MArch Fifth Year Thesis: Extra-Terrestrial: 2020-2021 by Grace-Marie Spencer

extra -TERRESTRIAL Grace - Marie Spencer Portfolio 5a & 5b AR838 AR839 Unit 1

portfolio narrative This portfolio explores and interprets the extra and terrestrial environment to a human scale. The vast power of nature is explored by looking from the micro to the macro, which is interpreted through the sense of sound within architecture.

unit 1 2020 / 2021

E-T_Filmology

Terrestrial

E-T_0 Shingle

E-T_1 Cartograph

E-T_2 Learning from Dungeness

Adjective on or relating to the earth. “increased ultraviolet radiation may disrupt terrestrial ecosystems” Noun an inhabitant of the earth.

Extraterrestrial Adjective of or from outside the earth or its atmosphere. “searches for extraterrestrial intelligence” Noun a hypothetical or fictional being from outer space.

E-T_3 Observatory Aerial_view_of_Lydd,_Kent

T_1 Learning from Rye

T_2 Terrestrial

This year, the unit explores the terrestrial and the extraterrestrial. After experiencing a year of isolation and uncertainty, unit 1 explores this concept in relation of two places on the Kent/Sussex border. Dungeness, the UK’s closest landscape to a desert, is a growing headland of shingle. Extraterrestrial. Rye, a small town inland that once on the coast, sits on the top of a hill like a fortress.

E-T_Filmology

The Birds Alfred Hitchcock, Dir 1963

2001: A Space Odyssey Stanley Kubrick, Dir 1968

Solaris Andrei Tarkovsky Dir 1972

Blue Derek Jarman 1993

The Garden Derek Jarman 1990

Dark City Alex Proyas 1998

Solaris Steven Soderbergh Dir 2002

Another Earth Mike Cahill, Dir 2011

Melancholia Lars von Trier, Dir 2011

The Tree of Life Terrence Malick, Dir 2011

Gravity Alfonso Cuarón, Dir 2013

Ad Astra James Gray Dir 2019

Interstellar Christopher Nolan, Dir 2014

Bait Mark Jenkin, Dir 2019

The Lighthouse Robert Eggers, Dir 2019

Last and First Men Johan Johannsson 2020

E-T_00_SHINGLE Micro

https://www.dropbox.com/s/v5s2oai289t7zar/shingle%20.wav?dl=0

001

002

003

004

005

8g Looking at the micro, each category of shinle by appearance was analysed looking at its shape and how it ended like that - water damage?

14g

Last and First Men, Johan Johannsson, 2020

E-T_01_CARTOGRAPH Macro

Both on a Macro and Micro scale the river running through linking the lochs act like a series of viens connecting the body as well as how the force of the water shapes the lanscape and linked with the location of forests.

E-T_02_LEARNING FROM DUNGENESS Micro - Decca Radar Station - 2018/19 Architect: Johnson Naylor / MS-DA Ltd Floor area: 49.5m

Experimental Station Johnson Naylor 2017

Pumping Station Johnson Naylor 2018

El Ray Simon Conder Associates 2008

Shingle House Nord Architecture 2010

North Vat Rodric Davidson 2015

Pobble House Holloway Architects 2014

Rubber House Simon Condor 2003

Coast Guard Tower Johnson Naylor 2017

E-T_02_LEARNING FROM DUNGENESS Micro - Decca Radar Station - 2018/19

DETAIL A

DETAIL B

SECTION A 15

E-T_02_LEARNING FROM DUNGENESS Micro - Decca Radar Station - 2018/19

Wall Build up 25mm Corrugated Zinc, mechanically fixed, 2mm gauge 20mm Horizontal timber cladding raw-sawn, thickness plained, pressure treated pine 50x50mm Vertical softwood battens for ventilation 1mm Black breather membrane: Tyvek UV Facade 50x50 Horizontal pressure treated softwoon battens +50mm Rockwall RWA45 insulation 50x150mm Stud wall at 600mm centres with noggins inbetween + 100mm Rockwall RWA45 insulation 1mm Vapour barrier 18mm WISA Spruce ply 12mm Veneered MDF panels for colour-stained, oiled

Floor Build up 65mm Cut & sealed bricks, layed into herringbone pattern 15mm Bonding cement to bed bricks onto screed 80mm Sand cement screed with UFH

DETAIL A 1:5

100mm Rockfloor thermal insulation 1mm DPM 300mm RC slab

Roof Build up 25mm Corrugated Zinc, mechanically fixed, 2mm gauge stainless steel fixings 20x45mm Pressure treated softwood battens as sub-trate to metal sheets 75x140mm Glulam rafters fixed through Stamisol DW roof membrane. Glued to plywood below. 185mm WBP plywood 60mm Rockwall Rockwall rigid insulation 40x75mm Pressure treated softwoon battens +75mm Rockwall RWA45 insulation 40x100mm Pressure treated softwoon battens +100mm Rockwall RWA45 insulation Continuous vapour barrier below thermal insulation 20mm Southern Yellow Pine t&g cladding, white pre-stained

DETAIL B 1:5 16

SECTION B

observatory The Site

Observe (listen)

Reflection

observing bird sounds Frequency of bird breeds throughout the year in Dungeness

Create (music)

observing WIND Objects that whistle in the wind

Telephone wire in Dungeness which whistles in the wind.

https://www.dropbox.com/s/ywnrh3dz2hqviaq/Grange%20Lane%202.m4a?dl=0

Dalharrold Wind Harp – Mackay Clan

https://www.dropbox.com/s/n7vzkq0cq7f7peu/Wind.m4a?dl=0

Swifts Sand Martins Swallows Wheatears Black Redstarts Yellow Wagtails Cuckoos Whitethroats Willow Warblers Chiffchaff Blackcaps Little Ringed Plover Bittern Slavonian Grebe Smew Marsh Harriers Bearded Tits Black-Necked Grebe Goosander Smew Gulls Terns Cormorants Lapwings Redshank Garganeys Wigeons Gadwalls Teals Mallards Pintails Shovelers Pochards Tuffed Ducks Goldeneyes Bewick’s Swan Whooper Swan Goldcrest Firecrests Goldfinches Robins Fieldfares House Martins Whinchat Ring Ouzels Redstarts Mute swan Bean goose Pink-footed goose White-fronted goose Greylag goose Snow goose Canada goose Barnacle goose Brent goose Red-breasted goose Egyptian goose Ruddy shelduck Mandarin duck American Wigeon Ring-necked Duck Scaup Eider Long-tailed Duck Common Scoter Surf Scoter Velvet Scoter Red-breasted Merganser Ruddy duck Red-legged Partridge Grey Partridge Quail Pheasant Red-throated Diver Black-throated Diver Great Northern Diver Black-browned Albatross Fulmar Great Shearwater Sooty Shearwater Manx Shearwater Balearic Shearwater Storm Petrel Leachs Petrel Gannet Shag Cattle Egret Little Egret Great White Egret Grey Heron Black Stork White Stork

Glossy Ibis Spoonbill Little Gull Little Grebe Great crested Grebe Laughing Gull Red-necked Grebe Mediterranean Gull Audouins Gull Blacked-necked Common Gull Grebe Ring-billed Gull Honey Buzzard Lesser Black-backed Black Kite Gull Red Kite Sooty Tern Hen Harrier Little Tern Montagus Harrier Gull-billed Tern Goshawk Caspian Tern Sparrowhawk Whispered Tern Buzzard Black Tern Rough-legged White-winged Black Buzzard Tern Osprey Sandwich Tern Kestrel Red-footed Falcon Lesser Crested Tern Common Tern Merlin Roseate Tern Hobby Artic Tern Peregrine Falcon Guillemot Water Rail Razorbill Spotted Crake Black Guillemot Little Crake Little Auk Corn Crake Puffin Moorhen Stock Dove Coot Woodpigeon Crane Collared Dove Oystercatcher Turtle Dove Blue-winged Stilt Ring-necked Parakeet Avocet Great Spotted Cuckoo Stone curlew Collared Pratincole Cuckoo Oriental Pratincole Barn Owl Little Ringed Plover Little Owl Tawny Owl Ringed Plover Long-eared Owl Kentish Plover Short-eared Owl Dotterel Nightjar American Golden Swift Plover Pallid Swift Golden Plover Alpine Swift Grey Plover White-tailed Plover Kingfisher Bee-eater Lapwing Hoopoe Knot Wryneck Sanderling Green Woodpecker Little Stint Great Spotted Temmicks Stint Woodpecker Least Sandpiper Lesser Spotted White-reumped Woodpecker Sandpiper Red-eyed Vireo Bairds Sandpiper Pectoral Sandpiper Golden Oriole Isabelline Shrike Curlew Sandpiper Red-backed Shrike Purple Sandpiper Great Grey Shrike Dunlin Woodchat Shrike Buff-breasted Magpie Sandpiper Jay Ruff Nutcracker Jack Snipe Jackdaw Long-billed Rook Dowitcher Carrion Crow Woodcock Black-tailed Godwit Hooded Crow Raven Bar-tailed Godwit Short-toed Tit Whimbrel Firecrest Curlew Penduline Tit Terek Sandpiper Spotted Sandpiper Blue Tit Common Sandpiper Great Tit Willow Tit Green Sandpiper Marsh Tit Spotted Redshank Red-rumped Swallow Geenshank Crested Tit Lesser Yellowlegs Woodlark Marsh Sandpiper Skylark Wood Sandpiper Shorelark Redshank Cettis Warbler Turnstone Long tailed Tit Red-necked Greenish Warbler Phalarope Pallas Warbler Grey Phalarope Yellow-Browed Warbler Pomarine Skua Humes Warbler Artic Skua Raddes Warbler Long-tailed Skua Iberian Chiffchaff Great Skua Blackcap Sabines Gull Garden Warbler Kittiwake Slender-billed Gull Barred Warbler Lesser Whitethroat Bonapartes Gull Whitethroat Black-headed Gull Dartford Warbler Subalpine Warbler

Sardinian Warbler Grasshopper Warbler Savis Warbler Booted Warbler Icterine Warbler Melodious Warbler Aquatic Warbler Sedge Warbler Paddyfield Warbler Blyths Reed Warbler Marsh Warbler Reed Warbler Great Reed Wabler Waxwing Nuthatch Common Treecreeper Short-toed Treecreeper Wren Starling Rose coloured Starling Blackbird Dark-throated Thrush Fieldfare Song Thrush Redwing Mistle Thrush Spotted Flycatcher Thrush Nightingale Nightingale Bluethroat Red-flanked Bluetail Black Redstart Stonechat Black-eared Wheatear Desert Wheatear Red-breasted Flycatcher Pied Flycatcher Dunnock Alpine Accentor House Sparrow Tree Sparrow Yellow Wagtail Grey Wagtail Pied Wagtail Richards Pipit Tawny Pipit Olive-backed Pipit Tree Pipit Meadow Pipit Red-throated Pipit Rock Pipit Water Pipit Chaffinch Brambling Serin Greenfinch Goldfinch Siskin Linnet Twite Lesser Redpoll Mealy Redpoll Artic Redpoll Common Crossbill Trumpeter Finch Common Rosefinch Bullfinch Hawfinch Snow Bunting Lapland Bunting Dark-eyed Junco Yellowhammer Cirl Bunting Ortolan Bunting Rustic Bunting Little Bunting Reed Bunting Corn Bunting Black-headed Bunting

SELECTED BIRDS OF DUNGENESS

Great black-backed gull Length: 64-78cm Wingspan: 150-165cm Weight: 1-2kg

Sarling Length: 21cm Wingspan: 37-42cm Weight: 75-90g

https://www.dropbox.com/s/exm8z0hitcydrcb/Seagull.m4a?dl=0

https://www.dropbox.com/s/lfnd5tcy0bzlpvj/Starling.m4a?dl=0

Wheatear Length: 14.5-15.5cm Wingspan: 26-32cm Weight: 17-30g

https://www.dropbox.com/s/klftcn4w0omee3s/Wheat%20eater.m4a?dl=0

bird sounds INTO MUSIC Hearing not seeing

Vaughan Williams the Lark Ascending 1914

Bird and human share musical sounds and behavoirs, approaches to repition, variation, shape and balance.

Ottorino Respighi the Birds 1928

Jonathan Harvey Bird Concerto with Piano Song 2003

“listen. interiors are like large instruments, collecting sound, amplifying it, transmitting it elshwhere.” Peter Zumthor

Edward Elgar Owls 1907

Johann Bachs the Art of the Fudge 1740

Olivier Messiaen Le Merle Noir 1952

Apparent repetition of harmony replicating a bird call in contrast to variation.

A BIRDS BEHAIVOUR A commonality of aivary behaivoir is the concregation on telephone wires, areas of country side, areas where there is a likeihood of food. During breeding season it is common for nests to be found in very narrow gaps like a building eave or on a dangerous exposed rock face dependent on breed.

Another earth Mike Cahill 2011

The two chosen characters are John Burroughs on earth one and John Burroughs in earth two. One who is grieving after the tragic loss of his family, lost faith in his musical abilitys, the other stuc in a broken mirror with his family, happy and a successful musician. Music is the commonality which can bring them together.

The experience of the observatory is that the two Johns only meet in the observation space, everything else is seperated. The views to oneanother’s space is minimal. In the film communication to the earth is only audio until the end (apart from the view in macro scale), this is what I am trying to represent.

Another earth appears near earth creating a broken mirror effect of a replica of human existence mirrored on this ‘earth’. It represents the idea of the ‘perfect life’ before events take place. The idea of a dream as a place people are longing to experience contrast to earth where day to day is unpredictable and can lead to grief and destruction. 22

The Danish Music museum

sound mirrors

Denmark - Adept - 2014

Dungeness - Dr William Sansome Tucker - 1920s

A collection of music rooms designed to suit the instrument group which will be played in specific room. Acoustically designed to the detail with different timber panels where students can test their sound spectrum. The brass room uses chequered panels of smooth wood veneer and acoustic baffles, the strings room uses rows of holes drilled in the stepped walls and the percussion room has slim strips of timber run from ceiling to floor and soft rounded edges to the space.

Concretesound mirrors, currently owned by English Heritage, were built for the World War 2 to detect enemy planes from the English Channel. However, these were never used due to the development of radar systems. They remain standing in Dungeness. The systeem reflects sound waves into a focused position where a parabolic microphone picked up the soundwaves.

ForesT MEGAPHONE

TVISONGUR

These timber structures where designed to amplify the sound of nature to alolow one at peace and to relax with the exagerated sounds of the natural surrounding environment. Using a simmple timber structure, the timber controls excessive choing and reverbration by reducing the transmission of sound vibrations.

These five interlocking domes constructed from concrete provides a sculptural setting among the landscape as well becoming a natural amplifier of the traditional Icelandic five tone music. each dome, between 2-4m tall, responds to each tone individually.

Pähni Nature Centre - Estonia Academy of Arts - 2015

Iceland - Lukas Kühne - 2012

CREATING THE FORM OF THE BUILDING

The geometrical shape plays with the idea of difference and similarity like the shingle, all different but classed as one category.

The task inspired a split through the building for the broken mirror concept, the river is the concept for the life of the building where it is the path for the birds to fly through abd leads to the point where the most fragile aspect of the building is, the nest inhabiting life.

section a:a

elevation a

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

Notes:

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION Notes:

SITE:

TITLE:

DRAWING NO.

scale

title 1

SCALE AT A4.

A001 PROJECT NO.

drawn DRAWN.

PRODUCED BY AN AUTODESK STUDENT VERSION

1001

checked CHECKED.

date DATE.

rev REVISION.

BY:

status Address line 1 Address line 2 Telephone line 1 Email

client client 2 client 3

ARCHITECT:

architect 1 architect 2 architect 3

FLOOR PLAN SCALE 1:100 Your Details

SITE:

Address line 1 Address line 2 Telephone line 1 1 Email0

SCALE AT A3:

TITLE:

PROJECT NO:

site 1 site 2 title 1 title 2

scale

DATE:

Your Details

CLIENT:

PRODUCED BY AN AUTODESK STUDENT VERSION

site 1

FLOOR PLAN SCALE 1:100

DESCRIPTION:

DATE:

date

DRAWN: 1 drawn

2 3 CHECKED: checked

PRODUCED BY AN AUTODESK STUDENT VERSION

FLOOR PLAN SCALE 1:100

REV: STATUS:

PRODUCED BY AN AUTODESK STUDENT VERSION

ROOF

PRODUCED BY AN AUTODESK STUDENT VERSION

project

DRAWING NO:

REVISION:

drawing no. rev

wind noise observation bird noise observation creating space

elevation b

elevation d

elevation c

Living space Working space Music space

BIRD BOX IN WALL DETAIL

roof plan

RELATIONSHIP TO DUNGENESS

bird nesting in eaves

exterior view 1 31

music room 2

music room 1

living with the sound of bird boxes played

wind tunnel with sound harp 33

sound funnel for observing

exterior view 2

end of use

LETTING NATURE TAKE OVER

AFTER SIX MONTHS OF USE ALL THE FABRIC, APART FROM THE STRUCTURE, WILL BE REMOVED AND RECYCLED LEAVING THE STRUCTURE TO BE FULLY INHABITED BY BIRDS AND THE NATURAL ELEMENTS. LIKE THE BIRDS FILM, THE BUILDING WILL TAKE OVER BY THEM AND THROUGH TIME THE STRUCTURE WIILL BECOME A BECOME A RUIN, A PART OF DUNGENESS. 35

From the micro,

they are observing how natural elements and geographic identity

forms a pebble or singles

(E-T_0)

to the macro, where these concepts shape and give

life to a landscape in a broader scale,

(E-T_01). Analysing the typology

of existing

Dungeness (E-T_02) highlights the building technology needed to withstand the harsh environment, like a spaceship out of space. Filmology studies of the extra-terrestrial highlight the similarities from Dungeness to explore the outside the earth qualities. These studies led me to design an observatory (E-T_03) to observe sounds of Dungeness (birdsong and wind), an experimental space with a unique collaboration of wind, birds and humans placed in an exposed location like a spacecraft landing on an undiscovered planet. The building promotes wind tunnels and inhabitation from birds to let nature take over. Simultaneously, humans can transform the eery out of the earth sounds of the wind alongside the intense birdsong into music, emphasising the forces of nature, being left to rot and take over by the birds and wildlife. buildings in

Relating back to the earth, the move from Dungeness to Rye is the transitioning from. The extra, to the terrestrial where Rye is much more of a traditional British town.

TERRESTRIAL Avian and human interaction comes from Dungeness to Rye. During the pandemic, nature has resisted highlighting human impact on natural habitats. Humans and birds have long coexisted; some birds learn from human behaviour like mimicing music. Can birds and humans cohabit?

rye

RYE’S HISTORY AND DEFENSE STUDY

WHAT IS RYE?

RYE DEMOGRAPHICS background

The town’s visual appearance in the landscape, with the Citadel on a sandstone outcrop rising like an island above the low lying surrounding salt marshes and tidal waters

Improving the economic and social well-being of the community, considering in particular its vulnerability to flooding and its role as a market town, a centre for tourism, leisure and culture. The view from local people is that Rye’s strengths lie in its character as an historic market town, a tourist destination with unique historic character and a working port. Rye attracts a significant number – up 1 million - of visitors throughout the year, but in particular the summer months, boosted by multi day festivals

Rye is an ancient town of national historic importance and high architectural value. Seeks to achieve ‘a thriving town for the 21st Century’ Many in the community describe Rye as “rising like a jewel” from the surrounding Romney Marsh

ecology

4.77 Effective management of habitats may be seen within a wider approach to ‘green infrastructure’. This is defined by the Rother DC Core Strategy as a strategic network of multi-functional green space which supports a wide range of purposes: a. The creation and enhancement of a sense of place; b. Provision of recreation opportunities; c. Preservation and enhancement of biodiversity; f. Contribution to climate change adaption and mitigation.

arts

The town boasts a high cultural offer, including a number of annual festivals, such as the high-profile Rye Arts Festival and the Rye Bay Scallop Festival, a strong arts and literary community, with several art galleries, and the long tradition of the Rye potteries.

community

The community expressed strong support for action to address climate change and were positive about finding ways to achieve sustainable development locally. Many agree that the Plan should: a. contribute to the global objective of reduced CO2 emissions by 2050. Every proposed development or change to an existing structure should be reviewed in that light to assess how the development meets that goal. b. encourage a move towards a low carbon future in a changing climate, particularly to achieve better energy efficiency.

Discussions with local small businesses suggest that there is a requirement for a small office/enterprise centre (Incubator/SME cluster site) close to the town centre. Other community feedback suggests that the Plan should: a. Encourage festivals and major town events; e. Support the High Street and encourage “reasons to visit”; Information was based Rye Neighbourhood Plan, 2016-2028 Avaliable:

Ownership of 2485 dwellings in 2016

Breakdown of the 2016 population (4255) by age group

Present dwellings of 2485 households 2016

% of villagers questioned that returned compared to all market towns 100

Private Rented

26% 15%

1500

40%

One Person Household

28%

16%

0-14

First Visit

Supporting Rye as a Visitor Destination To support the attractiveness of Rye as a place to visit, development proposals for the following will be permitted subject to other relevant development plan policies.

Policy SRM1

Core Strategy ‘Towards a Low Carbon Future’ A number of specific measures, some of which will not be acceptable in certain circumstances. For instance, solar panels will be carefully controlled where they could impact on the historic roofscape of Rye.

Community Aspiration 18

– Community Infrastructure and Services. Through the encouragement and support of existing community activities and facilities, including social enterprises, to: aa. Enhance cultural and heritage activities, including at St Mary’s Church (and tower), Rye Castle Museum, Kino, the Rye Heritage Centre, Rye Art Gallery and the Conduit Hill Community Centre. b. Support local organisations that enhance activities for young people

https://www.rother.gov.uk/wp-content/uploads/2020/01/1._Rye_Neighbourhood_Plan_2016-2028_-_Referendum_Version_10_May_2019.pdf https://www.rother.gov.uk/wp-content/uploads/2020/01/Rye_NP_Evidence_and_Background_Oct_2018.pdf

Excellent food Have friends and family here

Bus/coach

Shops/shopping

Train

policies E1-E3

After reading about it in a guide

Coach tour Rye Visitors

On a coach trip

Private vehicles

All Market Towns

*Harbour, history, antique shop, good centre for walking, upmarket, weather, somewhere different, passing by, character, Ypres Tower, Picturesque/Quint.

Environment: Natural and Historic • Require new development in historic areas to have regard to the characteristics documented in the Rye Conservation Area Appraisal. • Support renewable and low carbon energy.

Was recommended Easy to get to Visited before so returned

% age groups that were questioned

policies B1-B3 Policy EN2: Enterprise, Employment and Business: • Encourage development in three zones: the core business area of the Town Centre; in small sites around the Citadel; and in the maritime/fishing industry, considering the potential at Rye Harbour, which is closely linked to the Town. • Support Rye as a visitor destination.

Visited as a child and wanted to return

Bicycle

Policy B2

Other *

Walked

54%

Why they came to Rye Other

15-29

Private

175

Family Households

30-44

Repeat Visit

Other Households

45-64

Second Homes

350

65+

14%

Social

400

How visitors travelled to Rye

Stewardship of the Historic Built Environment Development affecting the historic built environment, including that both statutorily protected and the non-statutorily protected, will be required to: a. Reinforce the special character of the district’s historic settlements, including villages, towns and suburbs, through siting, scale, form and design;

% of visitors who stayed compared to day visit

% of visitors who accessed the tourist center

75+

Staying Visitors

Not visited the tourist centre

65-74

Day Visitors

Visited the tourist centre

55-64 45-54 35-44 25-34 16-24

policy D1

0-15

Quality Design: • Support imaginative, high quality design to include “secure by design”. • Protect the unique character of Rye. • Use the Rye Character Assessment to inform all new development.

% of British vs Foreign visitors

What they did in Rye Overseas Visitors

Other

Market

Domestic Visitors

Organised tour

Base for walking

Attending event

Base for touring

Visiting Rye museum

Availability of special offers

Visiting surrounding villages

Plenty of things for children to do

Visiting the beach

Plenty of things for adults to do

Visiting markets

Art and culture

Visiting heritage centre

Peace and quiet

Visiting harbour/ nature reserve

Range of places to eat/drink

Visiting churches

Local events

Relaxing/ enjoying views

Good shopping

Shopping

Historic sites

Going out for meal/drinks

Architecture

Walking around Rye

Scenic environment

Policy RY1

The Rother DC Core Strategy: Policy Framework for Rye and Rye Harbour states that proposals for development and change will: c. Promote green tourism initiatives, including careful management of Rye Harbour Nature Reserve and, where feasible, new habitat creation and green infrastructure linkages, that protects and enhances the integrity of the internationally important ecological interests; e. Maintain and enhance the community, cultural and tourism assets of both Rye and Rye Harbour village.

Objective 3:

Rye must retain its markets, festivals and events. Central to Rye’s character and identity there are many events that must be maintained and helped to flourish. There are seasonal festivals such as the Sea, Arts, Jazz, Scallop, Wild Boar and Bonfire events. All these strengthen the town’s community spirit, providing a focus for people from the surrounding area and “reasons to visit” for the numerous visitors, making Rye a destination town for any.

Information was based upon Rye Visitor Survey, 2009 that was prepared by Tourism South East Avaliable: https://www.rother.gov.uk/wp-content/uploads/2020/01/Rye_Destination_Benchmarking_2009.pdf

I wanted to understand why tourism was big in Rye, this would therefore help me define the qualities od Rye and understand deeper what it is now. I found a survey from tourists in Rye conducted in July - October 2009 where 199 visitors were surveyed. The infromation which is highlighted is areas I want to expand on in my project. 41

What they thought were the strengths of Rye as a place

the site

the site ELEVATIONS

the site

the sites terrestrial characteristics

the sites terrestrial characteristics January

8°C 3°C

March

april

may

June

July

19.8mm

16.4mm

24.7mm

20mm

39%

37%

39%

9.5°C 4.5°C

12.5°C 6.5°C

15.5°C 9.5°C

18°C 12°C

August September October November December 20°C 14°C

18.5°C 12.5°C

14.5°C 9.5°C

11.5°C 7°C

8.5°C 4.5°C

22mm

26mm

20.5mm

40.3mm

37.3mm

43.5mm

37%

45%

40%

52%

57%

20.5°C 14°C

24.9mm

52%

46%

65%

60%

58%

52%

47%

41%

44%

55%

50%

64%

74%

75%

79%

78%

% days of rain (average rainfall)

35.2mm

max / min temperature

8°C 4°C

February

66%

64%

57%

59%

Times of sunrise and sunset Bat Hubernation

60%

% of mostly clouded days

77%

53%

% of sunlight in daylight hours

22:00 20:00 18:00 16:00 14:00 12:00 10:00 08:00 06:00 04:00 02:00

52%

Nesting Bird Migration Seasons months

shadow analysis

SUMMER SOLSTICE

MARCH / SEPTEMBER

WINTER SOLSTICE

MIDDAY

tackling a grade 1 listed monument Readability, understanding layers of history.

2010 plans for a museum on the site declined by the planning authority for not respecting the herritage.

Ypres Castle Museum

Proposed 3D Views

Ypres Castle Museum

‘The past is not dead, it is living in us, and will be alive in the future which we are now helping to make’ William Morris 50

P 3

original Castle / tower

TO PRESERVE OR ENHANCE

The northern wall, a part of the town wall wall formed of coursed rubble, mostly stone blocks of sandstone and occasional ironstone, with a reasonable amount of tilgate stone slabs in lime mortar.

brickwork supports upper stonework of the rebuilt part of wall (from blitz bombing0. eNGLISG GARDEN WALL BOND.

2 The walls which are being altered are the 1837 walls not the reminiscence of the existing Town wall which is part of the structure which has a historic importance. The building creates a positive contribution to the existing heritage, and it would encourage more people to come and visit the building so cutting into the new wall would not have a detrimental impact in fact positively contribute to the heritage of the site and the town itself encouraging people to learn about the history. The North wall has such a historic significance it is crucial that I have preserved it however have not just left and have implemented it into the part of the design to enhance it as well as preserving while not actually touching it

NICHE EDGED WITH BRICK, FORMING GOTHIC ARCH. INTERIOR RENDERED WITH IRON BOLT. PURPOSE IS OBSCURE.

Womens prison Tower 1837 first UK woman’s prison

1537forexercise yard for 1537 exercise yard goal, south eastgoal, and south east and west walls included. west walls included.

Working with old builgings

Astley Castle

The Hostry Visitor & Education Centre Norwich Cathedral

The British Museum and the World Conservation and Exhibition Centre link

Martello Tower, Suffolk

Holy Trinity, Goodramgate

Qualities of old buildings harnessed and celebrated through a creative dialogue.

Surrounding environment to consider the hierarchy and massing of existing buildings.

Not recreating the past.

Creations that bring rhythm, subtly contrasts, clashes and shapes to buildings.

The building needs to breathe.

‘Our duty is to preserve what the past has had to say for itself, and to say for ourselves what shall be true for the future’. John Ruskin

Hunt, R. and Boyd, I., 2019. New Design for Old Buildings. Routledge.

After researching SPAB, The Society for the Protection of Ancient Buildings, I came across this book which is a guide to tackle new designs in old buildings. I knew I did not want to end with a design like this one below. Located on my site, this planning application was declined in 2012.

Hunt, R. and Boyd, I., 2019. New Design for Old Buildings. Routledge. 52

Astley Castle Witherford Watson Mann - 2012

Add to history rather detract from buildings historic provenance. Respect the beauty and imperfections of age.

The design takes a ruined grade 2 listed building and brings new life into it whilst engaging the historical context without concealing it. Without intimitating once was there, a subtle material pallete and the geometrical form highlights and expresses the original structure whithout dominating it. The roof glazing highlights the story behind the ruin and that for many years it did not have a roof.

New Structure Original Structure

Garden Museum, Lambeth

Martello Tower, Suffolk

Dow Jones Architects - 2008

Stuart Piercy - 2010

Carbon Negative sturucture removed 200 tonnes of co2 from the atmosphere. The mute timber blends in with the original whilst the different material and texture brings contrasts and differences between the old and new. The geometrical form contradicts the right angled form of the original footprint emphasising the difference.

Varied and playful volumes. devise a geometry for the new in a symbolic way.

This design responds to the curved plan in the form of the roof in elevation. The glazing acts as a seperation between the old and the new. The material pallete compliments the original materials whilst still working with the surrounding landscape. The new design brings a contemporary design alongside the historical form complements on another.

New Structure Original Structure

The Hostry Visitor & Education Centre Norwich Cathedral

Coast path Staircase, Royal William Yard, Plymouth

, Good new design is context-specific – whether it uses contrasting, complementary or closely matching architectural language and materials, it should be honest and readable, and not confuse the physical record of the building’s history

The staircase brings contrasting geometry, materiality and bold colours contrasting the historic structure. Part of the conversion of the warehouses. Takes the users on a journey up the historic wall exposing the layers of history. The use of colour and light draws attention form afar, defining the shape of the staircase whilst emphasising the wall.

Hopkins Architects - 2009

Gillespie Yunnie and Urban Splash - 2014

New Structure Original Structure

Roof Glazing Wall Old wall Surrounding cathedral

Glazing the glazing between the roof and wall separates visually the roof from the wall highlight what was originally there. The use of light and glazing with the separation between the new walls and the original wall lights the original wall which further highlights it. New wall replicating old wall in a readable way without imitating the original. The old centrally placed drawing attention to the history, the new frames the old. Structure exposed adds verticality to the building which compliments the verticality of the background cathedral spire.

LSO St Luke’s , Islington Levitt Bernstein - 2003

Home for London Symphony Orchestra,

Home for London Symphony Orchestra With a busy street outside it is important the noise is not brought into the interior. A second skin (50mm glazing) contributes to this. The glazing allows a transparent view to the original windows without compromising on thermal or acoustic qualities. Lightweight matierality for the roof contrasting and focusing the original masonry form whilst feeling lifted. There is a near silent ventilation that “exploits free heating and cooling”. (Levitt Bernstein) The existing fabric provides walls that are “rough” and absorbing. The rough texture was exposed so the reflection of the sound is not as sharp and some noise can absorb. Balinese gamelan orchestra - a way of introducing schoolchildren, among others, to playing confidently in a large group The use of cavernous air ducts, move cool air warm air slowly and silently through the building which addresses the issue of not opening windows (acoustically and practically).

CONTROL AND EXPOSURE ON A MACRO-MICRO AND EXTRA - TERRESTRIAL SCALE Seasonal bird migration Power Adaptbility

Forced Climate Related Migration

Migration

Climate Change Nature

Language

Govenment

Communiation

Power

Rural

control

vs.

exposure

Power

Urban Music

Psychology

Weather Smell

Hearing

Senses

Exposure to the Elements

Sight

Touch

Choice Taste Seasons Light

Chosen Migration Exploration

Time

Human Curiosity

Tourism

Comfort

STRUCTURAL THEORY

Kenneth Frampton

Rappel à l’ordre: the case for the tectonic.

Framework tends towards the aerial and the dematerialisation of mass, whereas the mass from is telluric, embedding itself ever deeper into the earth. The one tends towards the light and the other towards the dark. These gravitational opposites, the immateriality of the frame and the materiality of the mass, may be said to symbolise the two cosmological opposites to which they aspire: the sky and the earth…

Frampton, K., 1990. Rappel à l’ordre: the case for the tectonic. DEFINIOWANIE PRZESTRZENI ARCHITEKTONICZNEJ, p.20.

cathedral of christ the light - som This cathedral compliments the structural theory with the heavy weight at the base and the lightweight at the top. This creates an uplifting feeling, with the cathedral connecting it to heaven. In this cirrent project I would like to impliment the heavyweight existing masonry stonework with the lightweight timber new building. This would create a complimentary constrast between the existing and proposed.

HUMAN INTERACTION WITH BIRDS

Humans and birds have coexisted for years with some birds learning from human behaviour for rewards, like fish and chips in seaside towns.However, can birds and humans coexist? Both can produce music; both have the curiosity to explore, both need to migrate in the circumstances. In a town like Rye, can this be integrated?

Birds taking over

THE TOWER AND THE RAVENS

The Ravens in the tower of London are a symbol of protection of the Kingdom. The starlings in Ypres Tower will watch over Rye where the defences were once crucial to the town, symbolising protection.

EVOLUTION OF BIRDS

COMMON WILD BIRDS OF RYE

A kettle of swallows

A richness of housemartins

A mischief of magpies

Swallows can be seen from March to October. UK conservation status: Green

Summer birds UK conservation status: Amber

Resident bird UK conservation status: Green

What they eat: A range of small invertebrates which are caught on the wing. Measurements: Length: 17-19cm Wingspan: 32-35cm Weight: 16-25g Population: 860 000

You can see house martins when they return to the UK in March/ April, often feeding over wetlands for a while before returning to their traditional nest sites, remaining here until September/October before migrating south What they eat: Insects.

What they eat: Omnivore and scavenger. Measurements: Length: 44-46cm Wingspan: 52-60cm Weight: 200-250g Population: 600 000

Measurements: Length: 12cm Wingspan: 26-29cm Weight: 15-23g

A mutation of starlings

A quarrel of sparrows

Resident bird UK conservation status: Red

What they eat: Invertebrates and fruit.

What they eat: Seeds and scraps.

Measurements: Length: 21cm Wingspan: 37-42cm Weight: 75-90g

Measurements: Length: 14-15cm Wingspan: 21-25.5cm Weight: 24-38g

Population: 1.8 million uk

Population: 5 300 000

A murder of crows

A colony of seagulls

Resident bird UK conservation status: Green

Winter/passage birds UK conservation status: Amber

Carrion crow

What they eat: Carrion, insects, worms, seeds, fruit, eggs and any scraps. Measurements: Length: 45-47cm Wingspan: 93-104cm Weight: 370-650g Population: 1 000 000

Common Gull

What they eat: Omnivorous - shellfish, birds and carrion. Measurements: Length: 64-78cm Wingspan: 150-165cm Weight: 1-2kg Population: UK breeding: 17,000 pairs UK wintering 76,000 birds

Population: 510 000 pairs https://www.dropbox.com/s/2l3r7pawxjc5ra7/Swallow.m4a?dl=0

Source: https://www.rspb.org.uk/

https://www.dropbox.com/s/4kmekbxljt036tr/House%20Martin.m4a?dl=0 https://www.dropbox.com/s/tkzyh5pqyo3p9rr/Magpie.m4a?dl=0

https://www.dropbox.com/s/lfnd5tcy0bzlpvj/Starling.m4a?dl=0 https://www.dropbox.com/s/dlnmerrcu4c7oxf/Sparrow.m4a?dl=0 https://www.dropbox.com/s/d4ht8zpt9ejrzet/Crow.m4a?dl=0 https://www.dropbox.com/s/exm8z0hitcydrcb/Seagull.m4a?dl=

MUTATION OF STARLINGS Starlings are beautiful birds. Known for their mimicry and murmurations, the population has been declining. The building will be used as a breeding programme for Starlings that are known in the local area.

Forever the impenetrable wall Of self confines my poor rebellious soul, I never see the towering white clouds roll Before a sturdy wind, save through the small Barred window of my jail. I live a thrall With all my outer life a clipped, square hole, Rectangular; a fraction of a scroll Unwound and winding like a worsted ball. My thoughts are grown uneager and depressed Through being always mine, my fancy’s wings Are moulted and the feathers blown away. I weary for desires never guessed, For alien passions, strange imaginings, To be some other person for a day. “The Starling” – A poem by Amy Lowell 65

motzart’s starling

For about three years the composer Wolfgang Amadeus Mozart kept a pet starling. The starling is remembered for the anecdote of how Mozart came to purchase it, for the funeral commemorations Mozart provided for it, and as an example of the composer’s affection in general for birds. The music Mozart jotted down in the book is fairly close to the opening bars of the third movement of his Piano Concerto No. 17 in G, K. 453, which Mozart had completed a few weeks earlier (12 April). Presumably Mozart taught the bird to sing this tune in the pet store, or wherever it was that he bought it; According to Mozart’s transcription, the starling incorrectly inserted a fermata on the last beat of the first full measure, and sang G sharp instead of G. Mozart probably was not joking when he made the transcription, because starlings are known to have a very strong capacity for vocal mimicry. Mozart’s funeral poem is translated by Robert Spaethling into vernacular English as follows. Here rests a bird called Starling, A foolish little Darling. He was still in his prime When he ran out of time, And my sweet little friend Came to a bitter end, Creating a terrible smart Deep in my heart. Gentle Reader! Shed a tear, For he was dear, Sometimes a bit too jolly And, at times, quite folly, But nevermore A bore. I bet he is now up on high Praising my friendship to the sky, Which I render Without tender; For when he took his sudden leave, Which brought to me such grief, He was not thinking of the man Who writes and rhymes as no one can https://en.wikipedia.org/wiki/Mozart%27s_starling

aviary - group8 This example of an aviary helped me design the aviary which will be located next to the main building. This example shows how it is preferable to located it outside to imitate the natural environment. The sand base will keep the contamination of excraments easy to maanage. The organic form will act as areas for birds to pirch and nest. There is an option for the public to walk through with space for the starlings to have privacy.

uae nature reserve - x architects This example helps to show a layout for a bird watching centre. This helped me develop my programme understanding how the building user will move through the building and allow lots of seating space for bird watching and reflection and birds surround the building.

ABOUT BIRDS The three different feathers of a bird have been carfully evolved. The flight feathers consist of micro vecro like connections which stick together in flight allowing a good aerodynamic feather allowing the bird to fly.

The birds voice box has a capability of creating two sounds at one. This is why my building will have two performance areas to mimic this.

The birds sight is complex, a common bird like the pigeon or starling have eyes on the side of their head so the feild of view is greater. The can also see ultra violet which helped them identify prey and eggs.

FORM OF THE BUILDING The mono pitch roof was inspired bye a form of the bird studying the shapes of a bird in flight from Étienne-Jules Marey studie let’s me to create this form in my design.

DEVELOPMENT OF SOLAR SHUTTERS FROM BIRD FEATHERS

The design of the louvres was inspired by the construction of the bird feather with the crosshatch effect, this would allow partial light in and create a textured element of the facade like a bird feather.

taiwan church - mayu architects This buildings facade appareas very lightweight and textured even though the material is aluminium. Inspired by bird feathers these solar shelves control the amount of direct sunlight into the building minimising cooling loads. This is an example of the lightweight asthetics I would like to achieve within my building lovres. The different texture to the facade creates a different pattern like a marking of a bird and a starling.

STARLINGS THAT PLAY JAZZ

David Rothenberg takes his clarinet, and plays along to and with birds, bugs and whales. The connecton between music and birds is the elements shared by birds and humans. This is something my building will explore further, collaboration jazz, acoustics and birds whilst observed by the public.

https://www.youtube.com/watch?v=egZrPZQjqSw

https://www.dailymail.co.uk/sciencetech/article-8665815/Starlings-treated-low-doses-FENTANYL-produce-songs-like-free-form-jazz.html 74

JAZZ IN RYE

As discussed in the demographics of Rye, the town has a rich arts culture. This inculdes two annual festivals that incorporate music including Jazz around the city. The builing proposed can act as a hub for the events annually as well as a continuation of Jazz performances throughout the year, engaging tourists and the local commutiy to the culture in a historic fabric.

JAZZ IN DESIGN

Ablert Glezies’ Composition for “Jazz”. Cubist work that overlaps with elements of Art Deco. Released in 1915, a precursor of Jazz the next decade. Straight lines – syncopation, set twelve bar blues of Jazz. Curved lines – improvisation, bending notes. Stylised like a Jazz piece.

EVOLUTION OF JAZZ

https://www.youtube.com/watch?v=DUZ2x2Z_mLw

https://www.dropbox.com/s/0bbny59zcjolwr7/Cool%20Jazz.m4a?dl=0

https://www.dropbox.com/s/fumv0892oq44vgc/Ragtime%20Jazz%20 The%20entertainer%20Scott%20Joplin. m4a?dl=0

https://www.dropbox.com/s/pasgd36dujet928/Latin%20Jazz.m4a?dl=0

https://www.dropbox.com/s/jiergktzl0mxhym/Bebop.m4a?dl=0

https://www.dropbox.com/s/2c17age78oo6eo1/Jazz%20Funk.m4a?dl=0

https://www.dropbox.com/s/8yrk1bfioeli12z/Dixielands.m4a?dl=0 https://www.dropbox.com/s/2tqp1cmvdxoiab6/Big%20Band.m4a?dl=0

THE JAZZ CENTRE UK I looked at this building not for its architectural design and aethetics but more to understand a similar programme in terms of Jazz which will influence the programme of my design. Below is a list of spaces consisting in this building which is all run on voluntary basis and lottery funded. They aim to educate people to Jazz and inspire local communities which is what I am intending to achieve. Overall my building will be a mini version of this building with all its goals and values around Jazz

The clarinet was common in early Jazz styles, protected by a case usually foam and velvet, scaling it up in a room would create a muffled acoustic experience opposite from a rich tone of a clarinet. This inspired my three acoustic experience room idea. The idea of the three experimental spaces is where the same sounds of the building is played in three separate spaces however the result of the same sound in each of the spaces will be different. This is due to the finishes of the room material which will change the reflectivity of the sounds at different levels. The room with velvet fabric finishes like a case of a musical instrument will make the sounds very muffled due to the absorbency of the fabric. The timber room will be a neutral space without too many reflections. The metallic room will be super reflective due to the material being reflective there should produce echoes and create a sound experience which feels like a tunnel.

ANALYSIS OF A CLARINET

EVOLUTION OF FILMOLOGY

During Space Odyssey, the story of evolution of human development has been represented, from the apes first discovering weapons, to space travel to an element of fiction predicted in a extr-terrestrial way.

During the Birds, the birds behaivour elvove through the duration of the film. Staring with tame birds in a cage in a urban enviroment, the transition from urban to rural allows the narritive to progress to nature fighting back from humanity. Gradually the birds become more agress leading to their succession, driving humans back into city, just as us humans are doing to birds. 80

THE BUILDING

This building combines Jazz with a starling breeding programme. Humans will coinhabit with birds in a building which will never sleep; it will live, sing, and breathe alongside nature providing the connection between nature and humanity.

japanese courtyard: still - appollo architects The japanese courtyard inspird the layout on the ground floor. The large picture windows helping to connect with nature whilst further integrating with nature. The materiality of these courtyars, timber, gravel, planting and water is replicated in my ground floor.

grace farms river building - sanaa Designing the top of the tower for a performance area was inspired by Sanaa work. The unique form of the tower was replicated in a elevation in terms of a simple banister system. This building replicated the shape of a reiver in plan and elevation by the changing of levels and the use of curves. My performance area interprets the idea of fortification by emphasising it on the roof of the main fortification structure of Rye.

japanese courtyard: still - appollo architects Designing the ground floor water collection and bird bath led me to look at Scarpas work. The simple steped form will create reflections and steps for birds to explore.

EVOLUTION OF THE FORM

The design takes a ruined grade 2 listed building and brings new life into it whilst engaging the historical context without concealing it. Without imitating once was there, a subtle material palette and the geometrical form highlights and expresses the original structure without dominating it. The roof glazing highlights the story behind the ruin and that for many years it did not have a roof. What once was a crisp form with crisp right angles has become a form with crumbling straight lines. The introduction of the new materiality with its right angles creates a footprint of what was once there and celebrated the remaining structure by celebrating its form. The new structure acts like a canvas for the old.

PROGRAMME EVOLUTION PUBLIC STAFF SOUND TECHNOLOGISTS

MUSICIANS

BIRD CARE

Due to the multiple use for the building the programme needs to be developed seperatly to avoid overcoplication. Large amount of circulation spaces is needed for the different programmes and the large number of people moving through the building.

PUBLIC

PRODUCED BY AN AUTODESK STUDENT VERSION

PROGRAMME EVOLUTION

programme in secion

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BY:

DATE:

status

Your Details 5

Address line 1 Address line 2 Telephone line 1 Email

CLIENT:

client

client 2 client 3

architect 1 in plan programme architect 2

ARCHITECT:

circulation

PROGRAMME REQUIRMENTS Room

Capicity (persons)

Music practice room

5 5-10 max

Cafeteria

Area m2

Toilets

2 vetinary staff 2 performance 6 staff 4 male 4 female public

Preparation area

Surgery Room Isolation Room

1 5 x4 1

Utility room

Hight

10 Min 16

Equipment and Furniture

2.5

Temperature (degree Celsius)

Lux levels

Lighting Strategy

21-24

300-500 lux

200-300 lux

Mixed artificial and natural Internal lighting is zoned to allow for occupant control Required Internal lighting is zoned to allow for occupant control Required

100-300 lux

02-Jan

300-500 lux Artificial ventilation

300-500 lux 300-500 lux

300-500 lux 2-2.2

Performance stage

2 5-10 max

Indoor viewing area

At least 300 lux for 2000 hours per year or more

Mixed artificial and natural 3% Internal lighting is zoned to allow for occupant control

Changing rooms Viewing tower Storage ventinary Storage music Starling Aviary Food and drink storage Green room

5 2 1 2 1 1 1

150-300 lux 50-200 lux 50-200 lux 50-200 lux 100-300 lux

Artificial Natural Artificial Artificial Exterior natural lighting Artificial 2% daylight at 80%

3 differe nt circulat ion categor ies

50-100 lux 1600mm x 800mm desk

Office Aivery food preparation Injured bird recovery cages Plant room

Sound exp erience room Outdoor viewing area

1 1 1 1 or 2

300-500 lux 300-750 lux 300-500 lux

50 lux -

15-20

25-30

6 to 9

Controlled

15-20

25-30

Yes

1 to 8

Controlled

Yes

40-45

50-55

Yes

Controlled

No and yes

Yes

Controlled

Yes No

Controlled Controlled

Controlled

15 L/s

Controlled

3 to 8

Controlled

Yes

At least 300 lux for 2000 hours per year or more

Accessible by public

Required

22-24

Controlled or exposed

Artificial 2% Internal lighting is zoned to allow for occupant control Internal lighting is zoned to allow for occupant control

Radiology

2.5

Air supply rate per hour

Yes

Plumbing

Preferred

Break room

100-300 lux

Equivalent sound level dBa

Preferred

150 lux

Noise criteria

Artificial Artificial Internal lighting is zoned to allow for occupant contro Internal lighting is zoned to allow for occupant control Artificial Internal lighting is zoned to allow for occupant control

Examination area

Circulation

8 2.4x2.7

Lockers, bench, table (depending on 22-24 user) shower

Daylight option

Preferred Required Preferred

Wc / green and break room

25-30

35-40

Yes

None

25-30

35-40

Controlled

Required

15-20

25-30

One controlled one exposed

Required

15-20

25-30

No Yes for aivary vets no for performance No No No No No Yes

Controlled

Yes

Controlled Exposed Controlled Controlled Exposed Controlled Controlled

Exposed

No and yes

No Yes No

Yes

Controlled Controlled Controlled Controlled

Controlled

Yes

Exposed

Yes

Natural with artificial in low lighting circumstances Preferred 4% daylight at 80% Where used, a minimum point daylight factor of 1.6% OR 2.8% for spaces with glazed roofs, such as atria Internal lighting is zoned to allow for occupant control Required Preferred Required None

35-40

Required

Preferred Required None None Required None Required

Low lighting for experience purposes, any lighting will be artificial Natural

25-30

Connections Green room, music storage, changing room, toilets, performance area, seperate circulation Toilets, performance areas, circulation, views.

None Required

25-30

35-40

3 -

3 to 8

No No Yes No No

No No No

MACRO STRATEGY

REV: STATUS:

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CONTEXT OF THE CHURCH

DESCRIPTION:

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Address line 1 Address line 2 Telephone line 1 Email

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ARCHITECT:

client architect 1 architect 2 architect 3

DATE:

11 4

3 UP

UP 1

Green room

8 Office 14

2 Toilet 1 7

3 Toilet 2

9 Changing room 10 Vetinary prep room

4 Vetinary prep room

11 Vetinary surgery room

5 Vetinary examination room

12 Vetinary x-ray room

6 Music practice room

13 Music practice room

7 Plant room / music storage

14 Music practice room 15 Starling aviary

Ground Floor

first Floor

Existing walls Void Ground

Existing walls Void

UP DN

DN UP

28 25

29 30

24 Circulation 25 Uni-sex toilets

33 Lower viewing tower

26 Bird funnel

(with piano)

27 Seating area 28 Bar area 29 Storage

30 External seating 31 Upper Performance stage 32 Outdoor rooftop performance

Third Floor

Fourth Floor Void

UP DN

34 Upper viewing tower

fifth Floor

ELEVATION 1

FRONT ELEVATION

ELEVATION 2

ELEVATION 3

STA

CLI

ARC

SECTION CC

SECTION BB

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c c

ARCHITECT:

SECTION AA

SECTION DD

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stat

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cli cli

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arc

tower lower

tower higher

101

public walkway second floor

musicians walkway second floor

102

central staircase ground floor

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indoor performance

103

outdoor performance

104

MICRO STRATAGEY

105

summer sun altitude 62.44. ‘ azimuth -179 ‘

ENVIRONMENTAL 1:50 SECTION AND MATERIAL STATEGY gutters on monopitch feeding water. to ground where it is reused for the living wall irrigation living wall absorbing co2

Heat exchanger for natural ventilation

photovoltaic panels 90% roof surface coverage 18% efficiency

Heat exchanger for natural ventilation

Use of daylighting for natural light initiating artificial lighting and energy use

high performance external envelope, well insulated, airtight, control of vapour and breathable insulation. U-values meet Passivhaus requirements

Air inlets from exterior brought in via floor in between beams

high ceilings, natural ventilation, night time cooling, mechanical solar control to minimise cooling

internal finishes to contribute to a positive warm internal environment

stack ventilation in rooms via inlets, openable windows, trickle vents and heat exchangers

lovres controlling solar gain from south-east facade

minimal heating demand in summer seasons, solar gain, controlled infiltration and insulated envelope

atrium providing more rooms access to natural ventilation without the requirement of artificial ventilation

nderfloor heating providenf even heat distribution, heat from ASHRAE Package terminal heat pump

Air inlets from earth cooling

Air inlets from earth cooling ground pipes

ground source heat pumps on North side of building next to plant room where heat is exchaned

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wnter sun altitude 15.61. ‘ azimuth -178.5’

DAYLIGHTING ANALYSIS

Final design daylighting The final design shows I progression in the daylight analysis meaning that I have improved the amount of daylight in the lower floors. There is still a limiting amount of daylight in the lower floors. Because of the veterinary spaces, large windows would not be applicable and there will always be a requirement for artificial light due to the complex procedures required for aviary veterinary spaces. There is still an amount of natural daylight in the lower spaces but to maximise this further the south wall would have to be cut which would be invasive for a scheduled monument. On the North side it has shown that cutting into the wall which I have compromised on has worked however due to the ground level on the north side of the north wall being 2m higher, this has limited daylighting drawn into the ground floor. Overall, the design of the building I have placed rooms that do not need or would not benefit from daylighting into the first two floors for the reason that they would require artificial light even if an admirable amount of daylight was provided. Although the work of the facades has provided greater daylight, the quality of the spaces would not be compromised due to inefficient amount of daylight. To conclude providing daylight into the lower buildings was a difficult design challenge without impacting the grade 1 listed scheduled monument too much. I fell like due to the limitations this was issue was tackled to the best of my ability.

107

THE LIVING WALL: SCOTSCAPE AND PLANTING STRATEGY The living wall which I designed initially was to attract birds however it has many other strong properties. For example, the planting takes CO2 from the atmosphere. It is a place for birds to go nest and live and feed on. The Scott State wall is a local company which means low on body carbon in terms of travel and the frame is all recyclable so minimises the need of raw material extract. It also creates a green environment for Rye as a town connecting the town to the local landscape.

108

GROUNDWORK CONSTRUCTION IN STAGES

Foundation Choosing the right foundation for the building is important due to the site’s proximity to the ageing tower and walls. The previous planning application on the site received consultation from Tribrach and Associates a consulting civil and structural engineering company. In the consultation letter there was feedback quoted below: As far as is practically possible, the supporting structure should not impinge upon the existing structure. Foundation sizes are to be minimised. Reinforced concrete strip foundations provide an adaptable foundation solution capable of distributing concentrated load and spanning over ‘soft-spots’. The final foundation scheme will be subject to the findings of a soil investigation report, prepared by a suitably qualified geotechnical engineer. After further research I concluded that the geology is a sand/ clay. After a discussion with a structures tutor, the size of the building and the proximity to existing fabric, concrete end cap pile foundations would be the most appropriate solution for the building. At the outer edge of the building where it is in close proximity to the existing fabric and its foundations, the pile foundations can be offset inwards and the load from the columns can be cantilevered to the piles. Underpinning The objective of this is to transfer the load from the existing object to a new level. Under pinning the existing structure will mean that the load will be transferred deeper into the ground to prevent the 45-degree load impacting on the proposed structure.

109

EMBODIED CARBON RESULTS My final embodied carbon calculation A1-C4 419 kgCO2e/m2 shows an improvement from the midterm calculation A1-C4 860 kgCO2e/m2. This is due to the energy is been reduced however the material palette has been thought out carefully I have changed the steel construction to glue lamb which has saved a considerable amount of body carbon and the material is itself will have less production needed. There are areas in the building which I had to compromise for example the glazing casing where aluminium would be the most suitable to reduce heat loss and be a lot more durable without the need of maintenance which would be complex to access due to the large scale of the building and the proximity between the existing wall and the proposed wall. The decision to choose timber is primarily down to my theoretical stance of contrast between the old and the new and replicating that in a lightweight versus heavy construction. Ideally the timber will be treated which would increase the embodied carbon however it would lengthen its lifespan and need for maintenance so overall would be the most applicable solution. The use of concrete is another compromise to construct the ground works after learning about the complex process I would have to go through. Although concrete is incredibly bad for the environment It is also a durable material which would be able to withstand the buildings lifespan without structural errors which would be detrimental to the grade 1 listed monument in its proximity. When designing the living wall, I opted for a system which was local as discussed however I was aware that the frame was steel however didn’t it was recyclable so the impact on the body carbon was and is detrimental. Exploring alternatives for this frame would result in complex detailing and potentially structures that would fail under the weight of the planting system and the constant irrigation needed. The benefits of the embodied carbon from the living wall also great it is worth the compromise.

110

Energy use The improved final model shows the energy reading of 264 kWh/m2/yr which is already a vast improvement to what was the into term model energy use 662 kWh/ m² . I took all the recommendations from him on board as well as applying my own knowledge in the lighting and of improved the daylighting considerably and change elements to help the energy use. when analysing this model an insight I further worked the results to reduce the energy use of the building to 82.9 kWh/ m2/yr which would meet all requirements for targets. I changed the glazing ratios between 15 and 30% whereas they were on 20 to 40% however this model does not take into context the louvres I modelled So I do understand that the results are probably inaccurate. I altered the glazing to triple glazing and change the wall and roof construction to SIP. The lighting efficiency was altered to 3.23 W per metre squared and the daylight controls will change to daylight in occupancy control. With the photoVoltaic Studies I change the efficiency to 18.6% with the payback limit to 30 years and the surface coverage to 90%. All these factors reduce the energy used to a number which meets all targets for sustainable building.

u-value w/(m2.k)

Component passivhaus uk regula- Proposed Building tions (non domestic)

Heating and cooling loads After changing the biomass to ground source heat pump I’m aware that I have saved energy within the building. my final heating and cooling strategy show how much heating is required for this building this is down to the daylighting analysis of the building however I have improved this because I have met all u value as passive house and I understand that my building is as airtight as can be minimise internal bridging. I am aware that do not know the details of this results properly so commenting on it is a challenge, but I am aware substantially improved my heating and cooling loads throughout the design process which is an achievement. Internal finishes and acoustics The oak planks create a warm neutral environment but also helps with the acoustics. Late on top of plasterboard the rough edges help absorb soundwaves and reduce shop reflections this is very important in the performance area indoors where the back of the stage is glazed for daylighting strategies however this would reflect the soundwaves badly and create echoes. The implementation of oak planks on the internal finishes including the suspended ceiling creates an additional face for sound absorption and a rough texture to reflect the sounds in a more acoustically dynamic way. In the existing structures, these are primarily used for music spaces. The rough texture of the walls does create a good sound reflection barrier however the stonework creates echoing and can impact on the quality of sound negatively. Learning from the project at Saint Lukes they wanted to expose the existing stonework for the properties explained above however they did not want to compromise so they implemented sound absorbers to counter the reflection and echoing affects inside the building. I wanted to keep the Wall exposed to keep the heritage inside the building however I have installed several acoustic panels on the walls to contrast the new and old and create an optimal acoustic environment. In these areas I have also installed an acoustic floor on top of the existing floor which will also help with the acoustics in these existing buildings. Ventilation During the design process I was aware of ventilation issues in my building from the start. I was aware of there complex program of the building which I need to address on the fact that surgery and animal keeping requires strong ventilation systems to adequately get rid of pollutants and contaminants. I had always intended to use a MHVR System until I change my final design. The final design allows more wall surface on the first two floors which allows all rooms to be able to be naturally ventilated through a mixture of heat recovery systems openable windows trickle vents and ground source chips providing fresh air into the buildings especially the veterinary spaces which is crucial to have Adequate ventilation. The use of the atrium which is external has also helped achieve a naturally ventilated building again with more exterior wall surfaces exposed resulting in more opportunity to provide an openable window for the ventilation systems. My final ventilation strategy is all natural with a mixture of stacks ventilation and single sided and cross ventilation within each individual room. U values Working in bin meant that I could detail the walls to meet passive house standards u values which I spent time concentrating on to understand that the heat transfer would be minimal and therefore reduce the need of artificial heating and cooling. The values are noted below compare to UK building regulations and passive house standards.

111

Wall

0.14

0.35

0.0189

Roof

0.1

0.25

0.0906/0.0981

Floor

0.13

0.25

0.1370/0.1120

GLULAM STRUCTURE

112

RNLI LIFEBOAT STATION PENLEE - STUDIO FOUR ARCHITECTS I WANTED TO UNDERSTAND A GLULAM STRUCTURE ESPECIALLY ON IN THE UK TO CONFIRM ABOUT CONTINUING THE ROOF BEAM THROUGH THE THERMAL FABRIC. THIS EXAMPLE DOES, AND DUE TO ITS EXPOSED LOCATION ON THE COAST, THE DESCRIPTION IS WELL DETAILED. I ALSO NOTED THE TAPERED ENDS FOR AESTHETICAL REASONS IN THE MONOPITCHED FORM WHICH IS SOMETHING I WANT TO REPLICATE. I WAS ALSO LOOKING AT HOW THE BEAMS AND COLLUMNS WERE JOINED TO ONANOTHER TO HELP CONFIRM MY DETAILED DESIGN IN TERMS OF FIXINGS.

113

GLAZED WALKWAY SECOND FLOOR 1:10 BIRD FUNNEL THIRD FLOOR 1:10

MECHANICAL LOUVRES SECOND FLOOR 1:10

DETAIL C Warm flat roof

DETAIL C Warm monopitched roof

Warm flat roof

Warm monopitched roof

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Scotscape wall

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Wall 1

Scotscape wall Wall 1

Warm flat roof

Wall 1

Middle Floor

Wall 1

Middle Floor Wall 1

Warm flat roof 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Middle Floor

Middle Floor 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Glazed walkway Scotscape wall

Wall 1

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above). Curtain wall and vertical lovres 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Glazed walkway Scotscape wall Curtain wall and vertical lovres Ground floor without concrete

Middle Floor

Wall 1

Wall 1 Scotscape wall

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

9 A101

Wall 1

9 A101

Middle Floor Wall 1

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Wall 1 Existing floor system

Ground floor without concrete

Wall 1

Scotscape wall

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Existing wall Existing wall

Existing floor system

Existing wall Acoustic Floor

Wall 1

Middle Floor Existing wall

Middle Floor Ground floor

Existing wall

Ground floor Existing wall

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Middle Floor

Acoustic Floor

Middle Floor

50X50mm Oak planks at 300mm centres for interstitial ceiling Ground floor (services above).

Ground floor Existing foundations to be improved

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Ground floor

Existing foundations to be improved

Ground floor

Underpinning new

1:20

Section BB 1:20

Section CC 1:20 Section CC 1:20

Warm monopitched roof

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

DETAIL B

Middle Floor

Warm flat roof

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Scotscape wall 8 A101

DETAIL A

Wall 1

Acoustic Floor Middle Floor

Middle Floor

Scotscape wall

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

11 A101

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Wall 1

Existing floor system

Existing wall

Acoustic Floor

Middle Floor

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Existing foundations to be improved Existing wall.

Ground floor

Acoustic Floor

Ground floor Existing foundations to be improved

Underpinning new

Wall 1 401mm Thermal mass 3.83kJ/K Resistance (R) 9.1854 (m2.K). / W U Value 0.1089 W / (m2.K) Exterior Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 10mm plywood sheathing board Breather membrane 254mm glulam structure studs between with blown cellulose insulation 127mm cellulose insulation Vapour control layer 10mm plasterboard Interior Middle Floor 275mm Thermal mass 4.71 kJ/K Resistance (R) 7.3010 (m2.K). / W U Value 0.1370 W / (m2.K) Above 20mm oak flooring Herringbone layout 10 mm plywood sheathing 20mm underfloor heating Vapor control membrane 220 mm rigid insulation 5 mm plaster 440mm glulam beams extruding from cellulose insulation supported by 75mm oak strutting Oak herringbone strutting between beams Below Warm Pitched Roof (mono-pitched) 375mm Thermal mass 3.35kJ/K Resistance (R) 10.1987 (m2.K). / W U Value 0.0981 W / (m2.K) Above Photovoltaic panels 5mm roofing felt system on waterproof membrane Breather membrane 10 mm plywood sheathing 350mm rigid insulation on vapour control layer 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below 19 mm Aluminium facia and 150 x150mm gutter Ground floor 676mm Thermal mass 48.04 kJ/K Resistance (R) 8.9295 (m2.K). / W U Value 0.1120 W / (m2.K) Above 20mm treated oak flooring Herringbone layout on waterproof membrane Vapour control layer 30mm underfloor heating 10 mm plywood sheathing Vapour control layer 300mm cellulose insulation 10 mm plywood sheathing Breather membrane Damp proof membrane 300 mm concrete glulam bearers in between cellulose insulation Concrete pile foundation Below Ground wall to foundation Above W all cap timber Damp proof course 300 mm above floor level (lower wall external 3 x 215mm Engineering blocks 127 cellulose insulation internal) 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation Concrete pile foundation Below Existing wall underpinned and polystyrene between new concrete floor and existing wall with underpin Acoustic floor 259mm Thermal mass 4.46 kJ/K Resistance (R) 6.4855 (m2.K). / W U Value 0.1542 W / (m2.K) Above 10mm Oak floor Herringbone layout 24mm Isocheck ukmito Slab 100mm cellulose insulation 100mm air 25mm plaster 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below

Warm flat roof 1 degree pitch 484mm Thermal mass 4.96kJ/K Resistance (R) 11.0178 (m2.K). / W U Value 0.0908 W / (m2.K) Above 5mm roofing felt system on waterproof membrane Breather membrane 10 mm plywood sheathing 200mm cellulose insulation 254mm cellulose insulation on vapour control layer 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below 19 mm Aluminium facia and 150 x150mm gutter 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above). 50X50mm Oak planks at 300mm centres for internal wall finish 50X50mm Oak planks at 300mm centres for banister Senior Architectural system ldt curtain wall Double glazing insulated glass units and panel gaskets for curtain walls in accordance with BS373 Aluminium curtain wall frame sections Finish polyester powder coating BS EN 12206-1 Anodised finishes tonBS3897:1991 Mill finish Traditional transform drainage Horizontally capped aluminium curtain wall system with uniform film 52mm sight-lines, toggle system used vertically to allow externally frameless mullions.

Existing Ground Level Mechanical solar-powered Louvres Treated Oak finish

Section AA 1:20

Section DD 1:20

Scotscape Smartscape Ltd Fytotextile Living Wall system Modular vertical planting system 1000 x 1000 mm pannels Recycled steel carrier rails Galvanised steel screws 10-15 year’s or greater lifespan Inorganic, plastic none woven fibres, and organic fibres Fvs environmental footprint distinctive Hydraulic Ram glazed rectangular lift Windows Double glazed Aluminium casing Oak cills Doors Double glazed 2110mm high doors with aluminium casing and oak cills Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing. Acoustic Room 2 Plywood walls, benches, floor and ceiling.

Breather Membrane

DPM (Damp Proof Membrane)

Vapour Barrier

DETAIL C

cellulose insulation supported by 75mm oak strutting

Insect mesh Wall 1 401mm Thermal mass 3.83kJ/K Resistance (R) 9.1854 (m2.K). / W U Value 0.1089 W / (m2.K) Exterior Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 10mm plywood sheathing board Breather membrane 254mm glulam structure studs between with blown cellulose insulation 127mm cellulose insulation Vapour control layer 10mm plasterboard Interior

roof membrane

sulation

Breather membrane 5mm roofing felt system on waterproof membrane 10 mm plywood sheathing

350mm rigid insulation on vapour control layer 19 mm Aluminium facia Breather membrane 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Middle Floor 275mm Thermal mass 4.71 kJ/K Resistance (R) 7.3010 (m2.K). / W U Value 0.1370 W / (m2.K) Above 20mm oak flooring Herringbone layout 10 mm plywood sheathing 20mm underfloor heating Vapor control membrane 220 mm rigid insulation g load from block work to pile foundation 5 mm plaster 440mm glulam beams extruding from cellulose insulation supported by 75mm oak strutting Oak herringbone strutting between beams Below concrete floor and existing wall with underpin Warm Pitched Roof (mono-pitched) 375mm Thermal mass 3.35kJ/K Resistance (R) 10.1987 (m2.K). / W U Value 0.0981 W / (m2.K) Above Photovoltaic panels 5mm roofing felt system on waterproof membrane Breather membrane 10 mm plywood sheathing 350mm rigid insulation on vapour control layer 10 mm plywood sheathing strutting cellulose insulation supported by 75mm oak 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below 19 mm Aluminium facia and 150 x150mm gutter

127mm cellulose insulation 10mm plywood sheathing board 10mm plasterboard 254mm glulam structure studs between with blown cellulose insulation 127mm cellulose insulation 10mm plywood sheathing board

10 mm plywood sheathing

254mm glulam structure studs between with blown cellulose insulation

Breather membrane

10mm plasterboard

220 mm rigid insulation

Vapour control layer Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 20mm underfloor heating Breather membrane 5 mm plaster 440mm glulam beams (tapered at edges) extruding from rigid insulation supported by 75mm oak strutting

Oak herringbone strutting between beams Oak Cill

127mm cellulose insulation 127mm cellulose insulation

Existing wall underpinned and polystyrene between new concrete floor and existing wall with underpin uniform film 52mm sight-lines, toggle system used vertically to allow externally frameless mullions. Acoustic floor 259mm Thermal mass 4.46 kJ/K Resistance (R) 6.4855 (m2.K). / W U Value 0.1542 W / (m2.K) Above 10mm Oak floor Herringbone layout stem 24mm Isocheck ukmito Slab 100mm cellulose insulation 100mm air 25mm plaster 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below

20mm oak flooring Herringbone layout

10mm plywood sheathing board

10 mm plywood sheathing

254mm glulam structure studs between with blown cellulose insulation

10mm plasterboard

220 mm rigid insulation

Vapour control layer Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 20mm underfloor heating Breather membrane 5 mm plaster

Senior Architectural system ldt curtain wall

220 mm rigid insulation

plywood sheathing.

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens

20mm oak flooring Herringbone layout

Ground floor 676mm Thermal mass 48.04 kJ/K Resistance (R) 8.9295 (m2.K). / W U Value 0.1120 W / (m2.K) Above 20mm treated oak flooring Herringbone layout on waterproof membrane Vapour control layer 30mm underfloor heating 10 mm plywood sheathing Vapour control layer 300mm cellulose insulation 10 mm plywood sheathing cellulose insulation supported by 75mm oak strutting Breather membrane Damp proof membrane 300 mm concrete glulam bearers in between cellulose insulation Concrete pile foundation Below eiling (services above). Ground wall to foundation l finish Above W all cap timber Damp proof course 300 mm above floor level (lower wall external 3 x 215mm Engineering blocks or curtain walls in accordance with BS373 127 cellulose insulation internal) 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation Concrete pile foundation Below

g and oak cills

Vapour control layer

127mm cellulose insulation

Vapour control layer

Oak herringbone strutting between beams

20mm oak flooring Herringbone layout

Oak Cill Insect mesh

10 mm plywood sheathing

5 mm plaster

440mm glulam beams (tapered at edges) extruding from rigid insulation supported by 75mm oak strutting

Oak Cill 10mm plasterboard

20mm underfloor heating

127mm cellulose insulation Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 254mm glulam structure studs between with blown cellulose insulation 10mm plywood sheathing board Insect mesh Breather membrane

440mm glulam beams (tapered at edges) extruding from rigid insulation supported by 75mm oak strutting

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above). ment cellulose insulation supported by 75mm oak struttingOak planks at 300mm centres for internal wall finish 50X50mm

Oak herringbone strutting between beams 254mm glulam structure studs between with blown cellulose insulation 127mm cellulose insulation Breather membrane

50X50mm Oak planks at 300mm centres for banister

Vapour control layer Insect mesh

254mm glulam structure studs between with blown cellulose insulation Senior Architectural system ldt curtain wall 254mm glulam structure Double glazing insulated glass units and panel gaskets for curtain walls in accordance with BS373 Aluminium curtain wall frame sections Finish polyester powder coating BS ENOak 12206-1 vertical boards with 20 mm shadow gap on Anodised finishes tonBS3897:1991 50 x 50 mm horizontal battens Mill finish Traditional transform drainage 10mm plasterboard Horizontally capped aluminium curtain wall system with uniform film 52mm sight-lines, toggle system used vertically to allow externally frameless mullions.

10mm plasterboard

Oak Cill

Mechanical solar-powered Louvres Treated Oak finish

Senior Architectural system ldt curtain wall 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Senior Architectural system ldt curtain wall

Oak Cill Insect mesh

220 mm rigid insulation

Hydraulic Ram glazed rectangular lift

5 mm plaster

Windows Double glazed Aluminium casing Oak cills

Vapour control layer 20mm oak flooring Herringbone layout Insect mesh

10 mm plywood sheathing

Oak Cill 10mm plasterboard

20mm underfloor heating

127mm cellulose insulation Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 254mm glulam structure studs between with blown cellulose insulation

Doors Double glazed 2110mm high doors with aluminium casing and oak cills

10mm plywood sheathing board

Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing.

Insect mesh Breather membrane

127mm cellulose insulation

440mm glulam beams (tapered at edges) extruding from rigid insulation supported by 75mm oak strutting

Acoustic Room 2 Plywood walls, benches, floor and ceiling. Acoustic Room 3 Velvet walls, benches, floor and ceiling, timber reinforcement 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Oak herringbone strutting between beams 254mm glulam structure studs between with blown cellulose insulation 127mm cellulose insulation Breather membrane Vapour control layer Insect mesh

254mm glulam structure studs between with blown cellulose insulation 254mm glulam structure

10mm plasterboard

Oak Cill Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 10mm plasterboard

Senior Architectural system ldt curtain wall 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

10mm plasterboard

Oak Cill 127mm cellulose insulation 10mm plywood sheathing board

20mm treated oak flooring Herringbone layout on waterproof membrane

Insect mesh W all cap timber

Breather membrane

Vapour control layer

Damp proof course 300 mm above floor level

Vapour control layer 3 x 215mm Engineering blocks

30mm underfloor heating 10 mm plywood sheathing

300mm cellulose insulation Breather membrane

20mm treated oak flooring Herringbone layout on waterproof membrane

Polystyrene

Damp proof membrane 127mm cellulose insulation 10 mm plywood sheathing

Existing wall

300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

10 mm plywood sheathing

Existing wall

30mm underfloor heating

10 mm plywood sheathing

220 mm rigid insulation 5 mm plaster

3 x 215mm Engineering blocks 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

New concrete underpin

Polystyrene

10mm plasterboard

300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

New concrete underpin

127mm cellulose insulation 10mm plywood sheathing board

20mm treated oak flooring Herringbone layout on waterproof membrane

W all cap timber

Breather membrane

Vapour control layer

Damp proof course 300 mm above floor level

Vapour control layer

30mm underfloor heating 10 mm plywood sheathing

Pile foundation

3 x 215mm Engineering blocks

300mm cellulose insulation Breather membrane

Polystyrene

Damp proof membrane

Existing Ground Level

10 mm plywood sheathing

DETAIL C 3D GROUND FLOOR LEVEL 1:10

20mm treated oak flooring Herringbone layout on waterproof membrane

30mm underfloor heating 10 mm plywood sheathing

Existing wall

Breather Membrane

1:10

300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

DPM (Damp Proof Membrane)

Existing wall Vapour Barrier

10 mm plywood sheathing

Insect Mesh

3 x 215mm Engineering blocks

300mm cellulose insulation

New concrete underpin

Polystyrene

10 mm plywood sheathing

300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

New concrete underpin

Pile foundation

Existing Ground Level

DETAIL C 3D GROUND FLOOR LEVEL 1:10

1:10

Breather Membrane DPM (Damp Proof Membrane)

Vapour Barrier

Insect Mesh

ELEVATION 1 1:20 DETAIL A 1:20

350mm rigid insulation on vapour control layer 5mm roofing felt system on waterproof membrane 10 mm plywood sheathing

Breather membrane

19 mm Aluminium facia Scotscape irrigation Scotscape Recycled steel subframe

Vapour control layer

Scotscape Planting modules

127mm cellulose insulation 254mm glulam structure studs between with blown cellulose insulation Breather membrane 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Vapour control layer

Scotscape irrigation

10mm plywood sheathing board 10mm plasterboard

127mm cellulose insulation Scotscape irrigation Breather membrane 254mm glulam structure studs between with blown cellulose insulation Scotscape Recycled steel subframe Scotscape Planting modules Vapour control layer

10 mm plywood sheathing 8 A101

10mm plasterboard

24 mm Isocheck ukmito slab (acoustic) 10 mm Oak floor herringbone layout Underfloor heating

Scotscape irrigation

Flanking strip

100mm cellulose insulation 100mm hardwood struts inbetween air

Acoustic sealant

25mm plasterboard

440mm NEW glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Existing tower wall

Acoustic pannel

24 mm Isocheck ukmito slab (acoustic) 10 mm Oak floor herringbone layout Underfloor heating

Flanking strip

100mm cellulose insulation

10 mm plywood sheathing

100mm hardwood struts inbetween air

Acoustic sealant

25mm plasterboard

440mm NEW glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Existing tower wall

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Acoustic pannel

1:10

DETAIL B 1:20

200mm cellulose insulation Warm monopitched roof

5mm roofing felt system on waterproof membrane

Breather membrane

Wall 1

10 mm plywood sheathing

254mm cellulose insulation

Vapour control layer

Scotscape wall

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Warm Pitched Roof (mono-pitched) 375mm Thermal mass 3.35kJ/K Resistance (R) 10.1987 (m2.K). / W U Value 0.0981 W / (m2.K) Above Photovoltaic panels 5mm roofing felt system on waterproof membrane Breather membrane 10 mm plywood sheathing 350mm rigid insulation on vapour control layer 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below 19 mm Aluminium facia and 150 x150mm gutter

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 127mm cellulose insulation

Breather membrane

10 mm plywood sheathing 5 mm plaster 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

254mm glulam structure studs between with blown cellulose insulation

Senior Architectural system ldt curtain wall

220 mm rigid insulation Senior Architectural system ldt curtain wall

5 mm plaster

Oak Cill

20mm oak flooring Herringbone layout

5 mm plaster

10 mm plywood sheathing

Mechanical solar-powered Louvres

20mm underfloor heating

10 mm plywood sheathing

50X50mm Oak planks at 300mm centres for internal wall finish Acoustic absorbant infront of reflective glazing

127mm cellulose insulation 254mm glulam structure studs between with blown Oak cellulose herringbone insulation strutting between beams Oak Cill 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Acoustic floor 259mm Thermal mass 4.46 kJ/K Resistance (R) 6.4855 (m2.K). / W U Value 0.1542 W / (m2.K) Above 10mm Oak floor Herringbone layout 24mm Isocheck ukmito Slab 100mm cellulose insulation 100mm air 25mm plaster 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below

Middle Floor

Wall cap timber

Oak Cill

Damp proof course 300 mm above floor level 127mm cellulose insulation 5 mm plaster

20mm oak flooring Herringbone layout 3 x 215mm Engineering blocks

30mm underfloor heating 300mm cellulose insulation

Breather membrane damp proodf membrane 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

10 mm plywood sheathing

Ground wall to foundation Above W all cap timber Damp proof course 300 mm above floor level (lower wall external 3 x 215mm Engineering blocks 127 cellulose insulation internal) 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation Concrete pile foundation Below Existing wall underpinned and polystyrene between new concrete floor and existing wall with underpin

Senior Architectural system ldt curtain wall

Vapour control layer

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above). 50X50mm Oak planks at 300mm centres for internal wall finish 50X50mm Oak planks at 300mm centres for banister Senior Architectural system ldt curtain wall Double glazing insulated glass units and panel gaskets for curtain walls in accordance with BS373 Aluminium curtain wall frame sections Finish polyester powder coating BS EN 12206-1 Anodised finishes tonBS3897:1991 Mill finish Traditional transform drainage Horizontally capped aluminium curtain wall system with uniform film 52mm sight-lines, toggle system used vertically to allow externally frameless mullions.

Concrete pile foundation

Mechanical solar-powered Louvres Treated Oak finish Scotscape Smartscape Ltd Fytotextile Living Wall system Modular vertical planting system 1000 x 1000 mm pannels Recycled steel carrier rails Galvanised steel screws 10-15 year’s or greater lifespan Inorganic, plastic none woven fibres, and organic fibres Fvs environmental footprint distinctive Hydraulic Ram glazed rectangular lift Windows Double glazed Aluminium casing Oak cills

Acoustic Floor

Doors Double glazed 2110mm high doors with aluminium casing and oak cills

1:10

Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing. Acoustic Room 2 Plywood walls, benches, floor and ceiling.

Existing floor Existing wall

DETAIL A 3D SECOND TO ROOF LEVEL 1:10

Acoustic Room 3 Velvet walls, benches, floor and ceiling, timber reinforcement

Existing Ground Level Breather Membrane DPM (Damp Proof Membrane)

Vapour Barrier

Insect Mesh

ELEVATION 2 1:20

SECOND FLOOR DETAILED PLAN 1:20

Breather Membrane Vapour Barrier

20mm oak flooring Herringbone layout

Senior Architectural system ldt curtain wall Double glazing insulated glass units and panel gaskets for curtain walls in accordance with BS373 Aluminium curtain wall frame sections Finish polyester powder coating BS EN 12206-1 Anodised finishes tonBS3897:1991 Mill finish Traditional transform drainage Horizontally capped aluminium curtain wall system with uniform film 52mm sight-lines, toggle system used vertically to allow externally frameless mullions.

Vapour control layer

10mm plasterboard Activator

Motor

W all cap timber

Activator drive shaft

127mm cellulose insulation

Breather membrane 254mm glulam structure studs between with blown cellulose insulation

Hydraulic Ram glazed rectangular lift

10mm plywood sheathing board

Windows Double glazed Aluminium casing Oak cills

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens

Doors Double glazed 2110mm high doors with aluminium casing and oak cills

127mm cellulose insulation

Vapour control layer 254mm glulam structure studs between with blown cellulose insulation Breather membrane

10mm plasterboard

Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing.

W all cap timber

Acoustic Room 2 Plywood walls, benches, floor and ceiling. Acoustic Room 3 Velvet walls, benches, floor and ceiling, timber reinforcement

10mm plywood sheathing board

Primary radial arm

Scotscape irrigation

20mm oak flooring Herringbone layout Secondary radial arm Scotscape Planting modules Oak column rotating fins

Scotscape Recycled steel subframe Oak fins

Glazed single leaf door, aluminium frame

glulam column

The future of the environment is in humanities hands. We have evolved and become manifested within a world where humans have impacted on nature and become self-indulgent. without warning our actions have caused a period of isolation. accepting is not defeat, working with and coexisting with nature is crucial now, balancing natures needs with humanities.

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