in the Cabinet. Text, photography, audio, and video formats will then be stored in the museum’s own digital archive.

INTERSECTING ATRIA By puncturing the object floor with an atrium, double height display spaces can be created.

The atria intersect at the centre of the floor grid, which creates an element that unifies the entire Cabinet.

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TITLE Subheading

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CABINET NARRATIVE Key elements

ADAPTABLE PARTITIONS

WRITTEN STORY

The 1.5 m shelving grid is based on the subdivided floor to ceiling height. Adaptable shelving units will divide this grid further to accommodate for smaller objects.

Objects at eye level will be labelled with a memory note from the owner. In depth stories of past and currently displayed objects will be in the digital archive of the personal stories library.

OPEN VIEWS TO KING’S CROSS The windows puncturing the Okalux panels correspond to the 1.5 m grid, framing views of London as if it were one of the objects.

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USER EXPERIENCE Caroline, Tourist, 32 years old (From Paris)

Let’s place your object together in the cabinet now that it passed inspection!

Hey Madam, do you know this room is showing a traditional middle eastern dining room. Let me tell you about some of the traditional meals from my country...

Merci Chris!

Tres bon! You’re making me hungry now.

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LEVEL 5, Inside the cabinet The beret is brought to the Cabinet by Chris, a UCL staff member. They place it together in one of the display cases.

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LEVEL 2, Culture exhibition “A room to breathe”.

Caroline goes to visit the permanent exhibitions.

When she arrives in the room displaying a traditional middle eastern living room, she meets Hussein. His family is originally from Jordan and he starts telling her more about his ethnic routes.

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GROUND FLOOR, Lobby Before catching her train for Paris, her home city, Caroline visits the migration museum. The object she leaves is a French “Beret”.

Her message: “A Beret, a classic for French fashion”.

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Interesting!

What are you writing about?

4

The Italian diaspora in London, I’m using these amazing books from the library.

LEVEL 7, Libaray

This lecture was really mindopening. It clarified so many misconceptions I had.

Caroline after being inspired by all the objects goes to the Library to read a book about world cultures. When looking at the Italian section she bumps into Lorenzo.

Oui.. Totally agree.

Do you want to to go to the Cafe’?

Merveilleux!

Yum! Told you!

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LEVEL 1, Auditorium After seeing all the exhibitions Caroline goes to the auditorium to watch a lecture about cultural prejudice. There she meets Jane, a Camden local, who had misconceptions about migration. They discuss the themes touched in the lecture.

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GROUND FLOOR, Cafe’ Hussein, Caroline, and Jane go to the multi-cultural cafe’ of the museum. Hussein suggests everyone to try tea and Baklava, typically from the middle east.

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1.

2.

3.

4.

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6.

BASEMENT (-1) 1:250

Large Domestic Small Domestic Jewelery Textiles Attenuation Tank Electronics 1

13. MEP Mechanical 14. Loading Bay / Temporary Object Storage 15. Object Conservation Labs 16. ICT Server Room 17. Waste Storage

7. Electronics 2 8. Arts 1 9. Arts 2 10. MEP Electrical 11. Paper Based 1 12. Paper Based 2

18. Utility Intake Rooms with 24/7 Access (Water and Electrical)

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BASEMENT STRATEGY Archive and Storage

Objects & Materials

We need to accomodate for a large range of objects. General storage temperature will be 8-15 degrees C 30-50% Relative Humidity

Paper Archive

Mechanical Plant room 205 m2

Object based archival materials will not require highly controlled environmental conditions

Object Conservation Labs

Paper based archival materials will be stored in these spaces

ICT services Accommodates for digital archive of personal stories in text, photography, audio, and video formats recorded by people who have placed an object in the Cabinet

Approximately 15-25 degrees C 25-60% Relative Humidity

Digital Archive

Requires mechanical cooling Approximately 20 degrees C

Temporary storage for object being transported from loading bay Electrical Plant room 55 m2

Digital Archive

Attenuation Water Tanks - 80 m2 Water storage tanks have been placed in the basement to reduce loading on the upper levels on the structure.

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19. Draught Lobby 20. Cloak room 21. Reception desk 22. Main lobby & temporary exhibition 23. Shop 24. Loading bay 25. Underground access 26. Flexible temporary exhibition

GROUND FLOOR 1:250

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27. Auditorium lobby 28. Backstage 29. Auditorium 30. Private kitchen 31. Cafe 32. Staff Room + Security CCTV

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GROUND FLOOR ACTIVATION Intent

ACTIVATING THE STREET Dividing the ground floor into two central volumes which can open a central street for temporary installations.

THE INSETS Intrusions and extrusions of objects are integrated in the ground floor form. Functions spill out into the street.

CENTRAL FRONT ENTRANCE A clear central entrance is defined. The visitors will be able to get a peek of the object from underneath as soon as they enter the building.

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33. Auditorium mezzanine 34. Cafe’ mezzanine

LEVEL 1 1:250

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FORMAL AUDITORIUM Activation

CLOSED PARTITION

OPEN PARTITION

When the partition is closed the two spaces have distinct functions.

The auditorium spills into the temporary exhibition to become a unique space to host events. The auditorium seats retract to become an informal sitting space.

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35. Temporary exhibition 36. Permanent exhibition “Culture” (A room to breathe) 37. Storage + Riser Access

LEVEL 2 1:250

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37. Temporary exhibition 38. Permanent exhibition “Integration” 39. Storage + Riser Access

LEVEL 3 1:250

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EXHIBITION CONCEPT Partii

HISTORY A sequential exhibition experience is created by following the transition of scales in the city fabric as building heights step up towards the Kings Cross and St. Pancras stations.

INTEGRATION

CULTURE

Objects interject the central atrium to represent migrant cultures contributing to and integrating with their host societies.

Spaces are created by distinct “rooms” that can be used by individual artists to tell their own stories, while a central circulation space brings them all together.

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40. Temporary Exhibition 41. Permanent Exhibition “History”

LEVEL 4 1:250

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BACK ATRIUM Precedents

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SCIENCE CENTRE, Christensen & Co. Architects

AARUHUS SCHOOL OF ARCH, ADEPT, Vargo N. Palle

THE SMALL OBJECTS

THE STRUCTURE

Exposed volumes interjecting a central atrium create a playful realm of spaces.

Split structural timber elements reflect our intent to use articulated pieces to create a unifying tectonic scheme

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42. The Cabinet Display 43. Library 44. Open office plan 45. UCL Media Rooms 46. UCL Photography Room 47. UCL Reprographics Room

LEVEL 5 (UCL Offices) 1:250

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BOX CONSTRUCTION AXO Our back atrium boxes are made with modular pre-fabricated elements which slot into one another. These boxes fit in between the columns and therfore grow or contract according to the grid. There are two main types of boxes : the stacked boxes and the single boxes, both of which are shown below.

SINGLE BOX

STACKED BOXES

Change in roof level

A single box cantilevers 2 to 3 meters away from the column edge based on the floor level. This allows for a skylight capturing light from the atrium above. The box slots under the beams and between the columns creating a change in roof level in the cantilivering element.

Additional beam

When boxes are stacked the lower cantilevers 3 meters away from the edge of the column, while the top box cantilivers 2 meters. An aditional beam also needs to be placed to cover the gap between the two primary beams holding the top box.

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48. Cabinet Display 49. Library 50. Open office plan 51.UCL Meeting pods 52.UCL Break Room

LEVEL 6 (UCL Offices) 1:250

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LEVEL 7 (MM Offices)

53. Cabinet Display 54. Library 55. Reception to MM Offices 56. Cloak Room 57. Informal Auditorium 58. MM Offices 59. Office Canteen

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OBJECT SECTION Scale 1:50 @A3 A

B

C

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A) OBJECT ROOF

BEAM PLACEMENT

Parapet with Aluminum Capping 25 mm | WBP Plywood Sheathing Board DPM (underlayer) 130 mm | Rigid Foam Thermal Insulation DPM (vapour-retarding layer) 20 mm | Plywood Timber Space Frame connected at the center of the columns B) SKYLIGHT 120 mm | Steel C Section 2 m wide Sky Light in an Aluminum Frame Parapet with Aluminum Capping 25 mm | WBP Plywood Sheathing Board DPM (underlayer) 180 mm | Rigid Foam Thermal Insulation DPM (vapour-retarding layer) 180 mm | Rigid Foam Thermal Insulation 20 mm | Plywood 150 mm | CLT Slab C) OKALUX FACADE 110 mm | Aluminum Frame holding Okalux elements: 57 mm | U-section internally sand-blasted glazing units 27 mm | Cavity 24 mm | Capillary Insert PMMA 57 mm | U-section glazing units with etched surface 150 mm | Steel Angle 100 mm | SHS with 19 mm Steel Suspension Rod

OBJECT

DOUBLE HEIGHT SPACES

Beams support the bridge into the object and intersect its atrium

Secondary beams are removed in double height spaces like the library and auditorium

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LEVEL 8

60. Cabinet Display 61. Library 62. Reception to MM Offices 63. Cloak Room 64. Informal Auditorium 65. MM Offices

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LANDSCAPE Terraces TERRACE SECTION Scale 1:50 @A3

FRAMING Public terraces will have the furniture framing the soft landscape.

The benches face each other to encourage interaction.

INTRUSIONS Office terraces are relaxing calm spaces that carry the idea of object intrusions.

TERRACE FLOOR Aluminium Balustrade with Clear Finish Laminated Safety Glass Filling Raised Timber Decking DPM Gutter to Greywater Collection 140 mm | Rigid Foam Thermal Insulation at a 2° decline

STAGE EXTENSION The informal auditorium opens up to a terrace that becomes an extension to the stage, and the benches embeded in the planter face the stage.

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38. Air Handling Units and Risers 39. Lift Motor Room 40. PV Panels 41. Water Tanks 42. Air Source Heat Pumps

ROOF PLAN 1:250

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ENVIRONMENTAL STRATEGY BUILDING FABRIC OVERVIEW RAINWATER & DRAINAGE LIGHTING STRATEGY VENTILATION STRATEGY HEATING & COOLING STRATEGY ACOUSTICS

KEY ENVIRONMENTAL CONSIDERATIONS For Operational & Embodied Carbon

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RETAINING EXISTING STRUCTURE

ATRIUM

SHADING DEVICE

TERRACES

Keeping existing concrete structure and foundations of Belgrove House

Allows for light penetration into deep floors and naturally ventilates spaces using stack effect when climate allows

Reduce unwanted solar gains contributing to a more efficient operational carbon

Allows for rainwater collection and pleasant outdoor spaces for visitors and staff, enhancing green infrastructure

SERVICES & ENVIRONMENTAL STRATEGY Integration With Building Fabric

AIR HANDLING UNITS

AIR SOURCE HEAT PUMPS

SOLAR HARVESTING

ROOF & TERRACES

ROOF

ROOF

RAINWATER COLLECTION

PERIMETER HEATING

LED & ELECTRIC

TERRACES

7th FLOOR

7th FLOOR

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BUILDING FABRIC

PRODUCED BY AN AUTODESK STUDENT VERSION

Layer Analysis 3

1. Render 2. Stud walling 3. PCM stored in tubes 4. Cork

PRODUCED BY AN AUTODESK STUDENT VERSION

2 Sprinklers, LED lighting attached to CLT soffit 3 Cork insulation, low embodied carbon material and optimises U-Value.

Insulation sits outside the column line in order to minimise thermal bridging.

Panels also absorb noise from Euston road before it enters the building.

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4 Perimeter trench heating system.

Prevents cold spots by heating air near windows and doors.

5 Phase change material (PCM) will be paraffin wax in thin lightweight panels.

The panels are located in the plywood stud wall to increase thermal mass, which helps mitigate overheating.

5 Terracotta rainscreen panels. Easily replacable and low embodied carbon material.

5. Facade support frame 6. Vertical louvres 2 3 5 6

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PRODUCED BY AN AUTODESK STUDENT VERSION

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2

Air vents punch through the CLT floor slabs to provide high level supply and extract ventilation to the floor below. There will be fire dampers attached to these vents as they interrupt the fire barrier.

PRODUCED BY AN AUTODESK STUDENT VERSION

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PRODUCED BY AN AUTODES

Service Strategy

BALCONY GUTTER DETAIL

PRODUCED BY AN AUTODESK STUDENT VERSION

DRAINAGE SYSTEM

LEGEND

BALCONY GUTTER ROUTE

DRAINAGE PIPE

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RAINWATER COLLECTION Draining strategy with West facade

LEGEND Water tank AHU Air source heat pump PV ‘s Rainwater

Hot water stored on roof close to heat source, pumped down through central riser and distributed across floors

Filtered water Hot Water Air source heat pumps used as primary supply of hot water

Solar hot water used to supplement hot water supply

Cold water for all purposes pumped up the building in a central riser next to the toilets Gravity fed rainwater harvesting system attenuates water in the basement to prevent flooding during storms

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Freshwater intake form grid and wastewater out-take to sewage system

LIGHTING STRATEGY Functions Layout

Offices Placed on upper floor to recieve the highest amount of daylight through atrium

Cabinet North facing for generous yet diffused lighting

Terraces South facing for maximised exposure to sunlight (people and vegetation)

Temporary Exhibitions

Exhibitions Lower floors which recieve less light from atrium to have spaces to display photosensitive elements

North facing for generous yet diffused lighting

SHORT SECTION BUILDING Cafe’

Formal Auditorium

Cores

Archive

South facing for generous lighting

Darker environment ideal for lectures and screenings

Darker to reduce amount of heat gains

In basement to not have exposure to daylight and maintain cool temperatures 75

LIGHTING STRATEGY Final Daylight Assessment For Key Spaces LUX

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LEVEL 2 (EXHIBITION)

LEVEL 5 (OFFICES & LIBRARY)

LEVEL 3 (EXHIBITION)

SUMMER SOLSTICE

WINTER SOLSTICE

WINTER SOLSTICE

PASS Dark windowless spaces (shown in green) where photosensitive items can be displayed. These areas will not get too light even in the summer.

Areas dedicated for visitors circulation are visually comfortable.

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PASS Natural light of over 100 lux is provided to almost all areas, except cores and central circulation zone.

This is sufficient for general purpose activities, some additional artificial lighting may be needed for certain areas depending on the nature of the exhibition.

PASS Good levels of light except circulation spaces and in some corners further from windows. Well lit areas won’t require artificial lighting during the day even in the winter.

DAYLIGHT FACTOR Calculation

WINDOW SIZING The standard window size for our building is 18.5 m2, and a daylight factor of 2.5% is assumed to provide sufficient visual comfort to the occupants and enough light for general activity.

The minimum distance clear across the street to the next block of buildings is 16m on the west side (and further on the east), and the buildings are 15m high.

From the third floor and upwards, our structure is higher than the surrounding buildings, so clear sky is assumed.

For a standard window in our building, the amount of floor space the window can adequately light has been calculated and shown below:

FLOOR

GROUND

L2

L3 and upwards

Floor area lit by window to df = 2.5% (m2)

274

321

380

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SHADING STRATEGY Terracotta Louvres

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VERTICAL LOUVRES

HORIZONTAL LOUVRES

STRUCTURE AS SHADING

The vertical terracotta panels, as an extension of the facade language, become a shading device for the West and East facade.

The terracotta panels become horizontal on the south facade for the elements to act as a shading device

On the atrium, the secondary structure supporting the glass roof is extended to act as a shading strategy

LIGHTING ENVIRONMENTS Cabinet vs back Atrium

Cabinet

Back Atrium

The Okalux cladding allows for diffused light inside the Cabinet, creating a separate world of “soft shadows”.

Sharp shadows are created by the shading devices clearly differentiating the feeling of space from inside and outside the object.

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ATRIUM ENVIRONMENTAL STRATEGY Acceptable Weather Conditions (i.e. Summer)

Mechanically ventilated Natural Ventilation

Single-Sided Ventilation on upper office floors

Mechanically ventilated auditorium

Mechanically ventilated boxes (office rooms)

STACK EFFECT NEUTRAL PRESSURE LINE

Mechanically ventilated boxes (Enclosed Exhibition spaces)

Naturally ventilated exhibition spaces (L2-L5) through stack effect given by atrium

Mechanically ventilated spaces

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VENTILATION STRATEGY Services Distribution

RISE PLACEMENT

VENTILATION DUCTWORK

Mixed mode

Risers

Naturally ventilated

Exhausted air

Mechanically ventilated

Filtered air

Four key riser locations to ensure quality of ventilation through the building.

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HEATING & COOLING Strategies

TRENCH HEATING

THERMAL MASS

COOLING

The air source heat pumps will be used to heat water, which will then be distributed around the building into perimeter trench heaters.

Phase change materials (PCMs) utilise the heat required to change their state from solid to liquid to store energy in way analogous to thermal mass.

The off cooling load will be provided by air source heat pumps.

Trench heaters will be situated near windows and external doors where possible to prevents cold spots that may cause occupant discomfort.

The PCM material we will be using in our building is paraffin wax.

They can be made into thin lightweight panels concealed within stud walls to achieve the same thermal effect as 200mm of concrete.

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Any required dehumidification of air will be handled by a condenser in the HVAC air handling unit.

Naturally ventilated spaces in the summer should have sufficient air conditioning to prevent uncomfortable air humidity levels.

GOING ELECTRIC CHP vs. Electric

CHP

ELECTRIC

It needs too much space, releases excessive amounts of heat, generates vibrations and the grid is going electric.

Making our building part of the electric grid in order to promote the future of the electrification of the city.

ACOUSTICS Key Strategies

ZONING

DRAUGHT LOBBIES

The program zoning took into consideration acoustic pollution, placing more private and quieter spaces away from the street.

The draught lobbies act as a buffer spatially and acoustically, dividing public spaces from private ones like the migration museum offices.

BOOK SHELVES

INTERMEDIATE FLOORING DETAIL

Bookshelves act as heavy objects that resist vibrations, A raised tile flooring on top of the CLT floor slab will be added making it harder for sound to be transmitted and reducing to prevent excessive reverberation caused by people walking noise disturbance. directly on wood.

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AUDITORIUM CEILING

A curved ceiling was designed in order to optimise the reverberation time in the auditorium, for uniform noise distribution.

CORK INSULATION

Cork will be used in the external wall build up to provide sound and heat insulation.

It will also be used as the main wall cladding material for the auditoriums as it will also help reduce the echo in these rooms.

SUSTAINABILITY SECTION Summary South facing green terraces provide biophila for the occupants and enhance biodiversity

Louvers as shading devices

Solar harvesting (PV’s)

Energy efficient LED lighting

Lightweight timber frame to reduce load on foundations and reduce embodied carbon

Providing opportunities for local artists to exhibit their work in the temporary exhibitions

Rainwater retenetion reused for irrigation and WC flushing

Facade design increases daylight penetration and reduces solar gains Paraffin Wax used in the walls to increase thermal mass, reducing heating and cooling requirments

Spaces for the community to reconnect

Triple Glazing Flexible auditorium space used by the public for performance and interaction

Atrium to naturally ventilate spaces when suitable

Retain the existing structure

Prefabricated + modular partition walls

Trench perimiter heating

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4.

STRUCTURE ARCHITECTURAL & DESIGN INTENT STRUCTURAL STRATEGY KIT OF PARTS MATERIAL SOURCING FIRE STRATEGY CONSTRUCTION SEQUENCE CRADLE TO CRADLE

ARCHITECTURAL INTENT The Tectonics of the Building

MICRO SCALE

MACRO SCALE

All our main design elements are made to be flexible and reusable.

This shows on a micro-scale through our timber quad columns that can be dismantled.

Our atrium boxes are made from separate panels, where each panel can slide into one another and into the quad columns to create cantilevering spaces above our atriums.

Sketch of our back atrium

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OBJECT SCALE

Shelving Units for the community

Our frontal cabinet is made to store the community’s objects. It follows a 1.5m x 1.5m shelving grid. This structure is flexible as the size of the units can adjust to accommodate larger or smaller objects.

STRUCTURAL STRATEGY Exploded Axo

OUR INTENT The structural system was developed to achieve a sense of uniformity throughout the different parts of our building. We retained the existing concrete structure of the Belgrove House where we made holes in the floor slabs to create new cores and atriums. Some concrete columns required reinforcement with micro piles.

The rest of the structure is designed to contrast this concrete base and appear more lightweight.

We designed with timber in mind from the outset, focusing on the tectonic of the building.

Dry connections have been used for the structure so that the timber elements can be reused at the end of the design life. This strategy retained sequestered carbon, unlike if the element had to be recycled or burnt.

Our Building is separated into two parts the front and the rear, where the front holds our Cabinet and the rear holds the back atrium boxes which act as “smaller objects.” These two main features of the building are different in function yet they both share the same tectonic language.

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OVERALL SYSTEM AND MATERIALS Reasoning Behind Material Palette

CLT CORES

CHOOSING OUR STRUCTURE

New CLT Cores will be placed on top of the existing concrete cores on the South facade while new cores will be installed towards the North facade.

1. Timber

2. Steel

2. Concrete

QUAD COLUMNS We chose glulam quad columns for our structure as it is lightweight, low in embodied carbon and allows a longer cantilever span. These columns will sit on the existing retained concrete column towards the south of our building.

EXISTING STRUCTURE We chose to retain all the existing concrete columns and cores on the southern side of our building. Only demolishing the columns that are underneath our object.

NEW PILE FOUNDATION Micro-piles will be added towards the north of our building to retain the existing columns and support the object.

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1. Timber: We chose timber as the additional structural element mainly for it’s lightweight properties and low embodied carbon. As we are using lightweight elements, our building can easily be dismantled, replaced, and re-constructed as it is built-in parts. Timber also allowed us to create flexible spaces that are slotted into one another through the development of the tectonic strategy.

2. Steel: In comparison to timber, steel has a higher embodied carbon value.

It is also more expensive and more difficult to take apart. Steel also has a higher production energy value and cannot be pre-cut and modulated in advance, hence having a slower build time than timber.

3. Concrete: Concrete was excluded from our design proposal as it is high in embodied carbon and would not allow us to create flexible systems.

Tiles

Terracotta

MATERIAL SOURCING 4. Double glazing is going to be used for our windows and the ground floor façade.

For our material sourcing, we aimed to source our materials locally and within a close radius of the site. For the structure of our building, our main materials consist of Glulam and CLT. Terracotta and Okalux are used as external cladding materials.

8. Paraffin Wax (PCM) utilizes heat required to change it’s state from solid to liquid to store energy in a way analogous to thermal mass. It can be made into thin lightweight panels concealed within stud walls to achieve the same thermal effect as 200mm of concrete for example.

7. Cork Insulation sits outside the column line to minimize thermal bridging. It will also be used for acoustic panels around the auditoriums’ walls to reduce echo, and through the floor, panels to absorb the impact noise.

8

Okalux 4 1

3

7 6 5

6. Aluminium channels will be used for our windows and doors.

2

Timber 1. Tiles will be used throughout our building as it allows for a raised floor tile system. This allows us to place services in our flooring

Concrete

2.

Glulam and CLT will be used for our new structure.

5. The existing brick facade will be demolished and sent to be recycled.

3. The terracotta façade acts as a louvre in front of windows to reduce unwanted solar gains. The louvres are vertical on the east and west façades and horizontal on the north and south.

1. AP Tiling (112 miles away) 2. Glulam Ltd (86.9 miles away)3.James & Taylor ltd (19.4 miles away) 4. Vaspa (7.4 miles away) 5. JM Murphy (2.6 miles away) 6. Aluprof (1.4 miles away) 7. Insulation for Less (1.9 miles away) 8. PCM products (90.7 miles away)

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DESIGN INTENTS Structural Justifications

TIMBER CONNECTIONS

A lightweight timber material is being used over the existing concrete columns, where quad columns are placed over the concrete ones and CLT is used over the existing cores.

This allows for minimal reinforcement to the existing structure.

A tectonic column and beam connection was chosen to allow for objects to slot in and cantilever over these columns.

NEW BUILD

Our building follows a modest grid that emerges from the existing structure of the building. The columns in red represent the new build and reinforcements and those in yellow are existing.

Towards the north, we have the new build that holds up our community cabinet.

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TIMBER SPACE FRAME

COLUMN AND BEAM CONNECTION

For our main object, a space frame was used for the space to be open plan. This allowed for smaller flexible atriums to be made within the object, creating views to the shelving units of the above and below floors.

TERRACES

Our building steps down towards Argyle square to respond to the context of the site.

This reduces the load on the southern existing columns which therefore don’t require reinforcement.

CONNECTION STRATEGIES Dry Connections

COLUMN AND BEAM CONNECTION For the purpose of re-use, we aimed to only use dry connections. As shown below our column consist of timber bolted to steel flitch plates which screw into the existing concrete columns.

ATRIUMS BOXES Our Atrium Boxes slide into the quad columns as they are made of individual panels. These panels are prefabricated elements that can be easily re-purposed and therefore have a long life span. This system also allows for flexibility in terms of the glazing ratio of these boxes.

STUD WALL CONNECTION Our external walls are all made of prefabricated elements that can be easily dismounted and transported. This is shown through the terracotta panels that hang on a secondary steel frame, as well as the stud walls that sit on top of one another. This also allows for minor future adjustments such as the width of insulation needed.

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KIT OF PARTS Structure, Boxes, Internals, Externals

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STRUCTURE

BOXES

INTERNALS

EXTERNALS

TIMBER BEAM

TIMBER CLADDING

CLT FLOOR PLANS

TERRACOTTA PANELS

QUAD COLUMNS 4

TIMBER GLAZING PANEL

TIMBER TRUSS

OKALUX PANEL

PILES

TIMBER DOOR PANEL

SHELVING UNITS

STEEL CLADDING FRAME

FIRE STRATEGY Main Fire Considerations

QUAD COLUMN FUTURE

CLT CORES

Our columns have been designed to provide 60 minutes of fire resistance allowing occupants to escape through the fire escapes.

A sprinkler system will also be installed for further safety. The column’s openings could also be covered in gypsum cladding.

FLOORING AND VENTS

CLT cores have been placed to extend above existing concrete cores. These cores will be enclosed in gypsum fire cladding.

We plan on having fire-rated ductwork using rock wool insulation. As shown in our diagram we are also adding dampers to our vents to prevent fire penetration.

PLAN ESCAPE ROUTE

FIRE ESCAPE STRATEGY

30m

Throughout our design, we aimed to work in accordance with the 2019 Fire Safety Regulation.

45m

2.4m

To the left is one of our typical exhibition floors that span the entire 80m of the site.

The three fire escape stairs are highlighted in red and the three key fire escape routes are shown to be < 45 m.

An estimate of 120 people would occupy a floor at a time. We opted for fire stairs that are 1.1m which suits the amount of occupancy on each floor.

1.1m 24m

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CONSTRUCTION SEQUENCE Axo

STEP 1 Clearing out the internal fittings, installing the micro-piles, strengthening the existing columns and demolishing the brick facade.

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STEP 2 The scaffolding and the mobile crane will be installed. Holes will be made in the existing concrete slab where the cores and atriums are positioned.

STEP 5

STEP 6

The pre-fabricated elements will be placed in unison with the build up of the floor slabs on the rear.

Build up of the rear cores and roofs will be made next.

STEP 3

STEP 4

The next step consists of a mobile crane installing the tower crane in the west core and constructing/ extending the remaining cores.

The construction will beginning in the rear end of our building. This consists of installing the MEP, and floor build-ups.

STEP 7

STEP 8

The West crane then focus on building the front of the building- installing the MEP, and floor build-ups.

Next the roof plants and the walls of the object will be constructed. A concrete pad will be constructed to assemble the secondary crane and disassemble the primary crane. Finally the west core will be completed.

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SITE MANAGEMENT Crane Strategy Mobile crane used to install primary crane

For our crane strategy, we aimed to minimize any inconveniences on site. As the cranes will be our primary source of noise pollution, crane work will be limited from 8 AM to 6 PM. We also aim to use two cranes in unison. This allows us to minimize the road closure on Crestfield Street. The primary crane will be installed inside the new core on the West side.

An additional set of micro piles will be installed to support the crane. The crane will be laterally stabilized by the core. A temporary secondary tower crane must be assembled to remove the first, and finish construction of the west core.

This secondary crane will require a temporary concrete pad foundation.

The radius of the primary crane is shown above. The rear of the building is built first to reduce the number of times the crane .arm has to swing over the road

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CRADLE TO CRADLE Structure, Boxes, Internals, Externals Cradle to Completion

Existing Brick 2. Recycle

CRADLE TO CRADLE

Steel 296363

Terracotta 0 CLT (recycled)192381

3. 1 Aggregate Glass 1105431

Our site is located on Euston street in the King’s Cross Conservation area. Belgrove house is the existing building on site and is currently used as a storage facility. We decided to maintain the existing structure in order to minimise the embodied carbon of the construction process.

We designed with the intent of not only lasting for its present purpose but also for it to be flexible for future use. The materials and methods of construction have been decided based on this premise.

Due to this, we focused on using prefabricated elements that can be taken out of our building.

These include our CLT walls and terracotta facades. Dry timber connections have also been used to maintain the durability of the material. We decided to maintain most of the structure of the building by reinforcing the concrete column for future use and adapting the concrete floors.

CLT (direct reuse) 1686609

Glulam 453771

3.2 Re-use 1. Demolish

Cork 49272 Glulam (recycled) 51666

Rebar 5351 Concrete 3486

Timber

Net End of life Carbon (including sequestration)

4. Re-use Terracotta 11246 Steel 118325

CLT (recycled) 35233

1. Product Glass 1132431 Cork -445621 Glulam (direct reuse -1007022

3. Dismantle

CLT (direct reuse) -4209749

2. Build Glulam (recycled) 14094

Terracotta 1. Extrusion 7. Re-use

End of Life Cycle

2. Glaze

Terracotta 11246

Steel 118325

CLT (recycled) 553789

6. Dismantle

CLT (direct reuse) 457252

Glass 1132431

3. Product Glulam (recycled) 138076

5. Assemble 4. Transport

Cork 47726 Rebar 7785

Glulam (direct re-use) 108814

Concrete 4595

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5.

FUTURE

MODULAR ADAPTABILITY CHANGES IN FORM 2050 2100

MODULAR ADAPTABILITY Ease of Maintenance and Reuse

FLOOR TO CEILING The 3.5m floor to ceiling height across levels allows for flexibility for the building to evolve in multiple functions.

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LONGEVITY AND AGEING

CONNECTIONS

Terracotta is a self cleaning material due to its glazed surface so rain runs off it easily, making it more durable and giving the building a longer lifespan.

All connections are designed for disassembly, using bolts and screws.

This allows for flexibility to dismantle the building or parts of it to be built somewhere else.

WALL PANELS

BOX PANELS

The prefabricated terracotta panels and the cork insulation can be easily dismantled, allowing for the possibility to adjust insulation based on future climatic conditions in relation to global warming.

The boxes in the atrium are created of 1m modular panels, that can be easily moved within the building to respond to future changes in program and use.

CHANGES IN FORM Flexible for Future Public or Private Uses

The regular column grid allows the building to increase in height.

Larger terraces could be accommodated by pushing the mass of the building to align with the next column line.

Easily removable terracotta panels for maintenance.

Balconies can be relocated to provide flexibility in terms of privacy for future uses.

Balconies can be added or extended, based on internal changes and new requirements.

The ground floor could become an open garden raised on the existing concrete columns.

Main cores remain in use to provide servicing and circulation, and can extend in height if the building gets taller.

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2050 Formal library for general resources across all educational departments

Quiet individual reading room

Replaceable panel facade provides scope for future materials, while windows are kept accessible to allow for disassembly

Founded in 2014, the Knowledge Quarter (KQ) is a partnership of 73 knowledge institutions in the neighbourhood around King’s Cross. By 2050, it will be a well established academic community, and our building will become a key local hub for educational workshops, classrooms, and general resources found in the library.

Back atrium objects transform into classrooms and educational workshops

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The regular structural grid allows for a clear segmentation of classrooms at the rear of the building, while the central atrium provides natural lighting and ventilation for deep set rooms.

The population projection of Camden between 2021 - 2031 is currently at 5.7% due to steady influxes of migration. This value is raised to 8.2% of housing capacity is disregarded, therefore there is a need for more high density housing in the area.

Balconies are made of steel structural elements separate to the building’s internal floor slab so that they can be moved around or adjusted in size for future uses

As educational institutions and offices shift to a more digital workspace, a communal co-working space is necessary for residents as well as the general public.

Communal co-working spaces as businesses shift towards a “Work from Home” culture

Due to the modular nature of the external walls and panel facade, there is an opportunity to customize glazing ratios for a more residential approach

2100

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6.

PROCESS

CHAPTER I - VIII

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CHAPTER I What is the brief?

INDIVIDUAL

When we went on our site visit we decided that to be respectful towards the context we could not go higher than the hotel extension recently built. The character of the site has to be preserved as it’s personality is too unique.

A central heart, something that people can relate to 108

A connection between Argyle Square and King’s cross

SHARED

We started to explore how people could be brought together in the museum to share personal experiences and stories.

A mass which acts as the lantern of the building

“Objects have a priceless value. Not for their monetary worth but for the stories behind them”

CHAPTER II Development

ARCHIVE

TEMPORARY EXHIBITION

PERMANENT EXHIBITION

LIBRARY

After visiting the site we decided we had to respond to the jump in height of the buildings in the conservation area.

Belgrove house occupies an entire city block with a solid mass. How could we break it down to create a permeable ground floor?

SPACE FOR ORGANISATION

AUDITORIUM

OFFICES

PUBLIC FUNCTIONS

SERVICE CORES

BIOPHILIA TERRACES

Purity of form at the front VS. broken down at the back (Head & Tail)

Placing the cabinet at the front would have valued the high visibility location of the site. Locating it at the centre would not have celebrate it enough.

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CHAPTER III Intruding objects

An atrium was introduced to allow for natural ventilation and light to penetrate deeper into the floors.

Quad columns were introduced in our design to deal with the cantilevers of atrium boxes.

We started our experimentation by introducing architectural boxes (objects) in our atrium. At this stage we felt like the tectonics needed to be more integrated into the scheme as a driving force of our narrative.

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We tested ideas of how the intersection between the atrium and the boxes could be executed. This lead to the different narratives for the three permanent exhibition floors.

CHAPTER IV Initial Cabinet

Program study further explored in section to create dynamic relations between spaces. The cabinet and library floors each have a different function. Following our tutorial, we realised our program should be more mixed in order to reflect how communities function in reality. Also, we did not want to create a hierarchy of functions in the cabinet.

The tapering cabinet shape emerged in order to open more views to the cabinet from the mezzanine floors. However, it was creating issues with shelving and awkward corners behind columns on the upper floors.

Should the cabinet feel more integrated or in contrast with the rest of the scheme?

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CHAPTER V Facade as expression of internal objects

By introducing balconies we can break down the massing and keep the insulation line flush at the same time. In this way we are not increasing the amount of surface area through which heat can be lost.

To break down the monumentality of the building we attempted to create a facade with pre-fabricated modular timber and cork panels. It did not respond to the context and the effect was too modern for it’s surroundings.

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Testing different ideas for the shading of balcony spaces

Balconies became an expression of the interior spaces. However, slit windows and balconies together felt like two different languages were being juxtaposed.

Building integrated on the macro and micro levels of articulation.

CHAPTER VI Contrast and expression We experimented with our Cabinet being a contrasting and stand alone element in our scheme. To do so, we attempted to give it a separate structure system: the diagrid.

Overall aesthetic effect felt unjustifiable

Diagrid to open views to kings cross

Used excessive amounts of steel which increased the overall embodied carbon

The object felt too detached from the rest of our scheme.

In order to express the diagrid structure as an element that contrasts with the rest of the scheme we decided to simplify the facade by removing the balconies. We tested different iterations and decided to express the interior spaces through subtle offsets in the facade.

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CHAPTER VII Cabinet Integration At this stage the cabinet was not well defined and it was too alienated from the rest of the scheme. How could we use the language of a spatially playful atrium in the Cabinet to unite the architectural language in the building?

Should the object be one large mass or should it be more broken down to different spaces?

Double height library spaces around the cabinet to express it internally and open up views.

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Introducing the idea of parts creating the whole, where the shelves holds the objects form the cabinet.

The cabinet steps out of the facade line and roof, so that it is expressed, and it relates to the intruding boxes in the atrium.

Introducing atria within the cabinet to create visual connections between levels.

Studying the journey of objects within the building, and how stories are told and displayed.

CHAPTER VIII Finalising Design

The flush facade with subtle outsets was questioned since it creates a large consistent elevation that has no apparent expression of the interior spaces. It also felt too imposing on the context as the site occupies a whole city block.

The idea of objects intruding was reflected in the ground floor plan by creating some insets. This allowed for the spilling of internal functions into the street, facilitating a stronger interaction with the public realm.

We went back to expressing the interior spaces using the balconies as intruding objects.

Originally, the idea was to cantilever outside using the continuous beam going through the quad column, however that creates insulation issues. A cantilever steel section is used to hold the terracotta cladding instead.

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7.

FINAL REFLECTIONS LILIANA PREVEDELLO FAITH MUIR YANA SHABAN ABDELKHALEQ YAGHMOUR

LILIANA PREVEDELLO Milan, Italy I am truly grateful for the knowledge and design experience I have gained in these past 10 weeks.

I couldn't have asked for a better team. All the group members were keen on giving their own contribution to the design and when I look at the project, I see how a collage of all of our ideas seamlessly tie into one cohesive project.

I believe all the people in this group had strong opinions and we often challenged each other's ideas. At times, the debates we had about the design almost seemed to have a dead-end, but in most cases, it allowed us to make strong and articulated decisions.

My object would be A Bialetti Moka My message for the Cabinet “Being back home in Italy means waking up with the smell of coffee in the kitchen and the sizzling sound of a Bialetti Moka”

I remember in third year we were told the metaphor of architecture students being like a sponge absorbing water, and fourth year would be the year in which we would "spill" all our knowledge out.

However, this project made me realise how much there still is to absorb and this really excites me.

The first few weeks of the project felt quite confusing; there was an over-excitement of sharing ideas which brought us to almost have too many things on the table. At that point, I understood the value that engineers could bring to the actual design, with an approach that was much more pragmatic and logical. Many abstract design ideas started to become tectonic details, similarly, a simple junction became key for our architectural narrative.

The highlight of this project were the weekly tutorials. It was very interesting to see how the vocabulary and the ideas discussed would change depending on whether the tutorial was architectural, structural, and environmental. Even though the parts of the building which we were discussing were the same, the perspective given each time was very different and this is what truly made us critically reflect on our scheme.

On a personal level, my goal for this project was to strengthen my technical and environmental knowledge and see how these could form an architectural narrative. In previous years I would often feel puzzled by tectonic sections and details, but in this project, they turned out to be one of the parts that excited me the most. Another valuable lesson I learnt is the importance of selecting one theme and driving it through the entire scheme. I was mainly in charge of drawings, graphics and the design report. I learned a lot of new skills from my group members, such as model making from Faith and Yana and life-saving photoshop tricks from Abdelkhaleq!

Overall, I enjoyed the process and seeing where it has taken us. I will miss the exuberant creativity, laughter, and dedication of this group and I am excited to see where the knowledge acquired from these past few weeks will take us next.

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FAITH MUIR Manila, Philippines + Aberdeen, Scotland Being a part of this group has made me appreciate the dynamics of a good design team. I am truly grateful to have had the opportunity to be surrounded by talented and like-minded individuals.

From the start we all strived to create a symbiotic scheme that designed architectural, structural, and environmental aspects in tandem. In this way, we were able to learn from each other's strengths and support each other's weaknesses.

My object would be Miniature Jeepney My message for the Cabinet "Growing up I remember riding in Jeepneys to go to my grandmother's house. I have always loved seeing their quirky and colorful designs."

The strongest attribute of our group is definitely our ability to make critical reviews of every design decision. This allowed us to focus on a central goal that kept the building architecturally and structurally concise. I feel as if our biggest hurdle was the Cabinet itself. After the interim, we started to take our ambitions seriously as we were always told that the centrepiece of the building was not being pushed to its full potential yet. It just didn't seem like it represented the shining gem that we wanted it to be- it hid within the envelope of the building and seemed structurally detached from the rear atrium where our smaller object spaces stood out more. This led to hours of debating about which direction the design would take, and we found ourselves listing pros and cons for each design move until we reached a sensible conclusion that aligned with all our goals. I'd have to say the most satisfying feeling was presenting the Cabinet at the final crit and being met with comments like "it truly stands out- it feels magical."

With each project I aim to engage myself with tasks that I generally lack experience with. Yana and I took charge in creating physical models, which was a rewarding experience as it led to a more holistic presentation for the final crit. It was nice to be physically present for a crit again as the tutors were able to engage with the models and the pin-ups. For future projects I will definitely experiment more with model making as a means to better understand the properties of materials as well as the tactile experiences of spaces.

Despite the endless lunch takeaways and numerous late nights, we were a group that saw the bright side of things. We were constantly excited by the way our international backgrounds have made this project authentic to us and our experiences coming from all corners of the world. In the end, we designed an object that we are proud of.

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YANA SHABAN Beirut, Lebanon

My object would be Hamsa My message for the Cabinet "The Hamsa charm keeps me at ease as it is a symbolism of protection from negativity and jealousy. Till this day I take a Hamsa charm with me wherever I go."

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The TED Happold project has been one of the greatest challenges and most exciting projects we have worked on. Over the last 10 weeks, I have appreciated the meaning of working in a team of highly spirited and motivated architects and engineers. In our group we all come from different backgrounds and each of us started with a different idea of what a migration museum should be. We are all strong willed, creative, and full of ideas – some of which clash with each other.

Throughout the entirety of the project we all met up everyday to discuss new ideas sketches and concepts, we even often sat down in a bay and rolled out a large roll of sketching paper to sketch over each other and build from each other’s ideas. It was really hard for us to grasp the scale of the building as not only was it the largest scheme we worked on so far, but it also had a great variety of programs to accommodate for. Our main aim was to be holistic in design and holding off delegating tasks till the very end of the project.

After our main idea of the Cabinet our design goal was clear, we simply needed to express it structurally and architecturally. The way we expressed our Cabinet varied from week to week, where it started by hanging over a truss structure, to being held by bridges over atriums to emerging from a diagrid system to finally cantilevering out onto our pavement. This driving idea allowed for us to have a clear direction to the design intent of our building where our spaces and our structure both reflect the idea of an ever-changing cabinet.

I was surprised by how much I can learn in such a fast paced design environment. The collaboration of other architects and engineers gave me the opportunity to learn from other people’s strengths.

My knowledge on the different structural routes a building can take and the different ways in which to approach thermal mass grew tremendously. Working in this group gave me the confidence to experiment with new parts of design. Faith and I were both in charge of model making, where we took the initiative to learn how to use the laser cutters and other 3D workshop machines.

Watching this project develop from beginning to end was very uplifting and proved to me how much work can be produced when surrounded by a good atmosphere of creative individuals. I will really miss working with this group and sharing radical ideas with each another.

ABDELKHALEQ YAGHMOUR Amman, Jordan What I enjoyed about the TED Happold Project is that we picked up a rhythm of communication quickly, and that helped us in creating design iterations early on in the project. As a group we would mostly work, eat and laugh together in studio, and that allowed us to build on and improve the group dynamic.

The expectations and the requirements of this project are challenging, and I felt like that truly pushed us to become better designers. While the University of Bath encourages architectural students to think of the structural and environmental strategies throughout all the years, this project was the most intellectually stimulating, as I truly learnt about the integration of structural, environmental, and architectural decisions to create a holistic piece of design.

My object would be Keffiyeh Scarf My message for the Cabinet "The Keffiyeh is a symbol of my identity as a PalestinianJordanian."

I also enjoyed working with my group as I got to learn about their approach to design and decision making, and that was especially cultivating because architecture is a way of externalizing our experiences, and all the group members come from diverse backgrounds, making our experiences very different. While everyone in the team had their strengths, we all had a go at working on different aspects of the design and submission, which made my experience more enjoyable and educating. I mainly worked on or was in-charge of the graphical content produced, and I would consistently tell my group members: “We still need to decide on a graphical style.”

Our design process was truly eye-opening, since we always challenged each other’s ideas and the intent behind them, and we tested them against environmental and structural considerations. This made the design go in different directions, where we tested a lot of ideas that were not integrated in the final design, and we also found ourselves recycling a lot of the earlier design ideas. At times the discussions on design between the group members heightened, since we had different but equally valid arguments, however I am glad we did not shy away and we had those debates, because they lead to design decisions that enhanced and sculptured a project that I am proud of.

The highlight of this project for me was the final review, as we got to see our hard work pinned up and we were told we had a well-integrated scheme and that the divide between the architects and the engineers was not visible.

On a personal level, I really pushed myself to further my understanding of the technical side of architecture, I would try to push myself to engage with the engineers and I would ask for clarifications on jargon and information I was not aware of. I also tried to build on the engineers suggestions to find a common ground that satisfied all considerations

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Site Visit Post-crit Celebration!

The design process Interim Crit

Thank you.

“Objects have a priceless value. Not for their monetary worth but for the stories behind them” -Group 04