Y3 Technical Dissertation

HIROSHI SUGIMOTO’S GALLERY ROOF DESIGN

NAME: HESSAM RANJBAR UNIT: 7 YEAR: 3 UNIVERSITY ID: 000882557-2 TUTORS: YORGOS LOIZOS & NED SCOTT COURSE COORDINATOR: KIERAN HAWKINS BUIL 1074 - TECHNICAL DISSERTATION & AUDIT

TABLE OF CONTENTS

Abstract 4 Introduction 5 Site location 6 Project pverview 7 Sustainable strategies 17 Case study 01 24 Case study 02 30 Overview of technical investigation 38 Discussion with an engineer 44 Systematic grid tests 46 Roof design tests 54 The final Design 71 Conclusion 84 Appendix & drawings 88 Research Method Statement 96

CHAPTER ONE

PROJECT CONTEXT

ABSTRACT

The project is located in Fish Island, Bream St. Fish Island is going through rapid changes in the past few years and it’s under severe construction.

My client, Hiroshi Sugimoto, will be capturing this change through the medium of photography.

The focus of my technology report lies in the investigation of how to control, manipulated the natural light to get a soft, diffused and thorough light within the gallery space and also how the pinhole projection system/camera obscura would

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work in the collection room of the building.

Physical testing, 3D modelling, consultations with engineers will be undertaken to answer the key technical questions posed alongside the case studies and the additional reading. The knowledge acquired by the end of this technical study will definitely be applied to the design ideas of the project, which will inevitably transform some of the concepts into a more technically considered project.

INTRODUCTION

This project is a photography studio for Hiroshi Sugimoto. He is a Japanese photographer, architect, curator and sculptor. His technique for photography is analogue and he does not use artificial lights in his photography. In his current photography studio in New York, he controls the lighting using a curtain and he believes natural light is the best light. He has been exploring long exposure photography for many years and is considered one of the masters of this technique by many critics.

In his studio in Fish Island, he will be capturing the change of the site using the medium of photography. He then will be exhibiting this change to the public in the gallery space of the building.

Fish Island has been going through rapid changes in the past few years and sooner or later it will look nothing like how people remembered it. It is vital for him to capture this change as a photographer and curator.

The building is divided into 3 vertical segments of collect, create and curate (Illustrated on page 7). In the Collection area he is able to collect data/information from the site using his cameras. In the creation area he will be producing the photographs and finally the curation area is where he exhibits the work and stores it for decades.

His new bespoke studio in Fish Island will have a photography studio, a dark room, archive rooms, book making facility, gallery spaceand a collection room at the top of the building that will collect data/photographs from the site. All these areas in the building require different lighting conditions and Lux levels, which is very important to my client. His ability to have control over the light entering the building is vital for this project and the focus of this technical report will be on light.

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SITE LOCATION

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Water Way Scale 1:5000 Location: Bream Street, Fish Island, London, United Kingdom

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PROJECT OVERVIEW

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Shop Reception Archive Room Exhibition One Exhibition Two Exhibition Three Public Terrace Camera Obscura Room Office Book Making Facility Dark Room Photography Studio 16 15 Equipment Storage 14 13 Room 14. Library & Think Room 15. Fossils Storage Room 16. Private Terrace 17. Long Exposure Camera Room 6 7 18. 160° Cyclorama Room 19. Camera Obscura Input Room 3 20. Public Access 21. Vehicle Access 22. Private Access 23. Stour Rd, Fish Island, London 24. Bream St, Fish Island, London

Collect Collect Create Curate

Collect Create Curate

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Shop Reception Archive Room Exhibition One Exhibition Two Exhibition Three Public Terrace Camera Obscura Room

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Office Book Making Facility Dark Room Photography Studio Equipment Storage Room Library & Think Room Fossils Storage Room Private Terrace

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Long Exposure Camera Room 160° Cyclorama Room Camera Obscura Input Room Public Access Vehicle Access Private Access Stour Rd, Fish Island, London Bream St, Fish Island, London

Shop Reception Archive Room Exhibition One Exhibition Two Exhibition Three Public Terrace Camera Obscura Room

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Curate Office Book Making Facility Dark Room Photography Studio Equipment Storage Room Library & Think Room Fossils Storage Room Private Terrace

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Long Exposure Camera Room 160° Cyclorama Room Camera Obscura Input Room Public Access Vehicle Access Private Access Stour Rd, Fish Island, London Bream St, Fish Island, London

NTS

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BASEMENT FLOOR PLAN

1. SHELVES 2. SIDE SHELVES 3. UNDERGROUND ARCHIVE ROOM

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Scale 1:200 @ A4 Page 8 UNDERGROUND FLOOR PLAN SCALE 1:100

GROUND FLOOR PLAN

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1. 120° ALCOVES TO DISPLAY PHOTOGRAPHS 2. RECEPTION ROOM 3. BOOK MAKING FACILITY AND LIBRARY 4. OVERGROUND ARCHIVE ROOM 5. PRIVATE ENTRANCE 6. PUBLIC ENTRANCE 7. DOUBLE HEIGHT GALLERY SPACE 8. GARDEN AND GREEN AREA 9. VEHICLE ACCESS POINT 10. STAIRCASE TO OUTDOOR TERRACE ON FIRST FLOOR 11. 120° PARTITION ALCOVES TO DISPLAY PHOTOGRAPHS 12. PUBLIC OUTDOOR TERRACE 13. RECEPTION’S BACKROOM STORAGE

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FIRST FLOOR PLAN

1. OUTDOOR TERRACE 2. PUBLIC OUTDOOR BRIDGE 3. DOUBLE HEIGHT GALLERY SPACE 4. VOID 5. CAMERA OBSCURA PROJECTION ROOM (SHOWS A LIVE FEED OF THE SITE) 6. OFFICE 7. PHOTOGRAPHY STUDIO 8. DARK ROOM 9. PERSONAL OUTDOOR BRIDGE (LEADS TO COLLECTION ROOM) 10. PROJECTION SURFACE (SHOWS A LIVE FEED OF FISH ISLAND USING THE CAMERA OBSCURA ON THE FLOOR ABOVE)

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FIRST FLOOR PLAN SCALE 1:100

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SECOND FLOOR PLAN

1. PERSONAL OUTDOOR BRIDGE 2. VERTICAL LIGHT TUNNEL 3. 1/4 LONG EXPOSURE CAMERAS 4. VOID

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PERSONAL OUTDOOR BRIDGE VERTICAL LIGHT TUNNEL 1/4 LONG EXPOSURE CAMERAS VOID

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SECOND FLOOR MEZZANINE PLAN

1. ANGLED MIRROR (ALLOWS THE LIGHT TO TRAVEL THROUGH THE FLOOR BELOW USING THE LIGHT TUNNEL) 2. 2/4 LONG EXPOSURE CAMERA 3. 3/4 LONG EXPOSURE CAMERA 4. 4/4 LONG EXPOSURE CAMERA 5. 360° CAMERA (TAKING A CYCLORAMA PHOTO OF THE SITE EVERYDAY AT 10AM) 6. STAIRCASE TO THE FLOOR BELOW 7. VOID 8. PINHOLE (APERTURE THAT LETS LIGHT IN THE ROOM)

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SHORT SECTION OF THE BUILDING Short section of the building looking south east.

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OVERVIEW OF THE BUILDING North Eat Isometric view of the building in its current status.

There are no roofs on any parts of the building as this technical report will enable me to develop a bespoke roof design for the very specific needs of my client in this project,

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CHAPTER TWO

SUSTAINABLE STRATEGIES

SUSTAINABLE STRATEGIES - STATISTICS These statistics show UK’s share and impact on the global CO2 emission.

Considering the fact that the construction industry is responsible for 42% of the global CO2 emissions per year we as architects can do a lot to help reduce the immediate impact of CO2 on our planet.

We can do that by choosing the right materials, thinking about cutting operational and embodied energy by our projects during and after its construction phase, thinking about sustainable strategies to minimise environmental impacts of the buildings we build and being generally more considerate of this global issue during the design and construction phase of our projects.

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Annual CO2 (Carbon Dioxide) emissions world wide (Measured in tonnes per year)

UK: 84.71 million tonnes

Annual share of global CO2 (Carbon Dioxide) emissions in 2017 (Measured in percentages)

UK: 1.06%

Source: Global Carbon Project; carbon dioxide information analysis centre (CDIAC) (Scan the QR code below to visit the website)

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SUSTAINABLE STRATEGIES 01 Timber “Timber construction is gaining popularity for a wide range of building types and sizes. As a natural cellular material, it is strong and light, making it easy to transport and erect. It can also be machined to very high tolerances, making it ideal for prefabrication.

Recent advances in computer controlled manufacturing and stronger and larger engineered wood products like cross laminated timber (CLT), mean that timber construction can now achieve shorter programme times often at lower overall cost, while providing safer, cleaner and quieter environments on site. It is also our only renewable construction material and it locks away carbon dioxide for the life of the building.”

– Global Timber Statement magazine 0302/2015

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The use of timber is my first approach to sustainability in this project and I have chosen timber as one of the main materials for the construction of this project as it relates to my client’s Japanese culture and it is also a much more sustainable material in comparison to concrete and steel. We have to be very careful with choosing concrete as the main construction material as concrete is the most carbon intensive material in construction due to mining and other factors and it amounts to 5% of global CO2 emission.

On the other hand, timber is: 1. Readily accessible 2. Much less expensive than concrete and steel 3. Light and easy to transport to site

SUSTAINABLE STRATEGIES 02 Sunlight The maximum use of sunlight over artificial light is also my second approach to sustainability in this project and I have chosen sunlight over led light (that most galleries use nowadays) because: 1. Hiroshi Sugimoto’s photographs are taken only using sunlight and they’re best displayed to the public by using the same natural light. Therefore using natural light in both production of the photographs and exhibitions of the photographs makes great sense in this project 2. The environmental impact of using electricity for many hours of the day to light up a gallery space when we can easily use the natural light by being smart in the design phase of the project 3. Artificial light produces some IR and UV radiations which is damaging to the artwork being displayed in the gallery therefore using it means I need to filter out the radiation which can be costly

“We light our cities so that its inhabitants can perform a variety of functions both by day and night. How we do this and in particular, how successfully we do this, requires an equally innovative and informed design approach” “As a result of finite resources, the economic crisis, and planning policies, cities must minimise both installation and maintenance costs as well as overall energy use.”

– Lighting in the urban age 03/02/2015

VS.

Up to 50,000 lux £

20-50 lux £

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CHAPTER THREE

CASE STUDIES

CASE STUDY 01 The Menil Collection By: Renzo Piano Houston, United States “One of the qualities this building has is that it elevates the art, it really presents it in the best possible way and that is really a form of master piece in terms of architectural achievement” — Josef Helfenstein, Director of Menil Collection

Plan of the building

Section of the building

This private museum in Houston contains important collections of modern and African art. The client for this project, Dominique de Menil (American-French art collector) asked the architect (Renzo Piano) to create a space that is big inside and small outside. This paradox if a statement meant creating a small that feel big spiritually and mentally when you are within it but it actually is quite a small site which needs to be integrated well into its neighbourhood. To do that, the building has been designed like a long pavilion. A perimeter arcade surrounds the whole building.

To admit plenty of daylight without glare, special louvres were developed for this project. These long, blade-like overhead louvres are used not only in the exhibition rooms but also over the garden courtyards, the workrooms and the internal and external circulation zones. The louvres consist of a combination of ferrocement panels beneath cast steel supporting members. The upper part off the louvre is structural while the actual louvres themselves are curved in such a way that they conceal the services, shield against direct sun light and also scatter indirect light.

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ROOF LIGHTING SYSTEM

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To admit plenty of daylight without glare, special louvres were developed by the architect team. In terms of material they consist of a combination of ferrocement panels beneath case steel supporting members. The upper part of the louvre is structural and serves as the bottom chord of the overlying case iron girder construction supporting the solar control glass and exhaust-air ducts. The lower part is curved in such a way that it conceals the services, shields against direct sun-light and also scatters indirect light.

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CASE STUDY 01 1. Structural steelwork 2. Pre-cast concrete louvre 3. Connections to the steelwork 4. Reinforcement 5. Angled in a way that light can bounce off the material

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Axonometric drawing of one of the components

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TECHNICAL ANALYSIS

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1. Light gets disseminated off the materials 2. Gutter 3. Glass (the first layer) 4. Able to install artificial light on the edges of the louvres if necessary 5. Evenly distributed soft light throughout the space

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Section of the gallery space demonstrating the design and use of louvres

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CASE STUDY 01

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It’s a smart choice to divide the roof into small constructable components that repeat themselves. A universal system that could be easily constructable for its size and weight in the manufacturing phase

Using glass in the first layer of the component is the best choice because glass allows you to insulate and waterproof the roof easily.

It also allows maximum light to enter the room

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APPLICATION TO MY PROJECT

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I should use louvres (preferably mechanical if possible) to allow light to bounce of its material in order to get diffused light entering the room for a more soft and even light condition

The roof system needs to allow me to have the ability to control the amount of light entering the room and also different areas of the room. The areas where artwork is being exhibited need less/more light

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CASE STUDY 02 Myoenji Columbarium By: Furumori Koichi architectural design studio Iizuka, Fukuoka, Japan

Plan

Master Plan

A day-lit extension for an existing temple in Japan by introducing a timber lattice topped with a flat glass roof. The glass roof allows natural light to penetrate the interior. At the initial design stage, the architect came up with the idea of building without equipments, lighting and even windows.

This 334m² single-story building is designed to eliminate the use of electricity, the Myoenji Columbarium’s wooden grid louvres allow a sufficient amount of natural light to come in while a passive arrangement keeps the room cool and comfortable.

The challenge with the project was to maintain the room temperature while having direct daylighting through the glazed roof. The design team came up with the idea of 4 stacked timber louvres to allow adequate space under the roof so that the captured heat can be removed by cross ventilation before radiating into the room. The louvres act as both the shading device and the structural support.

Measurements since completion show good performance with daytime lux levels between 800 and 1,300 and temperature below 27ºC when outside temperature on a sunny day was 32ºC Scan me for more info

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TIMBER ROOF CONSTRUCTION SYSTEM

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CASE STUDY 02 Section sketch of my understanding of the Myoenji Columbarium.

(I could not find any technical drawings from the project demonstrating the construction of the roof therefore I had to study the photos that I had found and come up with my own sketch to understand the construction and the layering of the roof.

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Glazing Steel I-beam Legs holding the I-beam Support for the louvres Timber connector Louvres Main timber structure Decorative timber panellings 9. Timber column

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TECHNICAL ANALYSIS

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The timber roof consists of four layers. Beams of the 1st layer (125mm pitch) and 2nd layer (125mm pitch) are decoration as they are suspended from the 3rd layer beams. The 3rd layer beams (2,000mm pitch) span 5,100mm maximum and they are supported by timber post located randomly (250mm diameter each) in the plan.

Maximum span of the 4th layer beams are 2,000mm perpendicular to the beam at 3rd layer. Tension rods are located every 2,000mm, parallel to 3rd layer beams, to prevent lateral buckling of the 4th floor beam. Tension rods will also support the solar radiation shield plates.

Wooden columns, each 25-centimeters in diameter, go through the latticework all the way to the glass rooftop, supported by a steel framework.

Skylight and Entrance space is consisted of steel frame. Since the column base of the skylight is placed on the 4th layer beam, fix end condition of the column base cannot be expected. So column base is designed as pin connection, and column capital is designed as rigid connection.

Considering to reduce the site work load, location of rigid connection was reduced as much as possible.

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CASE STUDY 02

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A flat glazed roof would mean a bit more challenge in terms of keeping the internal temperatures low as sunlight can directly penetrate through the room unless you use shades/louvres

It is possible to use lighter and more sustainable materials such as timber to construct this roof. Unlike the first example where they used heavy, expensive and nonenvironmentally friendly materials

APPLICATION TO MY PROJECT

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With a lattice timber roof you are able to control lighting as well as temperature of the internal space which means a much more sustainable and environmentally friendly design.

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I am able to have many layers in the construction of the roof and still make it work and make it quiet lightweight. I don’t necessarily have to compromise to make the roof lightweight.

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CHAPTER FOUR

TECHNICAL INVESTIGATION

OVERVIEW OF TECHNICAL INVESTIGATION

Aim

The aim of the technology investigation is going to be the roof design for the gallery space of Hiroshi Sugimoto’s studio in London. The gallery space requires very specific lighting conditions that are set by the activity performed in the building (making and exhibiting black and white photographs) . Hiroshi Sugimoto needs the gallery space to have a very evenly distributed soft and diffused light throughout the whole space with less concentrated light in the 120° alcoves around the edges of the room to make sure the photographs would not be damaged.

Challenges

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The irregularity of the shape of the gallery space. The plan is not an orthogonal plan therefore finding a systematic solution would be difficult Finding the right design solution that is site-specific and fulfils the Lux level and light condition requirements set by the client The light requirements in this building are very bespoke therefore I cannot copy another project

Questions

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What are the specific requirements for natural light in Sugimoto’s gallery?

How can you control and filter the light entering the room to meet the necessary light quality?

What materials will you use to achieve the desired lighting effects?

How would you construct the final roof system?

How can you focus less light into the 120° alcoves?

How can you make the light evenly distributed?

Methodology

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Find out exactly what kind of light the gallery space needs Find the Lux levels requirements for the alcoves (to exhibit photographs without damaging them) Come up with a systematic solution to overcome the irregularity shape of the plan Design a universal roof component1 that would slot into place and would be repeated in the roof Produce and experiment with different roof design solutions and materials through digital and physical modelling Find out the most light-reflective material and shape for the louvres Experiment with the mechanical aspect of the louvres2 Consult with a light engineer, structural engineer and technical tutors Application of analysis of two case study projects

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1: Ideally I need to design a component that is easy to manufacture and construct for the roof. A 2x2m component that is universal in the roof and would keep repeating. This component would lock itself into the roof grid/truss system.

2: the louvres need to be manually controlled to control the light levels. They need to be rotatable.

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OVERVIEW OF TECHNICAL INVESTIGATION

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Gallery Space 300-400 lux

3 x 120° partitions for exhibiting 360° cyclorama photographs 120° alcove to for exhibiting long exposure photographs Alcove 200 lux

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Conceptual Section illustrating the technical focus fragment (Lux level differences between the main gallery space and the alcoves)

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OVERVIEW OF TECHNICAL INVESTIGATION

This is a plan of the ground floor showcasing the gallery space, reception, book making facility, stprage rooms and etc.

The highlighted (pink area) is going to be my technical focus. The roof of this gallery space would be the technical investigation of this project. Creating a bespoke daylighting systems that not only delivers the right quality of light but also forms a key element of the building’s architecture.

Hiroshi Sguimoto (client of the project) uses only natural light in his photo studio (the floor above this floor) to take photographs of the site therefore using natural light to exhibit his work to the publix is vital for him and the experience of the viewers.

The other reason for choosing natural light in this project is that it could be a great sustainability strategy in combination with the use of timber as one of the main construction materials in this building.

The alcoves that are used to display his photographs need 200 lux because prolonged direct and intense light can be damaging to his black and white photographs. And the gallery space needs around 400 lux because that is the optimal light intensity for a gallery space of this kind. The light also needs to be diffused, evenly distributed and filtered from UV light for the best lighting condition in the space.

Achieving all these requirement with an aesthetically pleasing roof design would be the challenge of this technical investigation.

Gallery room Alcoves around the edge of the room 200 lux max Main gallery area 400 lux ideally Technical Fragment

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GROUND FLOOR PLAN

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1. 120° ALCOVES TO DISPLAY PHOTOGRAPHS 2. RECEPTION ROOM 3. BOOK MAKING FACILITY AND LIBRARY 4. OVERGROUND ARCHIVE ROOM 5. PRIVATE ENTRANCE 6. PUBLIC ENTRANCE 7. DOUBLE HEIGHT GALLERY SPACE 8. GARDEN AND GREEN AREA 9. VEHICLE ACCESS POINT 10. STAIRCASE TO OUTDOOR TERRACE ON FIRST FLOOR 11. 120° PARTITION ALCOVES TO DISPLAY PHOTOGRAPHS 12. PUBLIC OUTDOOR TERRACE 13. RECEPTION’S BACKROOM STORAGE

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UNDERSTANDING LIGHT

Understanding Lux Levels, what they mean, how they are measured and what’s the lux level of typical locations

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Lux The intensity of visible light is measured in lux (1 lux = 1 lumen per square meter)

Lux Table Reference of lux levels in typical places

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Lux Levels in a Gallery 300 - 400 lux

Very Sensitive 50 lux

Sensitive 200 lux

Insensitive 300 lux

The lux level required in a gallery space will depend on the type of items being exhibited. To ensure the artefacts don’t get damaged over time one needs to make sure the right kind of light and lux level is being emitted in the gallery space and on the object.

• Prints • Drawings • Watercolours • Coloured and old photographs

• Oil paintings • Bone • Minerals • Modern black and white photographs

• Stone • Ceramic • Metal • Glass

Why use daylight?

Why use natural light in Sugimoto’s gallery?

• Best form of light • Zero carbon footprint • Ultimate sustainable lighting source • Feels natural to the human eye

• The photographs are taken only using natural light therefore they must be displayed only using natural light for the best viewing possible • The photographs being displayed would feel part of the space and architecture rather than an alien object put on a pedestal with lamps shinning on it

Difficulties of daylight?

Why use diffused light?

• It can vary dramatically from day to day1 • Direct light will damage the photographs 2 • Difficult to maintain a certain lux levels throughout the day

• Prolonged direct light damages the photographs therefore I have to make sure the gallery space gets soft diffused light of under 400 lux and under 200 lux for the alcoves

Final Lux level requirements

Final light condition requirements

• Gallery Space: 400 lux max • Alcoves: 200 lux max

• Diffused • Evenly distributed • Natural daylight • No direct light • No UV light

WHY USE DAYLIGHT IN MY PROJECT Lighting in a gallery Pros and cons of using natural light in a gallery space and why I will use it in Sugimoto’s gallery

1: “Day light varies a lot, in one day it can go from darkness to a 100,00 luxs outside. It can vary by 20,000 - 40,000 in a few minutes by clouds moving in front of the sun 2: “If you can see an object, light is damaging it in some way” — British Columbia

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DISCUSSION WITH AN ENGINEER Potential diagrammatic design of a single component. Illustrating the hierarchy of the materials in order to achieve the desired outcome.

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Exploded axonometric of the potential component’s diagram

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These diagram and sketch is the result of having a discussion session with a structural engineer and my tech tutors.

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Glass Frame

Structural Frame Louvres LED Light (if necessary) Diffusion Sheet

Elevation of the potential component’s diagram

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The engineer talked to me about the hierarchy of the materials necessary.

If I put the glass above the structure then it means I would have a much easier time insulating the roof and water proofing it.

They also talked about how I could potentially need LED lights below the mechanical louvres for night-time or days that are not sunny enough.

They also mentioned how the use of a systematic grid system that divides the gallery space plan to evenly distributed 2m by 2m grids could be very beneficial and cost effective for this project because that would mean the construction of each roof component would be much easier since it’s one universal system repeating itself and it can be easily assembled since they would just be locked into place in the roof grid system.

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POTENTIAL COMPONENT FOR THIS GRID SYSTEM

Initial concept for a potential component 1

The orthogonal and square form of the component with this dimensions could be fairly easy to design, manufacture and assemble on site and the louvres could face any of the 4 directions depending on the need.

This form factor allows for a nice universal system to repeat itself in the roof which could be aesthetically pleasing, serve the light condition needs and cost effective.

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2m

Exploring what a single component could potentially look like if I were to use this grid system for the roof.

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Plan

Axonometric

Exploded Axonometric

SYSTEMATIC GRID 01 Testing a systematic grid system for the gallery space to find out the best solution that can house the roof components in the roof.

Orientation of the grid : Southern wall NTS

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Advantages • Very evenly distributed • Components are at an easily constructable size (not too big) • Louvres could face either one of the 4 directions depending on the need • Cells are orthogonal Disadvantages • Some parts of the gallery cannot be fully covered by one components

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POTENTIAL COMPONENT FOR THIS GRID SYSTEM

Initial concept for a potential component 2

In this component I designed 2 sets of louvres that I diagonal in their directions to one another so I could potentially have more control over the amount of light, the direction of light and have much it’d bounce off the louvres before I would let them in the gallery.

2m

Exploring what a single component could potentially look like if I were to use this grid system for the roof.

2m

Plan

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Axonometric

Exploded Axonometric

SYSTEMATIC GRID 02 Testing a systematic grid system for the gallery space to find out the best solution that can house the roof components in the roof.

Orientation of the grid : Northern wall NTS

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Advantages • Cells are orthogonal • Cells are evenly distributed • Components can be made at an easily constructable size (not too big) • All cells have the same dimensions (2m x 2m) Disadvantages • Louvres cannot be adjusted directly north or south to get the northern or southern light

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POTENTIAL COMPONENT FOR THIS GRID SYSTEM

Initial concept for a potential component 3

2m

Exploring what a single component could potentially look like if I were to use this grid system for the roof.

Using a cowl roof system to block the direct southern light from coming into the room and allowing more northern daylight in the building.

2m Plan

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Axonometric

Exploded Axonometric

SYSTEMATIC GRID 03 Testing a systematic grid system for the gallery space to find out the best solution that can house the roof components in the roof.

Orientation of the grid : Southern wall Triangular grid system NTS 3

Advantages • Design allows the southern direct light to be blocked easily • Each component could be assembled in any direction depending on the need as it’s a 2m x 2m orthogonal component • Having pyramids on the roof could potentially be aesthetically pleasing Disadvantages • You can’t fit a whole component along the side of the plan therefore it will be challenging to find a solution for this problem • The pyramid design could be costly and time consuming in the production

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POTENTIAL COMPONENT FOR THIS GRID SYSTEM

Initial concept for a potential component 4

This component was very challenging to design as the dimensions of each cell in the grid are different to one another and also none of the cells are orthogonal therefore designing for each cell can involve many design and technical challenges.

I had a hard time figuring out where I could potentially put the louvres as none of the connectors on the side as directly opposite one another therefore I decided to go with one very large rotatable louvre that I could potentially connect it to the northern and southern connectors.

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2m

Exploring what a single component could potentially look like if I were to use this grid system for the roof.

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Plan

Axonometric

Exploded Axonometric

SYSTEMATIC GRID 04 Testing a systematic grid system for the gallery space to find out the best solution that can house the roof components in the roof.

Orientation of the grid : Southern & Northern wall NTS

4

Advantages • Aesthetically pleasing in some ways • Orientated toward both northern and southern walls

1°

31.9

Disadvantages • Very uneven in the form factor of each cell • Difficult and expensive to produce and assemble both the truss system of the roof and each component • Very challenging in designing each component as their dimensions are all different to one another

Page 53

ROOF DESIGN TEST 01 Cutaway Isometric - NTS Roof design test number 1 explore the idea of having round semi circle roof design. Each component could be one of those semi circles and they could be easily assembled and put into place on site.

The louvres in this model are non-adjustable resulting in not having the ability to control the amount of light entering the room. For the next test I would like to use adjustable louvres in order to give me that ability.

Inspiration: Kimbell Art Museum - Louis Kahn, Renzo Piano

Time of capturing the image: 04/08/2029 at 14 o’clock Position of the sun: South West

rth

No Page 54

Section View - NTS Advantages • Can get lots of diffused light by the light bouncing off the curved panels and then getting filtered through the diffusers • Aesthetically pleasing (minimal in design - good for a gallery space) Disadvantages • Louvres are not adjustable • Not able to capture the maximum amount of light in winter and autumn as the glass is at the top

Page 55

ROOF DESIGN TEST 01 1.

2.

3.

4.

Glass Structural Frame Non-adjustable Louvres Diffuser sheet

1 2

3 1

2

4

Page 56

3

4

Page 57

ROOF DESIGN TEST 02 Cutaway Isometric - NTS Roof design test 2 goes a step further than test 1 and tries to explore the ideas of vertically adjustable louvres that could potentially completely block any sun light coming into the building and let it all come in depending on the need.

In test 2 I have also investigated how I could fully block out the southern harsh and direct sun light and only get northern daylight by being able to have the glass (light entrance to the building) facing north potentially. (on this model they are facing south for rendering purposes but they could potentially face north at the final stage).

Time of capturing the image: 04/08/2029 at 14 o’clock Position of the sun: South West

rth

No Page 58

Section View - NTS Advantages • Mechanically adjustable louvres • Easily constructable size • Able to fully block harsh direct southern and summer light • Only allows soft daylight Disadvantages • Since there’s only one louvres, I can only block or unblock the light coming in. I cannot actually control the amount coming in • A little chunky in design for a minimalist looking gallery room • Distorted shadows since light has to travel through the truss system • Shadows could be distracting for the viewers of the gallery

Page 59

ROOF DESIGN TEST 02 1. Glass 2. Vertically Adjustable Louvres 3. Diffuser sheet 4. Structural Frame / truss system

1 2

1

2

3

4

Page 60

3

4

Page 61

ROOF DESIGN TEST 03 Cutaway Isometric - NTS Roof design test number 3 is less compartmentalised and feels a lot more like a solid piece even though the aim is to make it into small components that can lock into place in the roof’s grid system.

The louvres in this model are adjustable and fully rotatable 360° which can be of great benefit in terms of limiting or allowing light to come in the room.

The fully gazed design on the first layer of the roof allows the maximum light and heat gain in any of the seasons while the louvres, UV filters and diffusers can then restrict the unnecessary light and allowing optimal light intensity entering the room Time of capturing the image: 04/08/2029 at 14 o’clock Position of the sun: South West

rth

No Page 62

Section View - NTS Advantages • Fully glazed on the first layer - allows maxim light and heat gain • Fully rotatable 360° louvres • Minimal in design • The viewer can only see the diffuser sheets when he looks above his head while in the gallery • Glazing as the first layer allows easy insulation and water proofing Disadvantages • It would be hard to block summer light when the sun is directly above the building and still allow some light to come in • Very distorted shadows - could be distracting for the users of the room

Page 63

ROOF DESIGN TEST 03 1.

2.

3.

4.

Glass Structural Frame Rotatable Louvres Diffuser sheet

1

2

1

2 3

4

Page 64

3

4

Page 65

ROOF DESIGN TEST 04 Cutaway Isometric - NTS Roof design test number four has tried to take many thing into consideration and use the previously learned lessons to its benefit. This design is able to fully block southern light and direct summer light which can be damaging for the artwork being shown in the room.

The louvres are mechanically adjustable too and they rotate 90° leaving them from a fully open state to a fully close design.

The diffusers could look like one continuous panel which can be aesthetically pleasing to look at and they could potentially cover the entire roof area allowing to have less distorted shadows.

Time of capturing the image: 04/08/2029 at 14 o’clock Position of the sun: South West

rth

No Page 66

Section View - NTS Advantages • Able to block southern and summer light • Aesthetically pleasing and minimal in design from an internal view • Light sensitive adjustable louvres • Everything could be pre-fabricated and easily assembled on site Disadvantages • The distance between glass and diffuser panels might be too far apart

Page 67

ROOF DESIGN TEST 04 1.

2.

3.

4.

Glass Adjustable Louvres Structural Frame Diffuser sheet

1 2

1

2

3

4

Page 68

3

4

Page 69

CHAPTER FIVE

THE FINAL DESIGN

DEVELOPING THE FINAL DESIGN Things I want to take away from the 4 roof design test

Roof Design Test 2

Roof Design Test 3

Roof Design Test 4

The final design will be a combination of Test 2, 3 and 4 as they seem to be the most successful ones in fulfilling the needed criteria

Potentially Include • The shape can allow abundant light

Potentially Include • The 360° rotatable louvres

Potentially Include • The angled shape of the roof (can get plenty of northern daylight)

Do Not Include • The louvre • The angled shape of the entrance area

Do Not Include • The flat glazing

Do Not Include • The 90° adjustable louvre system

The final Design For the final roof design I will be including many of the advantages of the above 3 test designs and I will also incorporate all the lessons learned from the previous tests and experiments such as the: • Systematic Grids (Pages 47, 49, 21, 53) • Potential Components for the grid systems (pages 46, 48 ,50, 52) • Roof Design Tests (Pages 54-69)

Page 72

THE FINAL CRITERIAS

Final Requirements 1.

2.

A 3.

4.

5.

6.

7.

8.

9.

10.

400 lux in the main gallery space 200 lux in the alcoves where art work is being displayed No UV (ultra violet) light as it can damage the work Easily constructable into a 1.5m x 1.5m component Have adjustable louvres Include diffusion sheets Be easily constructable on the grid style truss system Face north so it can get the northern day light instead of direct south light Be bespoke to this building Use ‘systematic grid - 1’

A UV (ultra violet) Filter Glass needs to be used in the final roof system. UV light is a very harmful light and it damages artwork, human skin and many other things that it would come into contact with. These glasses are used extensively in most museums to protect the artefacts against the damages of natural light. I will also need to use this in the final roof system in order to protect Hiroshi Sugimoto’s photographs that are being displayed in the gallery space only using natural light.

Blocks 99% of UV light

Optical Coating For true colour transmission and colour neutrality

Less than 1% light reflection

2.5mm Glass Conservation grade UV coating (protects against irreversible UV light damage) Over 97% light transmission

Page 73

FINAL SYSTEMATIC GRID (TRUSS SYSTEM) Isometric of the finalised grid system to divide the room into evenly distributed fragments so that the final roof component module can be installed on top of it with the specific dimensions of 1.5m x1.5m ‘Systematic Grid 1’ was chosen from the test that I did as it makes the most sense and it’s the most orthogonal and comfortable to work with.

NTS

Page 74

ZOOMED IN SKETCH

Zooming in to showcase how it attaches to the wall and also showing the different layers of the truss and wall.

Page 75

FINAL COMPONENT N.W ISOMETRIC This is what the final rood module has come to after many test and trials.

This would therefore be a universal component that repeats itself in the roof.

This component can very easily be installed on top of the truss system in the gallery area and would provide optimal natural lighting that is required in the gallery.

The light sensitive louvres would also allow for a control over the amount of light entering the space.

NTS

Page 76

FINAL COMPONENT S.W ISOMETRIC The gutter comes with the module which works very well with this project and you can very quickly install the whole component on the truss system.

The dimensions of the final module is 1.5m x 1.5m which makes a very easy to construct, transport and assemble on site.

NTS

Page 77

FINAL COMPONENT SECTION 1. Overhang (lets the water come down without damaging the roof) 2. Window frame with glass inside it 3. External Finish (powder coated zinc cladding in white colour) 4. Ply panel (for rigidity) 5. Insulation 6. Connection to the reflector panel 7. Steel structure 8. Reflective panel (reflecting the light to the gallery) 9. 360° Rotatable louvres 10. Gutter 11. External Finish (powder coated zinc cladding in white colour) 12. External insulation 13. Damp proof membrane 14. Internal insulation 15. Oakwood cladding internal finish 16. Diffusion panel (distributing the light evenly in the room below)

NTS

Page 78

1 2

3 4 5

6 7 8

9 10 11 12 13 14 15 16

Page 79

FINAL COMPONENT EXPLODED ISOMETRIC Showing how exactly the module comes together with all the different layers of materials

NTS

Page 80

Page 81

ISOMETRIC VIEW OF THE FRAGMENT All the roof modules on the actual gallery

NTS

Page 82

NORTH VIEW PERSPECTIVE Showcasing the truss system, layers of construction and the diffusion panels

NTS

Page 83

CONCLUSION

Some of the conclusions that can be made from this technical report

Regardless of all the difficulties I had to undertake this year considering the current circumstances of the country, I think I managed to be very resourceful and very efficient with my time and resources. This technical dissertation helped me immensely to understand the construction of roofs in general and in specific the bespoke construction and design of my project. The number of testing and experimentation needed to achieve the desired outcome, the amount of time and creativity each test takes and the reflective thinking one needs to be critical about his/her work were all very helpful in forming my understanding of my project and construction in general.

I had to rely on digital modelling with this technical dissertation which in itself taught me many things about construction and my project in specific however, not being able to physically test the final design could be one of the weaknesses of this document which is becasuse students did not have the means to undertake physical model making this year as the university’s workshop were closed and my designs need 3d printing, laser cutting, etc.

Additionally going through many iterative digital modellings taught me that I should always make digital models and take them through digital simulations before undertaking a physical model making test. This was a very valuable lesson for me.

In conclusion, from the start of this technical investigation I set myself certain criteria and requirements of making a bespoke daylighting systems that not only delivers the right quality of light but also forms a key element of the building’s architecture. To achieve these specific needs of my client in this project I undertook many iterative design processes and critical reflection of each one of my tests and I think I managed to achieved the desired outcome to the best of my ability by the end of the technical investigation.

Page 84

Illustrations

Books

Figure 1. [image] Available at: <https://www.sfmoma.org/artist/Hiroshi_Sugimoto/> [Accessed 29 April 2020].

Figure 2. [image] Available at: <https://www.architectsjournal.co.uk/buildings/greatdetail-john-puttick-on-pianos-menil-collection-roof/10015307.article> [Accessed 29 April 2020].

Figure 3. [image] Available at: <https://www.artforum.com/uploads/upload.002/ id09998/article08_large.jpg> [Accessed 29 April 2020].

Figure 4. [image] Available at: <https://media-cdn.tripadvisor.com/media/ photo-s/01/b7/7b/2a/menil.jpg> [Accessed 29 April 2020].

Figure 5. [image] Available at: <https://dz71sejtwvu83. cloudfront.net/production/posts/company_logos/000/001/931/ original/26165519_10159947690650096_7639114271916839133_n.jpg> [Accessed 29 April 2020].

Figure 6. [image] Available at: <https://live.staticflickr.com/3477/3875948571_ ce5194d979_b.jpg> [Accessed 29 April 2020].

Figure 7. [image] Available at: <http://furumori.net/wp/wp-content/ uploads/2016/12/31-01.jpg> [Accessed 29 April 2020].

Figure 8. [image] Available at: <https://www.arup.com/-/media/arup/ images/projects/m/myoenji-columbarium/myoenji_columbarium_image_1. jpg?h=600&w=900&hash=8EA0274CD7AB6A3CA1F5E8BCF6ADB9A2> [Accessed 29 April 2020].

Figure 9. [image] Available at: <http://furumori.net/wp/wp-content/ uploads/2016/12/31-05.jpg> [Accessed 29 April 2020].

Figure 10. [image] Available at: <http://furumori.net/wp/wp-content/ uploads/2016/12/31-06.jpg> [Accessed 29 April 2020].

Figure 11. [image] Available at: <https://images.adsttc.com/media/ images/5466/95c7/e58e/ce12/6900/0289/medium_jpg/36.jpg?1416009132> [Accessed 29 April 2020].

Figure 12. [image] Available at: <https://i.pinimg.com/originals/c5/0e/dd/ c50edd38cc00d648e8120838e077dcde.jpg> [Accessed 29 April 2020].

Figure 13. [image] Available at: <https://www.arup.com/-/media/arup/ images/projects/m/myoenji-columbarium/myoenji_columbarium_image_4. jpg?h=600&w=900&hash=511CCC31FCFD4149ED0E109255CA48CE> [Accessed 29 April 2020].

Figure 14. [image] Available at: <https://www.archtoolbox.com/images/materials/ elect/footcandle-vs-lux.png> [Accessed 29 April 2020].

Figure 15. [image] Available at: <https://www.use-ip.co.uk/forum/threads/lux-levelschart.1818/> [Accessed 29 April 2020].

2020.

Figure 16. [image] Available at: <https://www.attfabrications.co.uk/images/skypodglass-roof-lantern-activ-glass-2000mm-x-4000mm-p130-806_zoom.jpg> [Accessed 29 April 2020].

Figure 17. [image] Available at: <https://www.spec-net.com.au/press/0511/images/ mite110511_img01.jpg> [Accessed 29 April 2020].

Figure 18. [image] Available at: <https://www.apolloopeningroof.com/wp-content/ uploads/2019/08/Home-gallery-8-400x284.jpg> [Accessed 29 April 2020].

Figure 19. [image] Available at: <https://www.northgatelighting.co.uk/wp-content/ uploads/2017/10/circular1-500x400.png> [Accessed 29 April 2020].

Figure 20. [image] Available at: <https://images-na.ssl-images-amazon.com/ images/I/61990rnnVUL._AC_SX425_.jpg> [Accessed 29 April 2020].

2000. Steel Construction Manual. Basel: Birkhäuser.

BIBLIOGRAPHY & REFERENCES

Deplazes, A., 1997. Constructing Architecture: Material Processes Structures: A Handbook. Basel: Birkhäuser.

Kießl, K. and Schunck, E., 2013. Roof Construction Manual. Basel: De Gruyter.

Kind-Barkauskas, F., 2002. Concrete Construction Manual. Basel: Birkhaüser.

Website Museum Galleries Scotland. 2020. M ​ useums Galleries Scotland - Lighting Guide. [online] Available at: <https://www.museumsgalleriesscotland.org.uk/advice/ collections/conservation-and-lighting/> [Accessed 29 April 2020].

Youtube. 2020. Illuminating Museums: Louvre Lens (Lighting). [online] Available at: <https://www.youtube.com/watch?v=9U5CkpJi960> [Accessed 29 April 2020].

Youtube. 2020. Menil Receives AIA 25 Year Award. [online] Available at: <https:// www.youtube.com/watch?v=lv6vADa8t4w> [Accessed 29 April 2020].

Youtube. 2020. Museum Lighting 101. [online] Available at: <https://www.youtube. com/watch?v=Zr_ivgCI9VU> [Accessed 29 April 2020].

Journals Inference.org.uk. 2020. Sustainable Energy — Without The Hot Air. [online] Available at: <http://www.inference.org.uk/sustainable/book/tex/sewtha.pdf> [Accessed 29 April 2020]. light steel framing in residential construction, 2020. [online] Available at: <https:// www.medwinpublishers.com/JOBD/JOBD16000139.pdf> [Accessed 29 April 2020].

Ritchie, H. and Roser, M., 2020. CO₂ and Greenhouse Gas Emissions. Our World in Data, [online] Available at: <https://ourworldindata.org/co2-and-other-greenhousegas-emissions#citation> [Accessed 29 April 2020].

Page 85

CHAPTER SIX

APPENDICES AND DRAWINGS

APPENDIX 1 APPENDIX 1: BUILDING REGULATIONS, KEY FACTORS AUDIT Sire Regulations

Section 0: Approved Document B: Fire safety – dwellings

In terms of site regulations, the site is a Conservation Area which means developers would have to take this into serious considerations and consult with the planning authorities before undertaking any ground works.

Requirement B1: When there is a fire, ensure both: a. satisfactory means of sounding an alarm b. satisfactory means of escape for people.

“There are no listed buildings within the Fish Island Conservation Area. However, many of the buildings within this area make an important contribution to Britain’s industrial heritage. Preserving and enhancing the Borough’s architectural and historic built heritage over the next decades is of vital importance in understanding the past and allowing it to inform our present and future.” — Tower Hamlets council representative

Conservation Area Sites of conservation

Page 88

Requirement B3: The building must be built such that all of the following are achieved in the event of a fire: a. the premature collapse of the building is avoided b. sufficient fire separation is provided within buildings and between adjoining buildings c. automatic fire suppression is provided where necessary d. the unseen spread of fire and smoke in cavities is restricted.

Requirement B4: Restrict both: a. the potential for fire to spread over external walls and roofs (including compliance with regulations 6(4) and 7(2)) b. the spread of fire from one building to another.

Site

1. Broadwood’s Piano Factory and Timber Yard Gatehouse 2. Algha Works 3. Wick Lane Rubber Works (East) 4. Wick Lane Rubber Works (West) 5. Britannia Works 6. Swan Wharf 7. Old Ford Lock 8. Northern Outfall Sewer Bridge 9. Retaining wall and steps to the Greenwaw

Requirement B2: Inhibit the spread of fire over internal linings of buildings.

Requirement B5: Ensure both: a. satisfactory access for the fire service and its appliances b. facilities in buildings to help firefighters save the lives of people in and around buildings.

1

2 4 9

Regulation 38: Provide fire safety information to building owners.

3

5

7 6

8 Conservation areas the site

APPENDIX 2 & 3 APPENDIX 2: COST, KEY FACTORS AUDIT

APPENDIX 3: HEALTH & SAFETY, KEY FACTORS AUDIT

The Production of the gallery room of this project is going to be an expensive mainly because of the uniqueness of the roof design. The roof and skylight system in this project is very bespoke and therefore costly as each material has to be manufactured and designed specifically for this project and it would not have any use in any other project as it is not a common deign.

There could be a problem of fire as the highly reflective roof panels and louvres are exposed to direct sunlight many hours of the day however this has been taken into consideration in the design process and materials have been fire-proved in order to make sure no major problem would be threatening the users of this building.

The design decisions an architect makes has direct effect to the overall price of the any project and therefore it is crucial that one knows the budget for each project before starting design.

Moreover, the use of many materials in the roof design, such as steel, oakwood, diffusion panels, etc. does also bump up the price too. There is a total of 59 different components being used to construct the a single roof module/component in this project and they all have their own dimensions and designs (refer to page 80 for an overview).

Additionally, the unusual shape of the plan of this gallery does also have some minor affects on the cost too. More orthogonal plans are easier in terms of construction as they are more common

In case of a fire however, 2 fire exists have been put into place in the front and rear of the building to make sure the users of the gallery can leave the space quickly and efficiently. The tall double height ceiling of the gallery also does help with the fire problem as fire would have to travel for about 6 meters down in order to get to the floor and threat the users.

Moreover, there are no more rooms or anything above the gallery room therefore if there was a fire incident, fire would only have to travel down to threat the users of the gallery.

And finally, the public and private are separated by different floors, entrances and zones in the building which allows for a much more efficient access in and out of the building in case of an emergency. The public are would also have staff looking after the users to make sure no major issues are threatening them.

In conclusion, one of the main things making the construction of this gallery room expensive is the uniqueness of the design.

Page 89

TECHNICAL ISOMETRIC DRAWING SCALE 1:25 @ A2 0

0mm

2

200mm

5

500mm

10

1000mm

1 2 3 4 5 6 7 8

9 10 11

12 13 14 15 16 17 18 1. Parapet 2. Gutter 3. External finish (powder coated zinc cladding in white colour) 4. Insulation 5. Damp proof membrane 6. Insulation 7. Internal finish (oakwood panel) 8. RHS steel beam 9. Pre-cast connection plate to steel 10. Welded bracket to steel connection plate 11. Truss 12. 120° alcoves for displaying artwork 13. External finish (concrete - in a black colour finish) 14. Damp proof membrane 15. Insulation 16. Damp proof membrane 17. Concrete (structural) 18. External upstand 19. Concrete footing 20. Internal finish (timber panelling) 21. Screed 22. Insulation 23. Damp proof membrane 24. Concrete 25. Insulation

19

20 21 22 23 24 25

TECHNICAL SECTION DRAWING SCALE 1:20 @ A2 0

0mm

2

200mm

5

500mm

25 26 10

1000mm

27 28 29 30 31 32 33 34 35 36

1 2 3 4 5 6 7 8 9 10 11

12 13 14 15 16 1. External finish (powder coated zinc cladding in white colour) 2. Insulation 3. Damp proof membrane 4. Insulation 5. Internal finish (oakwood panel) 6. RHS steel beam 7. Welded bracket to steel connection plate 8. Steel welded connection 9. 8Nos long threaded bolts through brackets 10. Pre-cast connection plate to steel 11. Truss 12. Concrete (structural) 13. Damp proof membrane 14. Insulation 15. Damp proof membrane 16. External finish (concrete - in a black colour finish) 17. External upstand 18. Internal finish (timber panelling) 19. Screed 20. Insulation 21. Damp proof membrane 22. Concrete footing 23. Insulation 24. Earth 25. Overhang (lets the water come down without damaging the roof) 26. Window frame 27. External Finish (powder coated zinc cladding in white colour) 28. Ply panel (for rigidity) 29. Insulation 30. Steel structure 31. Double glazing glass 32. Light reflective panel 33. Lead flashing 34. 360° Rotatable louvres 35. Hanging diffusion panel connectors 36. Diffusion panel

17 18 19 20 21

22 23 24

TECHNICAL DETAIL DRAWING - 01 SCALE 1:5 @ A2 0

0mm

40

10

40mm

100mm

20

200mm

200mm in real life

1 2 3 4

Note After taking a closer look at the roof construction and studying roof detailing in the books, I came to the conclusion that I needed to raise the parapet in order to allow the roof construction and the drainage system to work.

Therefore the parapet has been raises by 200mm in this latest detail drawing of the roof.

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

PVC Gutter Aluminium parapet Water proofing membrane Structural steel framing system RHS steel beam Steel Truss Water proofing membrane Steel rebar Mineral wool insulation Reinforced concrete Steel rebar Cementitious Board for Insulation Housing Cementitious Board for Insulation Housing Steel rebar Reinforce concrete Steel rebar

5 6

7 8 9 10 11 12 13 14 15 16

TECHNICAL DETAIL DRAWING - 02 SCALE 1:5 @ A2

2

0

3

0mm

40

10

40mm

100mm

1

20

200mm

200mm in real life

4 5 6 7 8 9 10

11 15

12

16

17 18

13 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

Steel rebar Reinforced concrete Steel rebar Cementitious Board for Insulation Housing Water proofing membrane Mineral wool insulation Cementitious Board for Insulation Housing Steel rebar Reinforce concrete Steel rebar Gravel Paving Slab Pre-cast concrete slab Earth

14

CHAPTER SEVEN

RESEARCH METHOD STATEMENT

SITE LOCATION

Page 03

hy

ac

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re Bream St

Site Buildings

PageWater 96 Way

Scale 1:5000

Bream Street, Fish Island, London, United Kingdom

CLIMATIC CONTEXT

Page 04

01/03/2019

01/06/2019

01/09/2019

Studying the sun is of great importance for this project In the drawing above you can see the movement of the sun and its effects in Fish Island through different seasons of the year The exact same time and day has been chosen every 3 months for this study

01/12/2019

(NTS)

Page 97

BUILT CONTEXT

Page 05

The site is in a conservation area and under severe developments.

“There are no listed buildings within the Fish Island Conservation Area.

However, many of the buildings within this area make an important contribution to Britain’s industrial heritage. Preserving and enhancing the Borough’s architectural and historic built heritage over the next decades is of vital importance in understanding the past and allowing it to inform our present and future.” — Tower Hamlets council representative This is an area of special architectural and historic interest, illustrated by its rich history and significant industrial architecture dating from late 19th century and early 20th century. The robust industrial character and appearance of the area define its special qualities. Whilst there are minor improvements that could be made to buildings in the Conservation Area in terms of their repair and maintenance, overall this has little impact on the qualities that have led to the designation of this area. It is important that any future development within the area preserves or enhances the areas special industrial character.

Page 98

North-East Isometric View of Fish Island

SOCIAL CONTEXT

Page 06

Fish Island; an almost entirely industrial and artisan demographic area south of Hackney Wick station.

Industrial activity defines much of the character of Fish Island today.

There is a mix of industrial buildings, ranging from two and three-storey brick warehouses and factories dating from the 19th century, to more recent post-war buildings of up to 6-9 storeys, including factories, mixed-use buildings, storage and

distribution units (illustrated in figure 1) There is a significant cluster of creative industries focussed around art and design. Some 600 artists’ studios are clustered in Fish Island (illustrated in figure 2).

The creative industries and small business located within the buildings, streets and yards that characterise the Fish Island and Hackney

Wick Conservation Areas, make a significant contribution to the economy at both a local, London and international scale. The Department of Trade and Industry recognises creative and cultural industries as a “defining feature of the British national identity,” an essential component of our quality of life, and a vital part of the UK economy.

Site Boundary

Boundary

Restaurants/Cafes/Bars

1.

2.

3.

4.

5.

6.

7.

8.

Businesses/Industries Residential Site

Figure 1

The Hub Studios Vittoria Wharf Forman’s Event Space Algha Works Bridget Riley Studios 41 Dace Road Swan Wharf Britannia Works

Figure 2

Page 99

PLANNING CONTEXT

Page 07

Site 1

Conservation Area Boundary Sites of conservation

2 4 9

3

7 6

5

1. Broadwood’s Piano Factory and Timber Yard Gatehouse 2. Algha Works 3. Wick Lane Rubber Works (East) 4. Wick Lane Rubber Works (West) 5. Britannia Works 6. Swan Wharf 7. Old Ford Lock 8. Northern Outfall Sewer Bridge 9. Retaining wall and steps to the Greenwaw

8 Conservation areas the site

Page 100

Tower of Hamlet is enforcing new strategies for the conservation sites in their borough. The Strategy informs the Council’s new Local Plan, which, in line with the National Planning Policy Framework, sets out a positive strategy for the conservation and enjoyment of the historic environment. It sets out a common framework for all stakeholders to use in helping ensure that the borough’s historic environment continues to play an influential role in the future well-being and success

of Tower Hamlets’ communities and businesses. The strategy has three core aims to help people value, conserve and enjoy Tower Hamlets’ historic environment. The aims are to: 1. Understand and appreciate our rich heritage, recognising its contribution to the borough’s vibrancy and distinctiveness.

2. Conserve and protect the borough’s historic environment, capitalising on opportunities for attracting investment, conservation-led regeneration and

positive place shaping. 3. Enjoy, celebrate and engage with our rich history, promoting Tower Hamlets as a distinctive and welcoming place to live, work and visit for current and future generations. Together, the three aims will help achieve our aspirational longterm vision for the borough’s heritage.

(Courtesy of https://www.towerhamlets.gov.uk/ & httpvwww.londonlegacy.co.uk/planning)

SITE STRATEGY

Page 08

Warehouse

Warehouse

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BREAM

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STREET

DR

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SM

AD

RO

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STREET

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R

OU

ST

Workers Access Public Access Vehicle Access

Scale 1:500 From the context analysed, I can confirm that the key river of the building are sunlight, boundaries to other buildings and the access points for the public, vehicles and workers.

The warehouses and businesses next to the site mean I need ensure 43 and other sufficient access for lorries

carriage vehicles that might need access around the site. The orientation of the building needs to meet the standards of the local council, allow sufficient sunlight inside the building and be positioned in a way that allows vehicles, public and workers to access the building with ease. Considering site 43

limitations, building scheme and the local council restrictions, the building needs to perform all its activities vertically rather than horizontally.

The final building will therefore be approximately 3 stories with 1 story below grounds level for archiving purposes.

Site Construction Work Buildings

Old Ford Locks

Old Ford Locks

Page 101

SUSTAINABLE STRATEGY OVERVIEW

Page 09 One of the sustainable approaches in the building is the attempt to rely on solar energy as much as possible.

Hiroshi Sugimoto uses natural sunlight as a light source in his photographs and making sure the building allows sufficient sunlight in for his photography practice and for the general activities in the building is crucial.

Also, another sustainable approach is the use of Japanese methodologies for designing, joinery and control of light.

Using Japanese ancient methods will allow the building to have less carbon

footprint in the construction process and be more environmentally friendly.

The use of timber is another sustainable approach for the construction of the building. Statistics show timber is a much more sustainable and environmentally friendly material compared to concrete or steel. Considering the fact that 42% of the global CO2 emissions arrive from the construction industry, choosing sustainable materials for the construction of buildings are greatly important. Timber is also an ideal material for the proposed building

due to its use in Japanese architecture.

Sugimoto is very much influenced by Japanese culture and architecture and giving a familiar feeling would be very beneficial to him.

Moreover, since the client is a very analogue photographer, he wants some of the processes of the building to happen manually and with the use of kinetic energy rather than electricity or other automated processes wh9ich will result in less overall electricity consumption in the building over its lifespan.

Timber Photography For Lighting Conditions

Solar Energy

Manual Control

Building

Page 102

For Photography

Japanese Methodologies

PROJECT BRIEF

Page 10 Hiroshi Sugimoto’s Photography Studio

The main areas of the building are: Collect

9 10

Create 22

• Archive room • Exhibition space • 19 Collection room: 18

Camera Obscura 17 16

415long exposure cameras 13

360°14 Cyclorama camera 11

• 12 • • 8 • • 5

4

21

Photo studio Office & book making room Dark room 6 7 Storage room Library & think room 3

Curate

23 24

• Archive room 2 • Exhibition space: capacity 300 people

1

20

• • •

Shop and reception Public terrace Provate terrace

Current massing diagram

Collect Create Curate

1.

2.

3.

4.

5.

6.

7.

8.

Shop Reception Archive Room Exhibition One Exhibition Two Exhibition Three Public Terrace Camera Obscura Room

9.

10.

11.

12.

13.

14.

15.

16.

Office Book Making Facility Dark Room Photography Studio Equipment Storage Room Library & Think Room Fossils Storage Room Private Terrace

17.

18.

19.

20.

21.

22.

23.

24.

Long Exposure Camera Room 160° Cyclorama Room Camera Obscura Input Room Public Access Vehicle Access Private Access Stour Rd, Fish Island, London Bream St, Fish Island, London

Page 103

SUBJECT AREA

Page 12

The technical focus of the project is on the light. There are different lux level requirements and lighting conditions in most of the areas of the building such as: Photography Studio This room requires a very flexible lighting condition. The room has to allow as much sunlight in as possible but has to also be able to let the photographer diffuse the light using diffusion sheets, filter it and dim it at the same time too.

Gallery Space The gallery space needs a soft light throughout the whole room with more concentrated light on the artworks at display Darkroom This is where photo production happens. A very dark room with an artificial red light that would not affect the photography procedure Archive Room Constant direct light on the photographs will harm them. The lighting conditions in this room needs to be very controlled and minimal The Collection Room The room at the very top of the building. The collection room if where all the photographs/data is acquired from the site and then transferred to the photo studio and camera obscura room at the bottom. This room houses 5 cameras and it has a pinhole on the surface to allow the camera obscura to happen Designing different types of shutters, apertures, window openings or other components/methods of controlling light in order to reach optimal lux levels in each of these rooms and to relate them all back to Japanese qualities of light is one of the main focuses of the technical report for this building.

Page 104

TYPES OF TECH

Page 13

Hiroshi Sugimoto is highly inspired by Japanese architecture and Japanese culture. In his studio I need to take this matter into consideration and design accordingly. He has specific needs to the lighting of the building too and I need to make sure that I satisfy his Japanese needs of soft and diffused lighting conditions within the building. Some of the technologies used in this building include: Japanese methodologies of architecture 1. Japanese Joinery 2. Timber constructions 3. Sliding doors/panels Controlling of light 4. Shutters 5. Apertures 6. Roof & window systems

1 Japanese joinery as a sustainable way of constructing

2 Timber construction for some parts of the building

3 Japanese approach to diffuse light and add privacy to a room

4 Shutter systems that are manually controlled

5 Apertures that give you the control of light entering the building

6 The design of different roof & window systems for lux level precisions Page 105

TYPES OF MATERIAL

Page 14

(Corium) Brick Cladding For the envelope of the building

Page 106

Reinforced Concrete For the main floors (e.g. galleries)

CLT (Cross Laminated Timber) A strong, sustainable and easy to assemble material for construction

Shoji Translucent paper used in Japanese sliding doors

PRECEDENT OVERVIEW

Page 15

Juergen Teller Studio - 6a Architects The brick cladding finish of the facade and also the size and function of the building

Maison Du Verre - Pierre Chareau, Bernard Bijovet The design emphasises on the honesty of materials and variable transparency of forms with the walls working as light sources

Suzuki House - Bolles & Wilson The size of the building, its function and the use of Japanese Tatami panels as a unit of measurement

Tea House - Hiroshi Sugimoto The use of clear glass to let as much light in as possible. The use of Tatami panels on the ground. How the structure makes one feel like theyâ&#x20AC;&#x2122;re floating on the water

Page 107

PRECEDENT TECH

Page 16

Beyeler Foundation - Renzo Piano The roof design and how this building controls the light coming into the rooms

Page 108

Walmer Yard - Peter Salter The way light can be controlled using the timber panels on the facade

Jean Nouvel â&#x20AC;&#x201C; Arab World Institute Creating a pinhole on the facade to control the light coming into the building

Menil Collection - Renzo Piano The shutters used in the roof system to allow optimal natural light for the exhibition space

RESEARCH METHODS

Page 17

My method of research for my technology course would mainly be:

Online Research

Books

Empirical Research

Physical Models

Computer Modelling

Consultations with Tutor

Page 109

SECTION

Page 18

360° cyclorama

Adjustable shutters Solar Panels

Pinhole (aperture)

Adjustable mirros for the camera obscura

1 of 4 long exposure cameras

Page 110

Section of the collection room. Highest floor of the building (NTS)

1:10 DETAIL

Page 18

1:10 detail of the roof system

Page 111

TECHNICAL DISSERTATION

HESSAM RANJBAR APRIL 2020