Architecture Design Studies Year 4 - SCOTLAND SLAVERY MUSEUM - Hannah Stewart by Hannah Stewart

SCOTLAND SLAVERY MUSEUM

HANNAH STEWART YEAR 4 DESIGN STUDIES

CONTENTS URBAN STRATEGY RESEARCH SITE BUILDING JOURNEY STRUCTURE AND ENERGY SMALL PROJECT

SCOTLAND SLAVERY MUSEUM

WHAT To create a BLACK HISTORY MUSEUM in Tradeston. An educational facility to teach about our black history, our SLAVERY history and our TRADING history, through promotion of black artists and creators and using interactive exhibitions. Include a SMALL BUSINESS MARKET place which allows local producers to sell and local residents to shop. It is intended the building will have functions for both DAY AND NIGHT to keep people coming to and from Tradeston at all times of the day. WHERE The museum will be situated on the site of the former DOCK YARD, providing a direct connection to the River Clyde where Glasgow developed from. Reinvigorate the river front in a site that will be seen. WHO This is a building for SCOTLAND, for GLASGOW, for the LOCAL COMMUNITY, and for the BLACK COMMUNITY. The building will provide amenities for the local area and create jobs. It will being people to Tradeston from all over in order to be educated on a much forgotten yet extremely important part of our past and at the same time allowing people to INVEST in the local community. WHY A place that can provide a CULTURAL IDENTITY for Tradeston while EDUCATING the public on matters of our history which are often forgotten. HOW The building fits in to the urban strategy for numerous reasons. We proposed for facilities which gave more reasons for people to come to Tradeston and for the people who live in the area to spend time in the area. It creates a cultural identity for a place which is currently lost. It seek to stand out from the prominent grid structure in an area that was never meant to be part of the grid. And it will create a much needed connection to the river for Tradeston.

URBAN STRATEGY

Our approach for the Tradeston community is to create an environment that centres on a safe walk-able area while remaining accessible and functional for businesses. We propose re-routing the heavy traffic flow to occupy the outer roads in the area. We wish to add density to Tradeston, working within the open space and derelict corners of the area providing new life. The proposed facilities of shops, wellness places, recreational space, and cultural buildings are all to provide more essential services for the existing community. Our intention is to invite people across the river into Tradeston and to explore further south, building a bigger community. The pedestrian routes will provide a stronger connection to the surrounding districts and the river. As well as providing safe pedestrian routes we wish to introduce a large amount of greenery to the area, be it through trees, open park areas and social spaces. Tradeston has indication of a creative community with the prominent use of graffiti in the area, a fun environment can be created by allowing space for ‘intentional’ graffiti and dedicated art space.

walk-able

connected

green space

amenities

fill the gaps recreational space

wellness

save the grid

The SCOTLAND SLAVERY MUSEUM relates to the urban strategy in numerous ways. Developing the river front site by creating a resilient waterfront will protect the future site and allow better connectivity again. The building seeks to fill a gap at the water front, standing out and being seen from many points across Glasgow. The range of amenities in the building will draw people in from many places. Having functions for profiting will allow for more economy to build in the local area. Reducing cars in the site provides more opportunities for green space. Most importantly it will create a cultural identity for Tradeston and Glasgow, and progress Scotland to a better future for all.

cultural places

Visions of Tradeston in the future with the gaps having filled over time

RESEARCH

1750 Virginia Street 1707 Union with England meaning Scotland got access to the well established English Empire

1600s River Clyde was shallow, prone to floods and could be crossed by foot

1750 Miller Street

1790 After the American War on Independence there was a decline on the success of tobacco so the commercial focus was moved to ClydeWest Indian trades

1767 Jamaica Street 1770 Buchanan Street

1790s Tradeston was developed and subdivided by the Trades House

1775 A new successful method of raising water level was tested on the River Clyde, this sees the river depth reaching 2.1 metres 1785 The River is now 4 metres deep due to the increase flow over time. The increase in depth encouraged shipments. 1755 An unsuccessful attempt was made by the Government to deepen the Clyde River

1807 Abolition of the Slave Trade. £20 million of compensation was paid out to slave owners - not the slaves

1805 Port Eglinton was established during the cotton boom between 1790 and 1820, and terraced housing was built in the grid pattern

1830 The industry in Glasgow was dominated by cotton manufactures and largely based in factories located within the city itself

1834 Glasgow Harbour was expanded massively extending the north and south banks of the Clyde as far east as Govan and Partick.

1867 Kingston Dock had been completed

1870 over twenty shipyards and more than half the British shipbuilding workforce was based on the Clyde 1893 Tradeston became very industrialised and commercial

1950s Due to change in transport method and newer technology, most of the docks and quays in Glasgow Harbour closed down along with much of the textile and leather industries

1914 To cope with the large variety and quantity of shipment 4 docks were constructed. Nearly 7 million tons of cargo were shipped from Glasgow

2015 The last of the debt from the compensation payment was paid off by the UK taxpayer

1970 the Kingston Bridge was opened

FUTURE A slavery museum is built along the river in Glasgow

2020 Redevelopments in happening in Glasgow Harbour 100 million pounds is being invested into a plan to rejuvenate the River Clyde and its surrounding area.

let us be

transparent about our

history

Slaves were tightly packed on ships for weeks, in extremely cramped and unpleasant spaces. None of us can imagine what this would have been like. Forcing visitors to pass through darker, cramped spaces will provoke uncomfortable feelings and remind us of the ill treatment of slaves.

When the slave trade was abolished the government took out a debt to compensate the slave owners, crucially nothing was given to the slaves. The debt was only paid back by the taxpayer in 2015. All of the records are kept in the national archives and contain details of the slaves. This data can be represented or displayed in a way that makes it accessible and therefore increases public knowledge.

There has been much outrage over the statues of slave owners, with many people across the country wanting them removed. Bringing them together in one place along with the correct information will start to put things right and provide accurate information for people to learn.

1830

1950

without the

river there would have been no

2020

slave trade

a place to be

noticed The waterfront site can be seen from numerous points along the river. People may not know what it is but glimpses of the building will leave them curious to go and find out more. The site is on a corner so naturally stands out.

to create an

identity BLACK LIVES MATTER

A building that is progressive is what Scotland desperately needs. Situating it right where trade happened on the river which caused the trade allows Tradeston to outwardly recognise its roots. With the community and wider Scottish community learning about our history of Glasgow and the links with the slave trade, society can move forward.

and in turn

educate

a place for

everyone to learn and

progress

SITE PLAN 1:1250

enhance

the site Repair the broken waterfront and make it usable again through creating a resilient area protecting Glasgow for the future. Add features to protect the housing from the future and to create more privacy for the residents from those passing along the river front. Using ponds and other features to bring water back into the site reconnecting with the history of the dockyard and the trading. The re-introduction of water act as future protection and an area for water to go in the future to save the houses from flooding. The focus will be taken away from cars and the subsequent parking and refocused on creating pleasant, enjoyable courtyard spaces in between the housing blocks. The courtyards will have sculptures in them leading people to explore and educate themselves as they walk around the site, and will be part of a sculpture walk for the museum.

improve the

barriers Improving the barriers found across the site will improve the whole area, making it more accessible and better connected. Reducing the number of car parking spaces and moving them to one area will open up more space across the site. Instead of cars appearing to be the priority the focus will be back on to human movement. Repairing the water front and re-opening the access will again better connect the site and make the place more enjoyable to live. Access around the site will be much easier and the water front site will be a more appealing place to pass through. More people passing through the wider site will lead to more people coming across the museum.

SITE PLAN 1:1250

Building on the corner site will create a stop on a journey. Where currently the site is just passed by, a cultural building will encourage people to spend time

SITE PLAN 1:500

create a building to

stand out

and to be

different

Existing materials in Tradeston

a progressive building and

material

The existing materials around Tradeston are largely industrial, using brick, sandstone, metal cladding and concrete. The museum seeks to stand out from the usual grain but the urban will still be addressed through using glass at street level. The use of timber in the building will not only be for the cladding but also the structure. A progressive building in its use should be progressive in its construction; using cross laminated timber along with glulam or lvl beams will do this. The structure will be lightweight and importantly sustainable, protecting our future while inside visitors are educated to better the future. While timber cladding is not typical of Glasgow’s urban landscape, neither is a slavery and shipping museum. The building wants to make a statement in numerous ways. Timber cladding is sustainable, using timber over glass will provide shading to reduce solar gains inside he building and also create different light and dark atmospheres inside.

SITE

The proposed building sits on the river front and at the edge of the former Kingston dockyard.

PROPOSED AREA PLAN 1:5000

A future Tradeston and Glasgow will be a place where the derelict city centre sites are filled with a mix of facilities to create a very liveable city. The river will be regenerated with more use again. The heat for many neighbourhoods will be sustainably produced by the river. The number of cars will greatly reduce. There will be recycling centres easily accessible which continuously teach the importance of the environment. Food will be grown in climate controlled spaces in the city. And racism will no longer be a problem as many have been better educated in the SCOTLAND SLAVERY MUSEUM.

FUTURE 2070 AREA PLAN 1:5000

A1 SCALED LOCATION PLAN 1:1250

WIDENED RIVER FRONT

the land at the edge of the river will be widened to allow public access along the length of the river again, making the whole area more accessible again

POTENTIAL PIER

a site on the river could be developed into a pier in the future to use as part of a city wide ferry scheme

AMPHITHEATRE

an amphitheatre is proposed on the river front, providing some privacy to the housing south and giving the public a place to site at the river

WATER GARDENS BIOSWALES SCULPTURES STONES POTENTIAL FUTURE SITES CARS WATER SOURCE HEAT PUMP

water is brought back into the site as a reminder of the sites history as a dockyard 70 years ago privacy and pleasant spaces fr the houses will be provided through back gardens and semi private front gardens with balconies the water and landscaped bioswales ensure good surface water management for the area and increase the urban resilience modern sculptures will be placed on a trail throughout the site as an extension to the journey through the new museum 315 stones engraved with the names of slave ships are subtly place across the site to mark the edge of the former dockyard there is potential to increase density to the river front area with more buildings in the future to provide local amenities such as cafés or shops the number of cars will be reduced in the area and the parking will be reduced to one strip along the south boundary of the site a water source heat pump and facility will be installed during the redevelopment of the site providing a sustainable heat source for the community

FEATURES OF THE SITE REDEVELOPMENT

A1 SCALED SITE PLAN 1:500

The commemorative stones sit through the site on a number of difference surfaces. They continue through any water, across different textured paths, across the paved courtyards. They are to be a subtle reminder of the history of the site by marking out the edge of the former dockyard and are a reminder of the number of years the slave trade existed for along with the thousands of ships which crossed the Atlantic Ocean.

BUILDING

a building for

engaging and

debating

public classes

educational facilities

functions day and night

library and bookshop

trading market

cultural identity

local history

BLACK LIVES MATTER

slavery history

local trade

art displays

interactive exhibitions

adaptable space

film space

temporary exhibitions

reception foyer circulation

entering

100m2

circulating 350m2

shops storage

profiting

300m2

library archive storage

debating

450m2

engaging

1500m2

servicing

500m2

workshop space class room storage gallery space film viewing exhibition space temporary exhibition space lift/easy instalment access storage toilets plant room

While Tradeston has a really strong grid pattern, the site does not follow this and it never did as it was previously the dockyard. It is important to respect and protect the strong grid where it exists but the form of the building in the dockyard area does not need to follow it.

TRADESTON HAS A STRONG GRID APART FROM THE RIVER FRONT SITE

there is a contrast between the grid layout and the hexagonal housing

take the defined lines of the street to the east of the site and the river front as well as continuing the hexagonal shape to the west

the form of the building is driven by the two contrasting existing urban forms

BUILDING FORM DEVELOPMENT

split the shape into void and floor plate

BUILDING DEVELOPMENT DIAGRAMS

plug in service cores

recess the entrance

create special moments in the void

circulate through the void

curve the void elements for contrast

span the building with a space frame

wrap the building with timber

PEOPLE MADE GLASGOW KATE TOUGH Shame in our hulls why else would we drink to incoherence People Make Glasgow obese, rotten-mouthed stroke-felled, emphysemic tumour-choked aye, an proud ae it. Brutalised Africans made Glasgow amazing disgrace, how sweet the civic amnesia… mansions without plaques unrevised street names no memorial.

POETRY INSPIRATIONS

MIDDLE PASSAGE ROBERT HAYDEN Middle Passage: voyage through death to life upon these shores. Blacks rebellious. Crew uneasy. Our linguist says their moaning is a prayer for death, ours and their own.

These are excerpts from two poems which have inspired the design. Kate Tough’s modern poem highlights that the current people of Glasgow have forgotten how our city came to be and the horrors that people went through which ultimately benefited the city. Robert Hayden’s poem from 1962 depicts the horrific journey slaves had to endure across the Atlantic Ocean. Both of these were thought provoking while designing spaces that would make people think while on a journey through the museum.

The illustrations from Tom Feelings book The Middle Passage and illustrations of slaves on board the ships were inspirations through the design process. These are all very powerful and though provoking images. The high contrasts between light and dark help emphasise the horrors of the transatlantic slave trade.

IMAGERY INSPIRATIONS

BUILDING DIAGRAM

1 green roof 2 roof lights 3 solar panels 4 exposed timber entrance 5 green landscaping along North elevation 6 sculpture

5 4 2

6 1

A1 SCALED CURTILAGE PLAN 1:200

1 main exhibition hall 2 dark exhibition space 3 dark film space 4 learning room 5 lecture room/workshop room 6 waiting area with exhibition space 7 toilets 8 storage/archive 9 plant 10 escape stair and lift core with vertical services and dry riser runs

3 8 2

9 2

9 4 3

8 10

A1 SCALED BASEMENT PLAN 1:100

1 entrance 2 reception 3 temporary exhibition space 4 exhibition space 5 trading place 6 void 7 slow stair to start journey down into basement 8 escape stair and lift core with vertical services and dry riser runs

8 7

3 6

A1 SCALED GROUND FLOOR PLAN 1:100

1 exhibition space 2 void 3 escape stair and lift core with vertical services and dry riser runs

A1 SCALED FIRST FLOOR PLAN 1:100

1 exhibition space 2 hanging exhibition space 3 library 4 library archive 5 hanging reading space 6 void 7 escape stair and lift core with vertical services and dry riser runs

5 4

A1 SCALED SECOND FLOOR PLAN 1:100

10 7

4 5 1

11 1 toilets 2 film space 3 learning room 4 trading place 5 exhibition space with hanging cotton art work 6 modern slavery exhibition space 7 library 8 library archive 9 hanging reading space 10 roof light 11 external sculpture

SECTION A-A 1:100

1 exhibition space 2 dark exhibition space 3 learning room 4 lecture room/workshop room 5 waiting area with exhibition 6 temporary exhibition space 7 trading place 8 library 9 hanging reading space 10 hanging exhibition space 11 roof light

9 1

SECTION B-B 1:100

NORTH ELEVATION 1:200

NORTH ELEVATION 1:100

EAST ELEVATION 1:200

EAST ELEVATION 1:100

DESIGN DIAGRAMS

JOURNEY

an awareness of

theon river approach

People in Glasgow are very aware that there is a river right through the city, but there is very little knowledge about the former shipping history and importantly the connection with slavery. Glasgow grew through the use of the river. We imported many things from America during the slave trade years which grew the empire. As people approach the museum they will be aware of the river that is crossed but they will soon learn about it in a different view. The building has a glass ground floor to fit in an urban environment but has a contrasting timber exterior above. This is a material rarely used in urban contexts but this is a different and new type of building which wants to stand out. The timber brise soleil solar shading wraps continuously around the building and can be seen throughout, symbolising being trapped while the visitors are on their journey, much like the slaves were.

The journey through the museum starts with a slow walk across the void into the basement, leaving views of the river and the outside world behind. Visitors are first met with a collection of statues of men who are now known to be celebrators of the slave trade and racism. There has been much recent protest about the many statues that are placed across the UK. There are 5 statues in Glasgow alone, of Colin Campbell, Sir Robert Peel, John Moore, Lord Roberts, and Thomas Carlyle as well as other more recognised statues such as Edward Colston in Bristol and Henry Dundas in Edinburgh. Now that the world has a better understanding of the horror that was the slave trade people want these statues removed. By gathering them together in the museum it can be ensured people are properly taught about who these people were. This can allow us to understand British involvement in slavery to progress and move on. And importantly we can learn how the growth of Glasgow was funded.

gather the

statues

spaces which create a

contrast Visitors then continue to circulate through the basement level learning about the horrors of slavery and the slave trade . The will cross between dark and light spaces through the basement. People will enter a series of dark spaces which feel uncomfortable to recognise and symbolise the discomfort that humans endured on the journey across the Atlantic. Exiting these spaces is met by the full volume void acting as a contrast from what was exhibited in the dark spaces. The space shown has light dropping in from above, through roof lights, mimicking the light that occasionally reached below deck on slave ships. The walls will speak while visitor sit in this slightly uncomfortable space as sounds of poetry recounting the Trans-Atlantic journeys and the walls tell stories of how our empire really grew.

Middle Passage: voyage through death to life upon these shores.

The journey continues up from the basement through a staircase within the void to the first floor, passing through a small exhibition space on the ground floor landing. The first exhibition space visitors will reach is a space highlighting modern slavery.

slavery still exists

An estimated 21 million people are trapped in some form of slavery around the world, trafficked into factories, building sites, hotels, fields and private homes. An estimated 13,000 of these are in the UK. While highlighting the horrors of the Trans-Altlantic slave trade the museum seeks to highlight issues of modern slavery. Artwork, film, images, and stories can be exhibited to raise awareness. An interactive table shows images and footage of personal stories highlighting the realness of the issue. This drawing is an example of how an exhibition space could be laid out. The partition walls can be used to allow light from the windows into the space or could be changed to block light. Lights which hang from the structure shine onto these walls or away from them. Projectors could hang to display film. The timber floor throughout the building will get worn but this building wants to show its use.

Visitors continue up to the second floor of the building, a place of hope for the future. At this point the floor to ceiling height increases to create a more pleasant feeling on the final floor. Special spaces situated within the void will hang from the space frame using metal cables. Roof lights drop light onto some exhibits and the hanging spaces further symbolise hope. As people climb the stair in the void from the first floor they will get to walk around a sculpture placed in the middle, the BLACK LIVES MATTER fist. While slavery still exists so does racism and this museum must work to combat these issues. A sculpture with the number 2015 sits under a roof light to highlight the year the UK brought in the Modern Slavery Act to ensure help for victims and better punishment for perpetrators. The final point of the journey is the hanging space at the north of the building. It provides a place for visitors to reconnect with the river again and consider the journey they have been on throughout the building.

BLACK LIVES MATTER and there is hope

create a place for

goodtotrade give back At the end of the journey through the museum and back on the ground floor, visitors will pass through a shop area which seeks to promote good trade links. The ground floor curtain walling allows light to enter and people can also see into what is going on to entice them into the building. During the slave trade Britain imported materials such as sugar, tobacco and cotton from plantations in North America where enslaved people were forced to work. Glasgow grew from the trade, mostly of tobacco, and Merchant City expanded. In the 18th century Glasgow was famous for its fine linen spun from the imported cotton. We have streets across the city with names related to plantations and owners of slaves. Now is a chance to make change for the better creating a space where items produced in the countries we used to take from can be sold. Clothing made from a local producer in Jamaica or a pottery maker from Haiti can have a market to sell in Glasgow.

315 years 20,528 voyages

millions of lives TRANS-ATLANTIC SLAVE TRADE

The journey continues after people have exited the building as visitors start a sculpture walk through the series of courtyards on the site. The sculpture walk may be the start of the journey for some or may be part of a journey to elsewhere but they will be seen by many and symbolise a desire to progress in our country. There is a subtle commemorative installation across the whole site as 315 stones mark the edge of the former dockyard each with the names of many of the slave ships engraved. At first people may not notice them or understand what they are but they aim to draw curiosity out of people and inspire them to learn more.

STRUCTURE AND ENERGY

EXTENSIVE GREEN ROOF

Sedum blanket with surface finish with a BioSolar system to install solar pv panels. 100mm extensive substrate. Filter fleece. 40mm drainage and protection layer or substructure to hold solar panels. 6mm eco protection mat. Waterproof membrane. 250mm rigid insulation to a fall. Vapour barrier. 200mm CLT slab on space frame structure.

PARAPET

PPC preformed insulated parapet capping. 60mm rigid insulation to inside of CLT wall panel. Vapour barrier. Waterproofing membrane continued up the inside of the parapet to finishing. 300mm wide drainage channel around the perimeter of green roof and roof lights.

SPACE FRAME

150mm x 150mm beams for top chord and bottom chord of frame with 100mm x 100mm transitional beams. Connected using stainless steel plate slotted into beams and to 120mm diameter stainless steel spherical connectors. Space frame connected to columns using stainless steel triangular top plate and connected to the edge beam for stability.

COLUMN

500mm circular glulam column connected to floor slab using stainless steel base plate slotted into column and bolted.

EXTERNAL WALL

A1 DETAIL PLAN, SECTION A-A AND ELEVATION SCALED TO PAGE

120mm CLT wall panel. 220mm semi rigid IndiBoard hemp insulation (fire protected and made from UK crop). Vapour barrier. 50mm x 50mm SW timber battens at 520mm centres to line up with curtain wall mullions and brise soleil solar shading panels. 25mm x 100mm SW horizontal timber battens at 600mm centres. 115mm x 25mm Scottish larch tongue and groove boarding.

INTERMEDIATE FLOORS

25mm Scottish douglas fir tongue and groove flooring. 150mm x 50mm or 50mm x 50mm SW timber battens at 450mm centres with sound insulation in between. 2 x 100mm CLT slabs offset and overlapping to minimising cutting to slabs and beams to allow services to run above and below. 225mm x 90mm glulam beams connected with fire protected stainless steel plates and bolts.

GROUND FLOOR

25mm Scottish douglas fir tongue and groove flooring . 50mm x 50mm SW timber battens at 450mm centres with sound insulation in between and space for electrical services to run. 300mm concrete.

CURTAIN WALL CONNECTION TO GROUND

50mm x 100mm curtain wall profile fixed to concrete floor with stainless steel bracket. PPC insulated panel below curtain wall to prevent thermal bridging. Thermal external ground slab. Slot facade drain around perimeter of building. Permeable paving slabs.

BASEMENT WALL

400mm reinforced concrete retaining wall with waterproofing additive. Waterproof membrane. 3 x 50mm closed cell rigid insulation boards. 20mm recycled cavity drainage membrane. Filter fabric surrounding hardcore. Perforated perimeter drain at base of wall.

BASEMENT FLOOR

50mm polished concrete screed floor finish. DPM 300mm concrete with waterproofing additive. Vapour barrier. 3 x 50mm Closed Cell rigid insulation boards. Concrete binding. Hardcore gravel drainage layer with perforated drain at pile cap.

FOUNDATION

2 NO. 400mm diameter piles. 600mm pile cap.

EXTENSIVE GREEN ROOF

COLUMN

500mm circular glulam column connected to basement structural concrete using stainless steel baseplate slotted into column and bolted.

PARAPET

CURTAIN WALL CONNECTION TO GROUND

EXTERNAL WALL

SPACE FRAME

CURTAIN WALL

50mm x 100mm curtain wall transom fixed to glulam beam using Z bracket. Base of timber brise soleil connected to horizontal 100mm x 50mm timber batten using steel plates and bolts, connected back to curtain wall transom.

BASEMENT WALL

400mm reinforced concrete retaining wall with waterproofing additive cast in timber shuttering for internal finish. Waterproof membrane. 3 x 50mm closed cell rigid insulation boards. 20mm recycled cavity drainage membrane. Filter fabric surrounding hardcore. Perforated perimeter drain at base of wall. Grass landscaping.

BASEMENT FLOOR

FOUNDATION

A1 DETAIL PLAN, SECTION B-B AND ELEVATION SCALED TO PAGE

2 NO. 400mm diameter piles. 600mm pile cap.

GSEducationalVersion

A1 SCALED SPACE FRAME STRUCTURE PLAN 1:100

GSEducationalVersion

EXPLODED AXONOMETRIC OF BUILDING STRUCTURE

design for disassembly

DESIGN FOR DISASSEMBLY is becoming an important part of the design process. The museum is designed considering its future use as well as its current designed use. As many of the connections within the museum are mechanical fixings rather than adhesive, this makes it easier for them to be taken apart and reused. The services to the museum will be fixed to CLT floor slabs and wall panels to minimise the number of cutting into panels, making reuse easier in the future. To further minimise cutting into the floor slabs two 100mm panels are offset from one another allow services to the floors above and below to be easily fixed and maintained.

300mm stainless steel plate slotted into timber and bolted which is also slotted and bolted into 120mm diameter stainless steel connection joint

the space frame connection joint is bolted to a stainless steel plate which is slotted into the glulam column and bolted

timber space frame, stainless steel connections and column connection

all elements joined together using bolted connections or screws and mechanical fixings

CLT wall panel angle bracket bolted to wall and floor slab CLT floor slab fixed to wall panel with self drilling screw connection

timber floor

glulam beam slotted into precut hole in CLT wall panel and fixed with self drilling screw connection

electric services to floor above lighting, sprinkler system and other services to floor below CLT

by placing the vapour barrier to the exterior of the structure airtightness is achieved and it reduces the need for adhesive joint tape

glulam beam

CLT floor slab, services and glulam beam connection

CLT wall, CLT floor slab and glulam beam connection

life cycle considerations

The life cycle of the building has been considered in the design to minimise waste throughout use and at the end of its life as a museum. The STRUCTURE has been designed to allow the floor plates to be as open as possible. This ensures they can interior can be easily redesigned for the future use. The SERVICES are mechanically fixed to the structure and in the space between the timber floor and CLT slab and the space between the CLT slab and the glulam beam. This also allows easy maintenance to these functions and they can be replaced without having to disassemble the structure. The SKIN is extremely sustainable and the timber will weather but it can be easily maintained. The SPACE PLAN is formed from CLT wall panels which are mechanically fixed to the CLT floor slab. These can be moved around and reused in the museum when exhibitions change. The INTERIOR FINISHINGS will change as exhibitions do. The items can be shared with other museums around the world.

interior finishing often changing space plan

3 - 30 years

skin 20 years services

7-15 years

structure

30 - 300 years

SKETCH SHOWING DIFFERENT LAYERS OF THE BUILDING

SCOTTISH LARCH CLADDING by RUSSWOOD from NEWTONMORE CONCRETE by HANSON from GLASGOW CURTAIN WALLING by AVTEK SOLUTIONS from UDDINGSTON DOUGLAS FIR FLOOR by ABBEY TIMBER from BERWICKSHIRE HEMP INSULATION by INDINATURE from SCOTTISH BORDERS GLULAM AND CLT by KLH from EUROPE Current research is being undertaken looking at the potential use of Scottish sitka spruce as a material for CLT and glulam. There is very little manufactured in the UK using British timber currently. GREEN ROOF by BAUDER from Europe

30 0k m

20 0k m 100 k

local sourcing of materials As well as designing with sustainable materials a way to further reduce the environmental impact of the building is through considering the embodied carbon. By sourcing materials as close to the site as possible the carbon produced through transportation is reduced.

SOLAR PV PANELS

spread across the roof facing the south to provide the majority of the power to the building

RAIN WATER HARVESTING

water is collected from the roof to supply the building which has a low requirement for water

ARTIFICIAL LIGHTING

the artificial lighting which is provided to the building is powered by the solar pv panels

GREY WATER RECYCLING

the water used in the building is recycled to further reduce water demand

NATURAL LIGHTING

natural lighting comes into the building through the windows and curtain walling to reduce the demand for artificial lighting

GREEN ROOF

an extensive green roof covers the building to assist with water management, improved the urban air quality and it absorbs CO2

TIMBER BRISE SOLEIL SOLAR SHADING

to ensure the building does not gain too much heat through the full height curtain walls

WATER SOURCE HEAT PUMP

heat is supplied to the building from the community facility

MINIMAL GLASS ON SOUTH FACADE

to further minimise solar gains the only glass on the South facade is the glass on the ground floor

CARBON STORE

the building is a carbon store through the extensive use of timber, it has a low embodied energy and little negative environmental impact

NATURAL HEMP INSULATION

a material with a very low embodied carbon, is made from UK crops and is a carbon store. The material is breathable and pushes excess water outwards which works well ensuring the CLT stays dry. It is fire proofed and does not go alight it just chars.

NATURAL VENTILATION

the use of windows at the top of the curtain walling, windows in the east facade and roof lights all allow air to circulate

RB O S B

CO 2

BS C O2 A

2 ABSO ED RB

BED

ENERGY STRATEGY DIAGRAM

SMALL PROJECT

HANNAH STEWART SCOTLAND SLAVERY MUSEUM YEAR 4 DESIGN STUDIES