group 23
[sub] culture
Alexander P
/
Faith M
/
Liliana P
/
Olivia VW
/
Rees M
/
'Overruling tradition: reinventing a sustainable urban oasis for the community'
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CONTENTS
5 6 7 8 10 11 14 16 17 18 20 28 29 30 31
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Brief Introduction Users Site Analysis
Design Development Precedents Concepts Design Development Final Design Strategy
Sustainability UN Development Goals Sustainablity Strategy Hydroponics Drawings
Structure Materiality and Carbon Construction Sequence Stability Assessment Structure
'Sub-culture : designing for the cultural legacy of the community' (the garden huts as detailed further on)
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INTRO DU CTI O N Brief
BUILDING HISTORY
Introduction New York City is a beautiful place, but as professor Andrew Dolkart explained it, it is also a place whose urban design has always been driven by a quest for profit and expression of superiority. Over the years the city has changed and evolved, however it remains a fact that as far as sustainability goes, green wash and misleading appearances shape the New York skyline as we know it today.
Architect : McKim, Mead & White Date : 1900-1904 Location : New York, USA Style : Ideals of the City Beautiful Movement, sometimes referred to BeauxArts or French Renaissance Purpose : A powerhouse to provide power for the entire IRT Network.
The aim of the brief is to carry out a careful architectural and structural intervention on the New York IRT Powerhouse, developing a dynamic, flexible and inclusive sub-cultural centre for the community. The design strategy should reflect sustainability and blend the site's rich history with the new structure seamlessly.
We questioned the fundamentals of what it is to be sustainable in the 21st century, and decided that it was more than just developing an environmental awareness, but also including positive social and economical strategies into the design.
Response Designing a cultural center gives us the ability to change the cultural meaning of this formerly industrial space and make it a more apppealing space of interest for local New Yorkers in different ways : 1. Transition from pollution to sustainability 2. Create an emotional connection to the site 3. Preserving and celebrating local culture 4. Inspire to innovate Initial Ideas
Maslow's hierarchy of needs
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USER AND DE MO GR APHI CS Who is Our Client?
Site context The Juilliard School An internationally renowned college covering drama, music, and dance schools
Lincoln Center for the Performing Arts Facilities for prestigious cultural organizations such as the Metropolitan Opera or New York City Ballet
Fordham University Lincoln Center John Jay College of Criminal Justice
Restaurant Row Ninth Avenue is noted for many ethnic restaurants and its monthly International Food Festival Cultural | Theaters, Art Galleries, Music
Public Parks
Food and Drink
Higher Education
Demographics and Gentrification of Hell's Kitchen % of total neighborhood population
45.3%
Development pressures to redefine the negative reputation of Hell’s Kitchen
Rent Burden Rate When a household spends more than 50% of their income on rent
Average rent increase of 5% each year since 2010
6.1% 11.5%
25 - 44 Working Class
65+ Elderly
0-17 Youth
Age range
New high-rise residential blocks transforming the low-rise scale of the neighborhood
Community displacement + closure of small businesses
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20.4%
Income diversity ratio is increasing. From 7.2 in 2006 to 9.7 in 2018 7% of total population uses food stamps 2.6% of total population live in temporary shelters Small, struggling local businesses
Local artists and performers practicing and promoting their work Blue and white collar workers wanting to collaborate and socialise in a community friendly space Educational field trips from nearby schools and colleges Abundance of tourists and statewide visitors in nearby districts
(All data from sources updated in 2018)
s ite analys is
S I TE CO NSI D ERATIONS 11th Avenue is a street exposed to a lot of traffic, meaning that the East end of the building will be exposed to higher noise pollution. 59th West is quieter but currently bordered by large scale construction sites.
Design Response - Make East entrance engaging with the public - Shift noisier spaces in the building towards the East end, and more quiet places towards the West
E X I ST I N G ENT RANCES AND ACCESS Site is easily accessible by car or by foot. RED Vehicle entrances BLUE Pedestrian entrances
Design Response - Have more than one entrance on the East side to engage with public - Keep the main entrance on the North end, opening up multiple 'doors' in the facade to make the building more accessible
S UNPAT H Site receives good amounts of natural light. However, due to its relatively low height it suffers from overshadowing, in particular the lower levels. Design Response - Re-glaze the roof and work with the same materiality in order to maximise solar gains - Open up windows in facade to allow natural light in
S URRO UND I NG G RE E N A REAS The site is currently only bordered by 12 trees on the North facade. There are a number of public parks and green spaces in the immediate neighbourhood. Design Response - Preserve existing trees - Develop a design which incorporates sustainability without green washing - Aim at reducing embodied carbon energy within the building
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VI E WS At the time of its construction the IRT Powerhouse was far larger than anything around it, so the facades were designed in great detail and the roof was given little attnention. Nowadays the surrounding developments are much higher and from which the roof is easily visible. Design Response - Reglaze existing steelwork to make the roof views nicer - Respect the existing facade but open windows to make building more permeable
P UB LI C T RA NS PO RT Well connected with Subway, Railway and Bus stops which means the IRT Powerhouse is easily accessible from any part of the city through public transport.
Design Response - As the building is already well serviced there are no restrictions for the kinds of spaces we want to include within our design or how the space can be accessed by all - In contrast with these temporary halts we want to create a space within the neighbourhood where people can stay for extended amounts of time
PRECEDENTS Concept Urban Farming : Urban Garden and Housing Copenhagen, Denmark Architects | We Architecture + Eric Juul
Inspiration| To build an infrastructure which targets and benefits the economically disadvantaged
Culinary Piazza Kyiv Food Market Kyiv, Ukraine Architects | Slava Balbek
Inspiration| A clear layout for a piazza where suffering local businesses can have their pop-up markets
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Arcade Renzo Piano Harvard Museum Cambridge, USA Architects | Renzo Piano Building Workshop
Inspiration| A modern arcade which comunicates with the old architectural style and acts as a thermal buffer
PRECEDENTS Hut Garden
Expressed Structure
Hydroponic Cultivation
Sustainable Flower Market for Ruichang Ruichang, China Architects | KAMJZ
Timmerhuis Rotterdam, Netherlands Architects | OMA
Farm One New York, USA Restaurant supplied by own hydroponics
Inspiration| Using huts in sunken courtyard to sell our food production
Inspiration| Expressing the steel frame with cross bracing in order to link spaces together as well as strengthen the connection between old and new.
Inspiration| Creating our own food supply to target UN goal of "responsible consumption and production". Also, an opportunity to offer new jobs to our target audience, the economically disadvantaged.
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Concepts Concept Drivers
Zoning Based on our conceptual and site analysis, and in order to address the almost overwhelming length of the turbine hall : We decided to divide the building into three distinct sections (2.).
Economic
Social Inclusivity
We also had a look at the permeability of facades (3.), as we wanted to really open up the building to people on the streets, while respecting the historic, yet still pristine, facade.
Environmental
We looked at natural circulation based on surrounding traffic routes (4.)
We questioned the fundamentals of what it is to be sustainable in the 21st century, and decided that it was more than just developing an environmental awareness, but also including positive social and economic strategies into the design.
The resulting partii diagram aims to represent the intent of our scheme (5.)
Design Concepts
Growing an urban farm
Meeting and Sheltering
Optimised Design Strategy
1. Economically, by setting up a food production cycle from cradle-to-grave, creating new jobs involving innovative crop-growing methods. 2. Socially, a fight against New York’s gentrification and class stratification by targeting low income communities and creating a safe space for the locals to shelter and gather around their common past. 3. Environmentally, an airtight design strategy tailored to the conditions on site, making the most of solar gains, ventilation, rainwater collection, plant growing, heating, but also providing real environmental innovation, by directly learning from the greenwashing permeating the designs of the contemporary developments around the old powerhouse.
Growing
Meeting
Learning 10
We had a first idea of volumes as we examined inverting the typical New York skyline pattern (drastic volumes pointing toward the sky) play with a low gradient parabola curving toward the site to physically illustrate our fight against modernist architectural design.
DESIGN DEVELO PMENT Massing Gallery
Meeting
1. Initial volume Create a multi-storey gallery, slightly below roof level.
1. Initial volume Simple mass with a central void creating a piazza for gatherings.
2. David Chipperfield Stairs Different levels are connected by long stairs. Disregarded for impracticality.
2. Added floor level Add a cantilevering volume for a sky restaurant? Dismissed as it didn't work with our roof design.
3. Irregular Terracing Interactive space where people experience a vertical and horizontal journey through allottments.
3. Initial Arcade Mirroring of the historical traditional arcade design on the North and East facades with a modern approach.
4. Regular Terracing The journey is more direct and the volumes interact with the existing mezzanines more.
4. Opening the volume Top floor becomes entirely glazed to provide views down and further onto the scheme.
5. Final Design A final drastic move, still with the idea of a vertical and horizontal journey but with a much bigger and more flexible installation space.
5. Final Design The lower floor is partly voided for continuity on the ground plane. The steel structure is expressed.
Growing
1. Initial volume Create a long interactive winter garden.
2. Sunken Courtyard Remove the floor and push the courtyard to the basement levels. Idea was dismissed as we lost fluidity and load bearing strength. 3. Garden Huts Interactive learning space for people to wander around.
4. Pitch Roofed Huts Pitched roofs respond better to our analysis of vertical movement and initial ideas of massing, while the varying sizes accommodate different spaces.
5. Final Design The pitched roofs slope inwards to create a clear and straighforward axis of circulation.
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DESIGN DEVELO PMENT Circulation and Interaction Initial
Circulation
Interaction
1. Closed Piazza
2. Piazza is opened up so that circulation becomes more straightforward and increases dynamics of space
3. Food stands on either long elevation diversify movement
1. Huts
2. Huts are given different sizes and geometries
3. Landscaped aquariums are placed in between
1. Secondary Exhibition Piazza
2. West end is simplified into a wall to increase flexibility of the art installation space.
3. Creation of a sky bridge to ease circulation while placing more private spaces on the edges.
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DESIGN DEVELO PMENT Architectural Planning
Spaces Looking at our sustainable urban farming concept, we selected a number of spaces which we considered most relevant to the scheme and wanted our building to accommodate. These would include spaces for food production, consumption, but also leisurely activities bringing the community together around their common past and cultural roots.
(a) Mindmap of spaces we wanted for our scheme
Intervention Planes In plan, we made the decision to focus our intervention on the ground floor plane and lower basement levels, as these were the most suitable for growing hydroponics.
We also didn’t feel the need to work on the mezzanines or the roof too much as they could instead become spaces for a memory of what the building used to be, as well as notable viewpoints onto the rest of the scheme.
Music
Core
Art
Drama
Dance
Layout
(b) (Left) Idea for the central park layout (c,d) (Right) Idea for the gallery layout
As a group, we worked through a variety of design options, thinking of practicality as well as aesthetics.
We studied the nature of each space individually and in relation to the others. We thought of where each space should be positioned, from the louder East end to the quieter West boundary. Finally, as our design became more and more resolved we explored superstructures within the building to enhance the overall architectural experience of our new agricultural powerhouse.
(e) Week 2 Ground Floor Plan, Long Section, Elevation
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(f) Week 3 Ground Floor Plan
(g) Week 4 Isometric Long Section
DESIGN DEVELO PMENT Final Design Strategy Moving ETFE truss roof
The West End Art Gallery A large, open space able to accommodate any kind of artistic intervention. An ETFE roof can be moved between floors 1 and 3 using the remaining historical gantry crane , while viewpoints on upper level mezzanines provide a multi-level sensory experience.
Mezzanines are viewing spaces
Braced sky bridge
Basement viewpoints Music
Drama
The Central Village Developed in length, this village within a building brings a whole new dimension to the 'cultural experience'. Visitors can choose to walk around the aquaponic aquariums or book an artistic studio for the day.
Art
Dance 14
DESIGN DEVELO PMENT
The Underground Urban Farm Hyproponics processing
The two basement levels have become spaces dedicated to the cultivation of food using hydroponics. An efficient but also practical space as it is easily accessible, viewed and understood by the target client.
Hydroponics cultivation
Viewing screens Steelwork emphasised The Eastern Food Hall From floors 0 to 3 visitors are provided with a variety of culinary experiences, using locally grown produce and fish.The diversity in spaces ensures flexibility and catering for all.
Two way cantilevered staircase
Bar
Restaurant Restaurant Food Hall
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Open air kitchen
SUSTAINABILITY Value of social, environmental and economic resources is at the core of our design
Creating a full food production cycle from craddle-to-grate
Targeting the economically disadvantaged
Provide organic and well-sourced food from our vegetable acquaponic gardens.
Reduce embodied carbon by using sustainable materials
A space of gathering and shelter
An all-inclusive space open to all
Sustainability is the process of maintaining change without compromising environmental, social and economic resources.
Although the brief directly addresses 3 of the 17 UN Sustainable Development Goals, by the means of our intervention we have been able to target a further 7 goals.
Self sufficient environmental strategy
Using innovative urban farming methods
New jobs and spaces for new businesses to set up their shops 16
SUSTAINABILITY Environmental Strategy
Heating
Daylighting
Ventilation
Rainwater Collection
The IRT Powerhouse works as a thermal buffer for our 'building within a building', making it thermally efficient. The spaces which require constant heating are minimal, usually quite small in size and will be well insulated.
By opening up some of the windows on the North and East facades, as well as returning the roof to being fully glazed, we are making sure our building gets as much sunlight as possible.
As this is such a large building with little openings, we are creating a natural air flow in order to make sure the air quality remains good at all times.
The rainwater collection system we are installing under the roof is key to our scheme as not only will it supply water for the building but also for our urban acquaponic farm.
Solar gains through roof Rainwater collection tanks
Solar gains through roof provide heating for north mezzanine in addition to ambient lighting Air released through heat exchange or via main roof
Heat exchanges
Heat exchanges
Air flow against outer wall
Rainwater collected and stored in roof-level tanks situated on new floor over existing supports
Vents
Aquaponics and central rooms warmed from below
Air flow against inner wall
Hot air generated for hydroponics
Hot air generated by performance space
Hydroponics requiring heated space
(a) Heat exchanges from the hydroponics
(c) Ventilation in gallery
(b) Heat exchanges from the auditorium
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Air flow through mezzanines driven by convection Air flow from central courtyard mainly directed over bridge Line of trees provides visual and ventilation buffer from central courtyard
Bridge floors heated by services running underneath Heat recovery system maintains generated heat
Fresh air intake generated by openings
Basement level heated primarily by performance audience
(d) Ventilation in piazza
Piazza air flow driven by connection due to solar gains and performance space heat
SUSTAINABILITY Acquaponics Advantages
What are acquaponics? A system of aquaculture in which the waste produced by farmed fish or other aquatic creatures supplies the nutrients for plants grown hydroponically, which in turn purify the water. Plants grow without need for soil Water pumped up to plants
Fish in water tanks provide nutriments & minerals
Acquaponic Cycle
Require 20 times less water than soil based gardening. (Water can
Forms a closed ecosystem, requiring little to no fertiliser
Fish are farmed in tandem with crops, diversifying the food output
Operates all year-round due to staggared harvest
Crops grow faster due to control climate
No energy required for transport
Harvested by economically disadvantagednew job opportunities
Vegetables & fish bought by local people. Profits used to support people with financial issues.
In our building
Vegetables grown by sustainable acquaponic system 18
SUSTAINABILITY Agricultural Production Capacity
Energy Life Cycle Assessment Comparisons
Recommended daily fruit and vegetable consumption rate
2.8 kg per person per week
x7
Hydroponics
13 m2
1560 m2 growing space per week
3) Weekly Harvest Estimation and Weekly Production Rate 1 m2 growing space
1.25 kg produce
1560 m2 x 1.25 kg / m2 1950 kg per week
696 people fed a week
Energy Use kJ/kg/year
2) Local Aquaculture vs. Imported Caught
Fish Production Capacity
Values based off of fish grown and farmed in the USA vs caught and imported from Norwayx
Total growing area
17,829 fish
6240 m2
Fish tank size based off of minimum and maximum fish densities
* It is estimated that fuel used for fishing ranges from 0.2 - 4.6 L / kg of catch 19
Required fish to support hydroponics
12,480 kg
Recommended weekly fish consumption rate
Packaging
x4
6
Water Use L/kg/year
Conventional Farming
In reality, both systems require high water use rates; however, since hydroponics offers 11 times higher yields it normalizes the value. This means that hydroponics uses water more efficiently with a water demand that is 13 times less than conventional farming.
*Fish-
2) Staggered Harvest System which ensures enough produce can be harvested throughout the month 4 sections in total, 5 columns per week one for each week
Yield kg/m2/
Transport
x4
Estimated carbon footprint
2m
6.5 m
Vertical farming stack
Grow
1) Hydroponics Rack Dimensions
1) Conventional farming refers to growing crops in soil and in the open air
Feed
400 g
Hydroponic vs. Conventional Farming
Imported Local
208 - 416 m3
280 g
PLANS 1:200 @ A0 Service stairs
Restaurant
Open kitchen
Restaurant
Service stairs
Level 1 Spaces Art
Pop Up Market
Performance
Bar
Music
Dance
Storage
Restaurant
Hydroponics
Workshops
Old Build
New Build
Unless otherwise stated, all stairs and lifts are public
Kitchen
WC
Food stand
Food stand
Food stand
Food stand
Kitchen
Food stand
Vegetable market hut
Service stairs and lift Storage
Art Classes
WC
WC
Level 0
Viewing corridor
Service stairs
WC
Live processing centre
Service stairs
Viewing corridor
Level B1 20
WC
WC
Food stand
Kitchen
Food stand
Food stand
Food stand
Food stand
Kitchen
Food stand
Kitchen
Service stairs
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Bar
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GA Drawings 1:500 @ A1
PRODUCED BY AN AUTODESK STUDENT VERSION
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Bar
Level 3 PRODUCED BY AN AUTODE
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Level B2
East Elevation
North Elevation
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PRODUCED BY AN AUTODESK STUDENT VERSION
SCALE BAR 1:50
PRODUCED BY AN AUTODESK STUDENT VERSION
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PIAZZA 0SHORT SECTION 1:100 @10A3 5 2 1 3 4 SCALE BAR 1:100 5
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DESK STUDENT VERSION 23
A RT GALLERY PERSPEC T I VE
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CE N T RAL PARK PERSPEC T I VE
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PI AZ Z A PERSPEC T I VE
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H Y DRO PO N I C C ULT I VAT I ON PERSPEC T I VE
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STRU CTURAL DESIGN Materiality
Embodied Carbon
Existing One of the challenges of re-use is making sure to use the existing materials (a) to their fullest potential.
Mild Steel
Reinforced Concrete
Milford Granite
Buff Brick
(a) Diagram showing the existing materials on site
Proposed As our environmental sustainability approach is at the core of our design strategy, we picked materials that perform well environmentally, structurally and aesthetically. Our final embodied energy calculations (b) reflect how effective our choices in materials have been.
Polycarbonate Material used for the roof of the timber huts. Polycarbonate has a high strength and transparency. This means the hut rooves can be self supporting. It also has a low heat transmission, allowing the huts to be thermally insulated. Despite having high embodied energy costs to produce new material, polycarbonate is fully recyclable and therefore a very sustainable material.
(b) Carbon Lifecycle Assessment for the materials in our building Reinforced Ferrock Concrete A carbon neutral structural alternative to cement which becomes stronger in salt water environments.
Glass Triple glazed windows with an argon filling, low-e coating and fibreglass frames for environmental performance.
Cork Insulation Cork insulation has been used in the central timber huts and interior walls.
Steel ETFE Membrane will be used to replace the roof of the structure and for the roof of the new west end space frame.
Used for the shear elevator cores in our building. These provide the structural benefit of acting as shear walls, helping to brace the structure along the planes in which they are built. They furthermore provide structural load bearing and fire resistance for the elevator shaft.
This material is sustainable because it can be harvested as bark from trees without cutting the tree down. As a result it has a very low embodied carbon. Cork also has high resistance to damp and rot and provides good sound insulation
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Used to replace the existing windows in the structure as well as for a number of facades on the interior. Allows us to create defined spaces at each end of the building with some heat and noise insulation, whilst leaving open a sight line running east to west.
Used over glass as a 3 layer ETFE roof has a lower embodied carbon, it self cleans with rainfall, 100% recyclable and has a high light and UV transmittance. Furthermore, the structure is incredibly lightweight making the installation process easier and reducing dead load on the structure.
To conclude, the most expensive intervention made to our design in terms of embodied energy is replacing the existing roof structure with ETFE, which is around 300 tonnes CO2e, but this is roughly 65% of the figure for glass (460 tonnes CO2e) and it is heavily recyclable. We have used timber where possible to reduce the embodied energy of our interventions as much as possible. The embodied energy cost of steel in both the spaced frame and bridges is high, but only used for critical long span elements. Steel Large structural interventions have been made out of a steel frame, as it is more simple to connect to the existing mild steel.
Used for the long span bridge and the space frame roof, as it is lightweight enough to be raised and lowered by the existing frame. The high bending moment capacity in steel stair stringers allows us to cantilever stairs from the existing structure where necessary. Hard Maple Timber Used maple to create self supporting huts withing the central area of the building, as well as in treads, stairways and bleachers.
The hardwood can be locally sourced, as red maple is the mot commonly found tree in New York State. As maple is very hard timber, it is suitable for spaces at the heart of circulation as it can endure sustained use. Timbers also act as an effective carbon sink if handled sustainably.
STRUCTURAL DESIGN Programme
Core Philosophies
Secure site, establish site layout (access points; site amenities) and determine site conditions, in particular, the condition of the crane.
Remove and clear existing variable or redundant elements, such as railings, containers or machines.
Remove masonry in and below the designated existing arched windows. This creates access for small plant to enter the turbine hall. Retain masonry in site storage area.
Set up temporary access and walkways/scaffolding at roof level to enable reglazing of the existing roof. Install drainage and rainwater collection system
Assemble truss frames, timber composite floor sections and space frame elements at ground level. Assemble individual stair sections.
Utilise the crane to lift truss sections and cantilevered stairs into place. Finalise connections. Use crane to enable installation of piazza glazing.
We plan to reuse all of the masonry we are removing from the faรงade for the construction of the soil pits for the courtyard trees
3) Minimising Concrete
We are minimising the amount of concrete in our design. This enables quick assembly of sections on site and speeds up our construction programme.
4) Building Envelope
We are keeping our interventions with the existing building minimal. We are carrying out our interventions to the roof early in the programme. This reduces the likelihood of variable weather causing delays to construction
Superstructure Part 1
2) Creative Re-use
Supertsructure Part 2
We are making the assumption that the remaining crane will be in working condition. We have planned for it not only to be part of the finished working building, but also to be fully utilised in the construction process. This would greatly reduce plant costs and enhance sustainability.
Finishes
1) Utilising the crane
Preparing the site
Construction
Excavate required sections of floors required for lift and stair and service cores. Excavate large section of east end of basement 1 slab to create auditorium Construct timber huts, fish tanks, masonry tree planters, using crane to lift elements into place. Install hydroponic shelves in basement Install trees, vegetables, fish etc.
Construct stair and lift cores. Install seating in auditorium
External glazing to windows will have to be installed from outside by mobile crane. Leave desinated archways open of access.
Locate crane at new permanent position above gallery. Install supporting cables and rollers. Install electrical services and new roof motors. Connect cables to space frame, and raise frame into place.
Install remaining building services: -Aquaponics systems, including tanks, pipework, beds. -Heating system, -Including boiler, pipework, under floor heating -Lighting system, including wiring, LEDs -Ventilation system
Install entrance doors and final designated external glazing
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Finish final fittings and install furniture.
Construction Finished. Open to public
STRU CTURAL DESIGN Stability Assessment Existing Stability Assessment
Negative changes to stability
From visual inspection of the historical information available it appears the steel frame was constructed first with the masonry façade and floors following after. Therefore the steel frame is the primary form of stability in all directions, and the other elements are secondary.
We plan to only minimally interfere with the existing structure, so the existing stability system will remain primarily intact. Overall our changes are to enhance rather than compromise this system.
We are removing a large section of the basement 1 floor, along with sections of masonry below certain archways in the North façade.
The removal from the basement will have negligible effect, as assessment of historical information shows that this floor is not structurally integral as it has been added more recently.
The steel frame has stiffened column bases, and moment connections at girders. Based on loading information provided there is a large amount unused load capacity in the structure.
Altering the arches will not have a significant affect on stability. The existing steel frame will remain completely intact, and will be able to take the loading.
The lateral splaying loads imposed by the arch roof will be restrained by portal action in the steel frame.
The additions we make to the building will impose new loads on the structure. The new bridges, cantilever stairs and space frame in particular will have significant impacts.
These loads will be less than in the full old turbine hall and will be well within the column and slab capacities. The only issue may be the more concentrated nature of the bridge loading, and differential settlement in the column foundations.
Due to the long span of the building and the lack intermediate walls along the length of the structure, the steel frame must transfer any lateral loads on the North Façade through portal action to the foundations.
Positive changes to stability
Loading on the East façade will similarly be taken by steel frame, however there may be some contribution by the North masonry façade as a shear wall.
The new bridge trusses will enable transmission of forces between sides of the hall. This will enable the south side steel frame to contribute to resistance against N-S lateral loads, and also contribute as ties to reduce lateral loads and moments imposed by the arch roof on the foundations.
In the horizontal plane the moment connections in the steel frame will provide some stability. The floors on the ground and basement floors and in the walkways will provide a diaphragm.
Ground Floor Diaphragm Walkway Diaphragm
New Bridge Diaphragms
The new steel-timber composite floors in the bridges will also provide additional diaphragms.
(The new space frame is isolated from main superstructure so will not contribute to diaphragm action.) Existing
1 – Lateral forces produced by roof arch – Bridge acts as a tie and reduces lateral loads induced at foundations and moments in columns
2 – Wind loading – Bridge allows transfer of some load to opposite side steel frame, distributing load between more columns and foundations
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Proposed
STRUCTURAL DESIGN Structures Gallery Space Movable Frame Design The objective is to fully utilise last remaining gantry crane of the IRT Powerhouse. The crane will be fully operational and will be the primary point for raising and lowering the new space frame roof to create a dynamic exhibition space. We are using a space frame with mild steel circular hollow section members, and galvanised steel cables (a).
The connections are prefabricated and it's only after that members are bolted in situ.
(c)
(a)
(d)
The frame is restrained laterally on rollers in bracket channels connected on to the existing columns, while secondary cables are connected to existing crane roller girders (h,i).
The structure is statically inderminate, however redundancy increases the safety of the frame. The suspension on cables removes any requirement for temporary cranes, which would be required if the frame rested upon columns. We have decided to use a space frame as they are lightweight, easy to assemble and offer a large number points to suspend services or equipment such as lighting from, which increases the flexibility of the space.
(h)
(i)
(e) Treating as an equivalent beam in section :
(f)
(g)
(b)
Threaded connections : The CHS members thread onto the nodes with bolts, which are then secured with dowels rather than the nuts used in a normal bolted connection (c,d,e,f,g). 31
Cable support locations
STRUCTURAL DESIGN Piazza and Gallery Bridges Design These bridges divide the large interior space into smaller, and thus more manageable, spaces.
Structurally they are entirely connected to the existing steelwork frame (a,b). The truss members will connect directly into the existing columns through expansion bolts (c). The structures are completely independent of the turbine hall ground floor. This promotes pedestrian circulation between spaces and avoids excessive loading and difficult connections into the concrete slab.
The truss is made from universal beams with a timber-finished composite floor (d), while the floor spans between secondary universal beams (e). All connections within the truss will be bolted and considered pinned.
The trusses are to be assembled and erected using the existing on-site gantry crane.
(b) (a)
(d) (e)
(c)
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(f) Forces acting within the structure
PRODUCED BY AN AUTODESK STUDENT VERSION
STRUCTURAL DESIGN
Mild steel Universal Beam
Connecting Dowels
Maple Cross Laminated Timber
80
406
88 90
219,97
192,33
Welded End Plate
Indicative Services
0.7mm Profiled Steel Sheeting
500
Existing Column
(g) 1:5 Detailed Section of the bridge junction
33
Ceiling Plasterboard
PRODUCED BY AN AUTODESK STUDENT VERSION
140
178
STRUCTURAL DESIGN Piazza Space Cantilever Stairs Design
Connections
We wanted to make the stairs a focal point of the piazza area. Our group took inspiration for the stair from the Hudson Vessel, which was designer by British designer Thomas Heatherwick (a). We wanted to express the idea that the mode of travelling between floors of a structure does not need to be a structural afterthought, but instead can be a focal point that brings character to a space.
The structure itself is cantilevered from the existing mezzanine girders by steel I beams at each centre landing. The stair stringers are made from rectangular hollow sections (RHS), to give a more pleasing aesthetic appearance. The landing floors and treads are to be made from hard maple timber, as this material is a very durable timber that can be locally sourced and is therefore very sustainable (b,c).
A
B
C
D
A
(b)
(c) D
B C
Due to their size the landings will be transported as separate beams and assembled in situ. Each stair section will be pre-welded in factory conditions and transported as one element.
(d)
(f) (d) Elevation from accross the piazza
(a)
(e)
Loadpaths Load is transferred from the stair treads into the stringer girders, which are secured by bolted moment connections to the edge girders on each landing. Each flight of stairs will transfer load to the connected main landing, as this is the shorter loadpath. This load is then transferred from the landings to existing mezzanine girders through bolted moment connections. These beams then transfer the load to the closest existing columns on each side of the stairs (g,h).
(e) Plan view
(f) Side elevation of structure
Internal Stresses The stairs are cantilevered off the landings, which are in turn cantilevered off the existing structure. There are significant moments incurred from both dead loads and live loads at the landings half way between each floor.
Due to the eccentric shape of the stairs there will also be high torsional forces, another reason that we are proposing hollow section members. This design is not an efficient use of material, however we believe the aesthetic intent of the stairways justify this, as additional connections would disrupt the intended appearance of the space. 34
(g)
(h)
STRUCTURAL DESIGN
(i) 1:100 Detailed Section of the bridge junction
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group 23
Alexander P
Faith M
Liliana P
Rees M
Rhys P
Olivia VW
