CONTENTS-
DEVELOPING-
UNDERSTANDING-
PRESENTING-
The Big Pebble - 1.0
2.1 Structural detailing
3.1 1:100 model
2.2 Envelope the corner
3.2 1:2500 plan
2.3 Environmental analysis
3.3 1:500 Masterplan
Precedent - 1.2
2.4 Construction
3.4 Plans
Roof development - 1.3
2.5
3.5 Sections
Precedent - 1.4
2.6 Outpost
Plan iterations
- 1.1
A concise townscape
3.6 Elevations
Lighting strategy - 1.5
3.7 Interior perspectives
Materiality - 1.6
3.8 Exterior perspectives
Darwen Terracotta - 1.7
3.9 Appendix
// 1.0 THE BIG PEBBLE
When drawing the Big Pebble i found it difficult to locate a main gathering space. I understood that the library was too dispersed and a stronger visual connection between floors was needed.
DESIGN DVELOPMENT// MEZZANINE // 1.1
For the first design iteration the library had small double height spaces in the cafe and restaurant area and library entrance. This aspect of the first iteration was successful however the interconnectivity of spaces was weak.
For the second design iteration i began to experiment with double-height spaces and incorporate a rectilinear atrium that connects the entrance to the library to the office and library, so there is a visual connection throughout the building.
The double height spaces in the library design were a crucial step in connecting each programmatic space. A design concept that influenced this decision was how the office and library should be visually connected as this was not present in the existing library. The rotunda atrium also allows for maximum views onto other floors without any obstructing corners. When presenting the concept of having circular atriums within the library to the live client they approved the proposal and so i incorporated it into the library design. The sequence goes from left to right and the red mass represents the void space
For the third iterative design, i incorporated a rotunda atrium into the plans to encourage connectivity between floors, as the rectilinear atrium would limit views to other floors. The library atrium remained rectilinear as there was insufficient space to place rooms around a circular void.
For the final iterative design i resolved the library atrium and created mezzanine levels as opposed to a central atrium which would allow the office and library to be connected spatially but not visually to maintain privacy.
FIRST ITERATION
1.
SECOND ITERATION
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The initial design focused primarily on the programme of spaces and the concept of having public and private zones seperated above ground and connected below ground. Light and air flow would travel below ground through the voids created from rotating each module of the building.
Moving on from my first iteration i decidid to condense the form of the building to allow a better flow of circulation. I also added another floor to increase the area needed for the clients design requirements such as a larger office and library area. On the public side of the building i designed curves to encourage circulation to each area of the building and to allow light to transition smoothly throughout the day. An element of my initial design i thought worked well was the mezzanine as it allowed for user connectivity whilst making the circulation more obvious and allowing light to penetrate to the ground floor. I implemented this into my second iteration to allow for the workers in the office to be able to see people working in the library via an atrium (image below). The grand curving staircase would also be clearer than the previously designed one and would ecourage people to travel to the ground floor. For the roof i created vault system echoing the basement of St. Chads. Each vault has a circular skylight allowing spots of light to fall down to the ground floor.
However, from illustrating the big pebble, the library seemed to have very little congregation space. Along with: • issues with fire escapes • poor circulation • limited floor area not fitting brief requirements • Placing windows more appropriately rather than the throughout the whole facade. The first issue i decided to tackle was the circulation and providing adequate floor space.
Elements i still needed to improve: • The circulation for the office and library • Theatre access • Mayors office
1. First iteration plans. 2. View down north staircase .
PLAN EVOLUTION
3. Second iteration plans. 4. View down atrium of the libary to the south-east.
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Plans not to scale
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THIRD ITERATION From my second iteration i decided to create circular atriums throughout key spaces as they allowed for level interconnectivity whilst also creating adeqate circulation around the perimeter. The circular atriums and rooflights above would make the circulation more obvious when arriving to the library, like a spotlight showing the way down. For the first floor i created a route that would travel along the walls which will be double storey bookcases, allowing for access to books in the second level. I eliminated the curves in the theatre and designed an access from the top level allowing disabled access and ability to view events without having to travel downstairs. Creating a double wall within the library and office area allows for light to travel from the skylight down to the ground floor, illuminating the library walls coated with books. I also added the Mayors office as a seperate module next to the main office area giving a sense of privacy. For the roof i changed the vaulted system as it created a domed roof which didnt fit into the context of pitched housing. Instead i designed a pitched roof with skylights appropriately placed where light would need to travel through the building.
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FOURTH ITERATION Following on from the third iteration i moved the circular atriums towards the perimeter of the building to allow more floor area along with internalising the staircase to make use of the large void space within the atrium. The first floor was redesigned so that there was now an entrance from the lowever level of the park which would lead to the library area. The office and library area was redesigned to maintain the interconnectvity through mezzanine levels whilst creating appropriate floor area and circulation. The kitchen was also relocated next to the stairs and lift for extra ceiling height and egress. Elements i still needed to improve for final plans: • Placing a fire escape on the public side next to the lift • reducing the size of the service bar making it fit to the perimeter of the wall
Elements i still needed to improve: • The floor plate of the first floor
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5. Third iteration plans. 6. View down north staircase 7. Fourth iteration plans. 8.
View down atrium of the libary
Plans not to scale
When deciding on my chosen roofscape I took inspiration from David Chipperfield Architect’s Hepworth Gallery. The gallery has a conglomeration of trapezoidal mass varying in size with sloping roofs which responds to the skyline of neighbouring warehouse profiles that can be viewed when arriving to the town via train. 17.7m
Another similar concept of the Gallery of my Library design is that it has been designed so it can be viewed and approached from all directions. This has resulted in a design accomodating ‘five facades’ as described by David Chipperfield. The design follows the concept of a non-panelised monolithic facade having a sculptural aesthetic. As my building has a similar form i will be using the same structural material to achieve the same result. The different sized sloping roofs articulate the individual masses and allow light to penetrate into the interior which is a strategy i will use in my library.
11.5m
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12.3m 10m
14.6m
2. 8.5m
11.5m 13.8m
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20.8m
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10.
22.3m
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23.1m
16.2m
1. Lobby Lifts stairs 2. Multifunctional room
1. 16.9m
7.7m
10.8m
8. 20m
20m
By analysing the routes throughout the plan i recognised that there was no exterior space within the design. I assume this is to draw attention towards the interior and the artwork on display, with rooflights allowing sufficient light to enter the building, For the library design i will also keep the plan primarily interior as the exterior walkway is the main focus.
3. ,.
18.5m
10.8 3.8m
3. Offices Staff room Display preparation Storage
7.7m
17.7m
13.8m
5.4m
6.9m
13.8m
12.3m
5.
7. 4.6m 15.4m 8.5m
4. Picture hanging area Loading bay Storage 5.
17.7m 8.5m
17.7m 14.6m
9.
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Open-plan office Archive and study area
10m
11.5m
6 + 7. W/C 8.
Central reception
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Learning and access Picnic area Meeting room
10m
17.7m
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10. Lobby Gallery shop 11. Cafe Kitchen 12.
Gallery 6
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Gallery 5
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Gallery 7
1.2 ROOFSCAPE PRECEDENT// THE HEPWORTH GALLERY// WAKEFIELD// DAVID CHIPPERFIRLED ARCHITECTS
17.7m
1.
The structure is a mix of pre cast and in - situ concrete elements. The pre - cast makes up the initial structure with the load bearing cast in - situ cladding layer added to create a monolithic appearance. As i aim to achieve a similar result for the library design i will be using the structural build up of the hepworth to inform my detail design.
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Gallery 4
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Gallery 10, 9 , 8
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13.1m
Walls: 300mm reinforced concrete (Load bearing) external pigmented concrete wall Windows: Anodised aluminium mullion Insulation on exposed corners preventing cold bridging 1. Axonometric of the gallery showing rooflights and materiality 2. ground floor plan of gallery 3. first floor plan of gallery
8.5m
10.8m
10m
13.8m
3.8m
23.1m
22.3m
23.1m 18.5m
9.2m
6.9m
7.7m 9.2m
19. Gallery 3
12.
13.
15.4m
18.
11.5m
20m 13.8m
17.
20m 11.5m 13.8m
7.7m
Roof: Precast and in-situ sandwich roof construction lightweight steel trusses connected to walls via cast-in-brackets Floor: Reinforced in -situ concrete
14.6m
15.
Gallery 1 Galllery 2
8.5m
12.3m
10m
19.
17.7m
14.
17.7m
17.7m
17.7m
16.
12.3
29.2m
3.
THE HEPWORTH GALLERY// WAKEFIELD DAVID CHIPPERFIRLED ARCHITECTS
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Roof lights feature alumminium solar control blades which control the amount of light entering a room based on computer predictions of annual solar levels. Sun enters the roof light, Is appropriately deflected by the blades, hits the recessed ceiling, walls and then enters the gallery. This technique creates a softly well - lit interior also appropriate for a library as indirect sun is desired when working and reading. In my library i will incorporate similar techniques of deflecting light through the roof into the interiors.
1. Roof light technical detail sketch 2. lighting analysis of gallery section AA
2.
Natural lighting is crucial and is achieved through recessed slots in the ceiling and at the edges of the room bringing direct light onto the walls. The shadows throughout the day give the interior a seemingly ever changing form. By placing windows and roof lights strategically i can emulate this element achived by the Hepworth gallery.
The sloping pitched roofs of the hepworth gallery has inspired the form of my library design to respond appropriately to the surrounding context of pitched house roofs and church spires. The irregular heights and pitched roofs is a recurring theme around the town and so applying this to the library allows continuity of form.
1.3 ROOF DEVELOPMENT
In the space craft brief at the start of the project i aimed to utilise light strategically in my building. Following on from the precedent of the Hepworth gallery, i decided to design the form of the roof to respond to the skyline of Shrewsbury which is predominantly pitched house roofs and church spires.
Having tested irregular heights of flat roofs i came to the conlusion that this form would be too intrusive in the park. A sloping roof would gradually lead the eye upwards amongst the trees.
When deciding on the direction of pitch for each module of the library decided which parts needed sunlight throughout the day. My main priority was to get as much sunlight into the library and office area in the morning as that creates the best working environment and let the afternoon and evening sun penetrate into the cafe and restaurant area as these spaces will by the most utilised at that time of day.
“I posess no specialised knowledge of architecture, but i understand that in the Gothic cathedral of the West, the roof is thrust up and up so as to place the pinnacle high in the heavens to let as much light as possible in - and that herein is throught to lie its special beauty.”1
1 Harvard (18th ed.) TANIZAKI, J. (1977). In praise of shadows. New Haven, Conn, Leete’s Island Books.
The taller pitched roof links back to my initial space craft manifesto of creating a landmark. The tip would appear above the trees to be seen from the town, leading people towards the library. The heavy concrete roof structure would be comprised of an in -situ concrete formwork connected to the walls of the library transferring loads through to the ground.
By utilsing light and shadow i wanted to achieve an introspective and meditative atmosphere in the library as i beleive the 21st century library is becoming a place to reflect rather than to just study. I will be taking inspiration form the lighting strategy of the Chapel of the Benedictine Monastery. The Chapel was desinged by Gabriel Guarda and Martín Correa and works with light as a material to creative a calming introspective atmosphere for its users. I am using this monastery as a precedent to develop my library design as i also want the interior of the library to work wth light in a similar way. The monastery is designed with a similar concept of the library with overlapping spaces which allow light to reflect of surfaces creating indirect illumination into the interiors. The Architects technique was to reflect sunlight off the white planes, which redirect the incidence of exterior light towards the interior while preventing vision from the inside out. To draw the attention inward disconnects the person from the context and its distractions ideal for a place of prayer and work. This is a key concept as, although in a beautiful landscape the architects aim was to draw attention to the interior of the building creating a meditative atmosphere. The library in the Quarry park is also in a beautiful landscape but alike the monastery i want to design the building to draw attention to the interior. Instead of having a large amounts of glazing overlooking the park, there will be windows placed framing key views and the rest of the building will work with light to create an atmosphere adequate for working, reading and socialising.
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1. Entrance 2. Ramp 3. Niche of the virgin 4. Chapel of the holy holies 5. Circulation towards cloister 6. Sacrisity 7. Confessional 8. Space of the faithful 9. Altar 10. tribunes of the monks 11. Organ
1.4 LIGHTING PRECEDENT BENEDICTINE MONASTERY // SANTIAGO GABRIEL GUARDA AND MARTÍN CORREA
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“I wanted it to be brutally evident to highlight the volume leaving it rough on its surfaces We did not choose the way of making the formwork because there was no other. We decided to give the building a rough look and we have accentuated it knowing that the sun would enter from such a side, evidencing itself in the roughness of the surfaces.” // cruz, alberto, Project for a chapel in the Pajaritos estate. , 1954.1
1 Cruz, Alberto, in Pérez, Fernando. Churches of Modernity in Chile European and American precedents. Santiago: Editions ARQ, 1997. Page 178. 2 (photograph) Holmes, R., 2020. [image] Available at: <https://core.ac.uk/download/pdf/41798853.pdf> [Accessed 25 May 2020].
Light enters the building via a skylight which is invisible from the inside. The strcuture of the roof is comprised of hanging tensioners in the buildings four corners. these tensioners measure 60 centimeters and sit between the crown of the four walls and the four sides of the ceiling, Done in this way, the strip open to the outside is not visible from the inside. Light enters the chapel through the play of reflections of the solar incidence between a inclined aluminum sheet, on the edge of the roof structure and the planes that form an angle straight between the wall and its crowning. For the library design i will incorporate the structural beams that take the load of the pitched roof into my lighting strategy. These beams will act in a similar way to the tensile roof structure of the monastery to reflect direct sunlight through skylights and disperse it softly into the interior. The use of boardform concrete in the chapel also gives an ever-changing appearance to the interior throughout the day because of its texture. The boardform is the cheapest way of constructed concrete walls and gives a more ornate appearance to the interiors.
10.
A
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B
AM. PM.
After analysing how The Chapel of the Benedictine Monastery utilises light to disperse it indirectly thoughout the interiors to eradicate the penetration of light through windows on the facade, i was able to design the form of my library to appropriately direct light to the interior. As the library goes relatively far below ground this was crucial to allow adequate lighting levels for the ground level. Once i decided which areas needed the most sunlight i then designed additional light sources so that when one ray of light disperses, another continues it, avoiding contrast of light and shadow, creating a homogenous daylight level througout. The diagram above shows how the structural beams of the roof allow light to bounce off surfaces avoiding harsh direct sunlight which is undesirable for working conditions.
The wall running along the ramp seperates into two fragments in its length, the lower fragment being 35 centimeters further from the higher, a space through which light enters through the reflection between the white faces of both fragments of the wall, illuminating the floor that runs from the access door to the altar of the virgin. As this floor is inclined, and the cut of the wall through which the horizontal light enters, the strip of light decreases as the ramp progresses, tensioning and directing the view directly towards the profile of the image of the Virgin on her altar.
Instead of having a suspended ceiling in the library, i incorporated incorporated the concrete beams of the roof to allow continuous form and materiality. Although it works in the Chapel, the scale of the library would be too large to have such a system.
(photographs) Holmes, R., 2020. [image] Available at: <https://core.ac.uk/download/pdf/41798853.pdf> [Accessed 25 May 2020].
1.5 // DESIGN DEVELOPMENT// ROOF LIGHT
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A concept for my building design from the space craft brief was to design around the two readily available materials: light and shadow. After deciding to add another level below ground floor in the big pebble, the lack of light to the ground floor brought allowed me to utilise light through the use of rooflights and design the building form to direct light strategically to the lower floors. 1. Section through cafe and restaurant analysing shadows throughout the day 2. The roof beams are large in height to prevent buckling of the retaining walls, by making the beams larger sunlight is also reflected off them disperse the light softly through the interiors. 3. 1. Sketch of section and roof plan showing how light is selectively filtered into the library. 4. Section showing the oculus of the pantheon and how it disperses light.
By using the beam structure of the roof i would be able to deflect light down to the ground floor appropriately through roof lights. However following the circular atrium the geometry of the beams reflecting light was irregular. By taking inspiration from the Pantheon in Rome and its use of the â&#x20AC;&#x153;oculusâ&#x20AC;?, i applied the same concept to the library to create a large circular opening at the apex of a dome to allow light to move around steadily throughout the day. The dome would reflect light down through the library via an array of angles also acting as a sun dial giving a sense of time in the library.
1.6 MATERIALITY
When looking into the materiality of the library i observed the recurring textures and colours in the town. I initially wanted the library to look “typically Shrewsbury” and be a continuation of the town and so developed a detail which envisioned the library to be made of brick. However, due to the complex form and heavy load of the structure i had been developing, i chose to use concrete as it had a similar texture to the masonry frequently repeated throughout the town. By applying boardform to the mould of the concrete and adding a red and pink pigment to it, i could emulate the texture and colour of Shrewsbury’s materiality whilst my design not being limited by the material it is made from.
My initial detail saw brick load bearing walls and vaulted domes. The dome could have acted in compression for the domes, however if i was to use beams to reflect light in my structure the bricks would have been insufficient.
For the factory visit we were able to choose from the industries of wood, metal or terracotta. I chose to go to Darwen Terracotta factory as the work they produced intrigued me as the immense detail in each piece is out-standing. Seeing the process helped me understand the nature of the materials they use to which i could then apply to model making, After visiting the factory i felt inspired to include masonry ornament into the library building. A pattern i noticed was how the elements being made are structural, however they are functional expressions of the buidling they were used in and help tell a story of its history and construction.
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1.7 //OUT OF THE STUDIO, INTO THE FACTORY
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STEP 1 Discussion with client on the condition of the existing terracotta and/or design proposal. Budget or firm quotations of proposal and contract quotations are determined by the contracts department who coordinate all design and production until final delivery and completion.
STEP 2 Survey teams visit site to take necessary dimensions and profiles of units to then transfer onto 2D and 3D CAD modelling facilities. Elevation and layout drawings are produced and sent to the customer for approval. Once approved the drawings are sent to CNC cutters to create a negative mould for casting.
STEP 3 Clay is imported fom an array of virgin European ball clay deposits with great precuation to meet requirements and ensure high quality standards. All material is tested to British, European and American standards. Upon request of manufacture, the labatory conducts a colour match development, testing pigment ratios to ensure the closest match to requests possible. Models of negative casts are CNC produced to a larger scale to allow for natural clay shrinkage. Moulds are poured into the negative casts and dried in dedicated temperature and humidity rooms.
STEP 4 Casting is typically undertaken by producing liquid slip and pouring it into the pre-conditioned moulds. When the partially dry the piece is released form the mould. Hand pressing is an alternative technique, using a more solid clay typically appropriate for intricate sculpture or ornate work. Overall, both techniques are centuries old and provide high quality results with a low chance of mistakes being made.
STEP 5 Once the clay has been released from the mould, each exposed face is perfected with a variety of wooden and metal tools and leathers. Once finished, the pieces are dried naturally at room temperature which can take from a few days to weeks to dry depending on the form. They are then moved to large automoated humidity rooms to dry and remove residual moisture. Temperature is kept at a steady medium to ensure explosion and cracking of the clay does not occur. For blocks that require faience a glaze is hand applied with mottles.
STEP 6
STEP 7 Each piece is carefully checked for quality including size, shape and colour. For new build projects sample peices are dry laid so the architect can make sure they fit the requirements of their scheme. Each piece can then be approved and marked with its final location on the elevation. Pieces are then packaged up and sent to the site.
STEP 8 For overseas shipments, products are carefully placed in very heavy duty crates, with one inch thick wooden tops to allow for safe stacking. High density polystyrene is used to separate and protect each individual piece within the crate to then be placed and laid on site.
Once dried, the clay pieces are then fired in a kiln. Firing takes around thirty hours to temperatures around 1200 degrees Celsius (2200 fahrenheit), to meet the performance criteria for both BS and ASTM Standards.
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2.1 // “ORNAMENT IS NOT A CRIME, BUT A NECESSITY”
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1:5 ISOMETRIC DETIL OF WINDOW TO WALL AND SHADING PANEL. 1.100mm outer reinforced concrete shell 2.Aluminium sil 3. Aluminium structural frame for shading screen 4. Double glazing: 6mm toughened glass + 14mm cavity +6mmfloat glass + glass. To reduce (1.4 W/m 2 K) energy annual consumption for active heating and cooling systems
cavity +12mm lam. saftey
5. Exterior glazing 8mm toughened glass 6. Prefabricated Patterned glass- wrought iron shading screen. 110mm (5.2W/m 2 K) 7. 19mm ACX plywood window sill to insulate the wondow framing and add contrast and warmth to the exposed concrete structure 8. Rainwater redirection groove to avoid staining from rainwater inspired by Carlo Scarpa’s window detail in Banco Popolare di Verona. 9. 2/5 inch insulation Aluminium sil 10. 200mm load-bearing inner reinforced concrete. Exposed to create a monolithic and honest interior with a high thermal mass absorbing heat from the day to gradually release as the temperature drops. (0.11W/m 2 K) The pigmeneted boardform express the structure of the building, creating depth and scale to the facade whilst appropriatley responding to the colour pallette of Shrewsbury.
In Liane Lefaivre and Alexander Tzonis book ‘Critical regionalism’ they described that “romanitic regionalism, despite its confrontational stance, employed familiarisation. It selected regional elements linked in memory with forlorn eras and inserted them into new buildings”1. From this reading i decided to design a motif inspired by the gates of the park which i noticed in my serial vision study, to incorporate elements that are recognisably Shrewsbury into new library. The Gates designed and erected in 1881 are made of Cast & Wrought iron and placed on the perimeter entrances to the park. The main gates feature very ornate heavy panels incorporating roundels and were cast at Coalbrookdale (Ironbridge), dated with initials SHS (Shrewsbury Horticultural Society). In using the motif inspired by the park gates the library will celebrate the history of the park and the engineering industry of surrounding towns.
1 LEFAIVRE, L., & TZONIS, A. (2003). Critical regionalism: architecture and identity in a globalized world. Munich, Prestel.
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Gutter dressed with hydroguard,
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Continuous recessed lighting track
with lamps fitted between blades to reflect indirect light when dark
roof slabs on a 5% incline to envourage water flow. Fixed glazing into a silicone joint
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Prefabricated Patterned glass- reinforced concrete shading screen.
110mm to avoid direct summer sun. Aluminium sil
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Supporting steel I beams
1:20 DETAIL ISOMETRIC
holding reinforced light reflecting boardform concrete wall
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(Roof)
in-situ concrete, hydrodrain 2000, MK seperating layer, Insulation to prevent cold bridging, Precast concrete planks.
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( Exterior wall)
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(Upper Floor)
20mm natural stone slab 60mm screed with underfloor heating 70mm thermal/impact sound insulation 100 reinforced concrete slab
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Double glazed operable window unit
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Fair faced reinforced concrete wall, Damp proof membrane, 100mm core insulation, 160mm exposed concrete wall
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with opening mechanism to allow user comfort
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(Ground floor)
100 x 70mm natural stone paving 50mm mortar bed 200mm reinforced concrete floor slab
10. (Foundation)
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Contiguous concrete pile foundation with a drained cavity to stop mmoisture intake Concrete slab with Damp proof membrane
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2.2 // ENVELOPE THE CORNER
The model is showing the corner of the library which houses the Mayors office and aims to convey the materiality and lighting effects of the buildings form to show shadows bouncing off each surface plane. The concrete structure cantilevers above the ground and provides views across the park with its large window openings. The botanical shading panel echoes the pattern of the gates to the park and creates a dappled light into the interiors. From applying watercolours to grey-board and balsa wood I could emulate the materiality of the pigmented board-form concrete facade which is a response to the surrounding buildings in the park and town. The model's main aim was to convey the materiality and lighting effects of the buildings form to show shadows bouncing off each plane. The model illustrates my structural strategy develoment, exemplifying how the load of the reinforced concrete beams is transferred into the walls and through to the ground.
One of the objectives for the model was to convey how light is reflected in the library. The model helped portray how the use of rooflights, reflective beams and tall windows helps guide light creating atmosphere throughout the building. In the closing insight of ‘Atmospheres’ by Peter Zumthor -The light on things, he tells us about the qualities of light on objects. Where and how light falls .The nature of shadow, the way the surfaces were dull or shone or had their own depth. He describes the reflection of light from surfaces and ideas of planning light in a space as a medium of hollowing out the darkness from a mass and seeping inside. Architecture should be like a free space, permeating people to live in, creating memories. Surrounding atmosphere to be felt rhythmic and coherent while staying within the boundary. “Architecture is an art when one consciously and unconsciously create aesthetic emotion in the atmosphere and when this environment produces well-being.”-Luis
Barragan.
1. Section facing East 2. Interior of library below mayor parlour
By scoring the greyboard and painting it with watercolours i was able to see how the materiality would appear on the library facade. For larger formwork heights, the formwork panels are arranged analogously to the vertical joints on the concrete surface expressing the structure whilst creating scale and depth for the facade. From making the model i decided to make the shading from iron instead of prefabricated concrete as the darker tones compliment the pigmented concrete and relate better to the gates they were inspired by. I also decided to make the pigment of the concrete a more gentle pink tone and have it exposed on the interior, as the brick orange would make the building look to heavy in the landscape and the interiors would be more warming. The pink also combines the colour pallette of shrewsbury with its red sandstone and coursed grinshill stone to give the building a more gentle appearance in the park. 1. 2. 3. 4.
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East elevation South elevation elements of model before fabrication tools used
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In ‘The Tell Tale Detail’, Marco Frescari describes how “Details are then a direct result of a multifold reality of functions in architecture. They are the mediate or immediate expressions of the structure and use of the buildings.” 1 When designing the facade of the library i aimed to express the structure of the roof beams through concrete mullions on the facade mirroring the exposed posts and beams of medieval buildings throughout town. The mullions create shadow and depth, breaking up the large plane into the grid of the structure, whilst concealing the drain pipes going from the roof to the ground. The combination of ornament and functionality allows the building to be percieved as seamless.
1 Frascari, Marco. “The Tell-the-Tale Detail.” In Theorizing a New Agenda for Architecture, an Anthology of Architectural Theory 1965-1995, edited by Kate Nesbitt, 498-513. New York: Princeton Architectural Press, 1996.
Prior to the design of the facade details the library had an unfinshed concrete with no indication of scale or texture. By expressing the structure of the roofs, the facade is broken up and appears less obtrusive in the park. The vertcal fins also create shadow on the facade and mirror the verticality of the surrounding trees in the park.
1330mm
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1.5mm zinc sheet flashing
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Prefabricated boardform concrete fin unit
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400/250mm Loadbearing reinforced concrete column extruded to facade with gutter embedded within
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motorised sun shade
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8mm curtain wall float glass + 16mm cavity + 8mm lam. saftety gasss in aluminium profile frame
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Timber-board-marked reinforced concrete beam
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roof light: 17.5mm lam. saftety glass + 18mm cavity + 12.3mm laminated glass
729mm
700mm
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laminated saftey glass, low e coating 13.5mm + 20mm cavity + 10.3mm low-iron float glass
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4126mm
2948mm
2900mm
2100mm
pivot mechanism to allow window opening with limted opening range Welded catwalk assembly anchored to structural stay vent to allow air flow through shaft box double skin.
6159mm 9.
hydraulic window opening lever 2100mm
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30mm wood panels, 60mm screed with underfloor heating and service voids, 70mm insulation, 200mm concrete slab 10.
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Water gutter, guard on insulation, removable grid Aluminium sill
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2100mm 14.
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Hard core reinforced concrete wall, Damp proof membrane, 100mm core insulation, 160mm exposed concrete wall
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AIM small
100 x 70mm natural stone paving 50mm mortar bed 200mm reinforced concrete floor slab
AIM small
AIM small
90mm 70mm 200mmAIM
small
2100mm
concrete pile foundation
4000mm
2100mm
13.
500MM
1070MM
500MM
6537MM
500MM
11382MM
5000MM
7213MM
1070MM
4000mm 1421MM
3110MM
500MM
2000MM
14.
902MM
709MM
381MM 15.
352MM
170mm 100mm
1547MM
500MM
1833MM
707MM
2120MM 16.
707MM
3.
2120MM
707MM
2120MM
4.
11.
707MM
7.
2120MM 16.
707MM
2074MM
707MM
2129MM
704MM
16.
250mm
12.
17.
3000mm
1000mm
4656mm
13.
4.
16.
1. 11.
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6.
7. 10.
5. 15.
14. 12.
17.
3.
Plumbing
Plant room.
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18.
Electricity and data supply Cold air flow Stale warm air Summer solstice
2.
Winter solstice
LIGHT 1.
2.3 // ENVIRONMENTAL ANALYSIS
11.
13.
Midday July sun optimises photovaltic performance at 85% capacity. The building is designed to work with natural daylight and so each section of the building is rotated accordingly to suit the daylighting needs. For example, the library and office section is rotated to face northsouth whilst the entrance and theatre are east-west facing ultimately providing a greater clearance space on the south for the most-used spaces allowing higher daylight levels. The south facade is comprised of 70% glazing and north 50% providing adequate daylight levels. The path of the sun throughout the day hits appropriately hits the programme within. Library and office: morning and midday Circulation and entrance: morning and midday Cafe and Restaurant: Midday and evening Theatre: Morning midday and evening
WATER 9.
8.
15.
LED light strips flow through voids within the concrete floors. The height of the ceilings in the buildings lead to the lights being installed into the walls to provide higher user comfort for reading and working. The rooflights allow for daylight to reach the ground flor of the building. The concrete beams reflect the direct daylight to disperse a softer light into the interior
4.
2.
The sloping roofs naturally allow water flow to the ground. To avoid staining of the concrete, drains are installed frequently along rooflights and parapet to discretely take water through the concrete facade details down to the rainwater collection unit. Black and grey water expelled at ground floor.
HEATING + COOLING 3.
18.
Where necessary windows are installed with a steel shading system which have been designed inspired by the patterns of the park gates, emulating the dappled light from the trees.
The cooler climate suggests a higher 20cm thermal insulation throughout the structural build up to avoid cold bridging and high energy demand for active heating systems. Added use of concrete in the structure reduces heat loss as it absorbs heat throughout the day to be slowly realeased throughout the night. HVAC is distributed through the concrete floor. Underfloor heating effectively provides adequate comfort levels whilst not expending too much energy. High insulation is installed into the walls along with the building being mainly underground and so the earth provides additional insulation.
MECHANICAL SYSTEMS 16.
10.
The shape of the library roof encourages wind flow. As wind hits a vertical roof planes it flows along a 45 degree neighbouring roof plane.
Operable windows allow for user comfort and cross ventilation throughout the building. The atrium spans the full height of the building therbey providing enhanced air movement and conduction. The voids between each mass act as chimneys for air flow to below ground.
6.
5.
Electricity is provided from the national grid along with solar panels being installed on the south facing planes of the building to make the library as self-sufficient as possible.
7.
Lift overflow 3.5 metres Cold air goes into modular air handling unit Warm air supplied to HVAC system and expelled through roof vents HVAC and electricity distrubuted through floor
14. 12.
Pre-existing deciduous trees around the building allow for daylight to enter in the winter when trees are bare. In summer when trees are full they deflect daylight acting as natural shading.
17.
Vents are installed into the walls and floors to provide cooling during the summer. Natural ventilation from operable buildings also cools the building,
Plant room is hidden from exterior view within the high ceilings of the top floor level.
Sprinklers are installed into every ceiling throughout. Concrete does not burn or emit toxic fumes when affected by fire. Fire stairs are protected by thich walls of concrete which have relatively poor thermal conductivity that enables concrete to act as an effective fire shield between adjacent spaces.
PROCESS Understanding the process of construction for the library is crucial as the structure is a large, expensive and complex form. The reinforcement allows for such structure, whilst the pigmented boardform allows the building to blend more seamlessly into its context. The process of boardformed concrete must be done precisely with the mould being the most important and expensive components in the process. PREPERATION Estimation of proportions of cement, aggregates, water, and coloured pigment to prepare the concrete mix. Concrete is then transported in a trck mixer from Hansens concrete plant 1.2 miles from the site. Foundation trenches are dug and soil is prepared to ensure it is well-drained and compcted. This will ensure there will be no cracks in the finished concrete structure. The soil is excavated an additional 2 inches as the soil is moist. A mechanical tamper will then pack the soil to the desired density and the pile cap foundation is placed with a foundation slab above. This will ensure the slab is level, the flat side of a rake fills in any low spots in the soil. FORMWORK The primary load bearing concrete envelope is formed onto the foundation with formwork. Formwork acts as a mould to create concrete structures. The formwork for the library will be made of plywood planks measuring 1220 x 2440 mm. Boardform concrete is the cheapest method of moulding reinforced concrete and by using reusale panel forms the construction will save on waste.
Load path Lateral load
Reinforcement shall be accurately placed and adequately supported before the concrete is placed. A cover will ensure that the steel bonds to the concrete well enough for it to develop its strength. The concrete is poured into the moulds and is compacted using a vibrator to prevent air pockets and ensure an even surface. Once the concrete has set, the formwork will be stripped.
Reinforcement bars Timber spacer
The retaining walls are erected first to hold the ground in place before excavation of the structure.
Struts at equal spacing Struts at equal spacing
When pouring the concrete into the wall moulds the reinforcement hooks are left exposed so they can be connected to the floor slabs.
Bracing
2.4 CONSRUCTION
FINISHING A smooth surface is created through the use of screeds and trowels. The concrete is then cured to keep the concrete moist to enable it to gain full strength. 7. Diagram showing load transfers: The beams act as a lateral load in tension between the roof. The load is then transferred down the dome arches into the rotunda walls. Live and dead loads are transferred down the primary concrete structure into the foundations and ground. 8. Drawing showing reinforcement retaining walls held by formwork moulds. The concrete is poured into the void over the steel reinforcement which allows for a complex form and strong structure. Once dried the formwork is stripped and craned to be used for a further extension of the wall.
Concrete wall void
Wooden blocks packing
8.
1.
The emerging view down Quarry place shows the pitched roofscape of the library and it context
4.
‘the fabric of towns: colour, texture, scale, style, character, personality and uniqueness.’1 The library doesnt imitate its context but rather responds to its geometry of tall spires and pitched roofs. The colours is a balance of the sandstone and grinshill course stone frequently used arounf the town,
1
1.
Cullen, G. 1971. The Concise Townscape. London: The Architectural Press.
2. 6.
3. 5.
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2.5 THE CONCISE TOWNSCAPE
4.
One of my final design concepts was derived from the contextual theories of Gordon Cullen. Gordon Cullen in his book “Serial Vision” describes how the urban environment should be designed from the view of a moving person. He explains how the city is a collective enterprise and not a collection of individual things like streets and buildings, but rather embodies the art of relationship: how things fit together, the space between them and how people move through them. For the new library design a key strategy was to alter the existing path leading into the park which went off the axis of the town and to encourage a flow of people from the main street running through town into the park. By moving the building to the town axis and creating a void in the centre for a walkway, i was able to design the library to frame the view of the two nodes to the east and west which in turn connects the town to the grade 1 listed boys school through the new library. The tall pitched roof design also acts as a border to each view. The diagrams displayed show a serial vision sequence travelling towards and through the building from the two directions where the largest flow of people into the park area.
As you walk towards the library, the existing gate acts as a transition boundary bwtween the road and park, the motif is repeated throughout the library conecting it to the sites history. The view of the boys school is not yet revealed as the library is designed to continue the winding streets of Shrewsbury.
3.
“it is easy to see how the whole city becomes a plastic experience, a journey through pressures and vacuums, a sequence of exposures and enclosures, of constraint and relief.”1 the central walkway compresses you as you walk through the library and releases you at the end with the view of the boys school. The use of shadows encourages people to walk through the library going towards the light.
1
Cullen, G. 1971. The Concise Townscape. London: The Architectural Press.
5.
As you walk towards the library the market hall clock tower is framed by the library roof form, connecting the two nodes through site. The roof has been designed to let light strategically into different parts of the bulding, whilst maintaing the pointed and pitched skyline of Shrewsbury.
6.
When walking towards town the winding streets and pitched roofs continue through town however follow a different character to the library creating a collage within the urban fabric.
The periscope
The new library
The library sits within the wider context of the town and so i have designed a kiosk to draw people towards the library and act as a book depository where people can take back withdrawn books. There will also be a bookcase of free books for people to take and read in this meditative space. The Darwin gate sculpture will also be placed on the wall commemorating the famous Salopian: Charles Darwin. I wanted to take inspiration from the Benedictine Monastery and use light to create an introspective atmosphere reminiscent of the Libary.
2.6 OUTPOST// //THE PERISCOPE
When deciding where to situate the new kiosk, i traced the route which lay on a higher topography, as i knew i wanted the library to be visible from the view. Interestingly, 36 High street contains an empty facade which resembles the materiality and structure of my library and so i decided to incorporate it into the design. The site behind the facade is currently a car park, but i will only be using the 5mx5m plot adjacent to the facade.
A. Within the kiosk are two mirros, one situated at the top of the tower and one casting its reflection on the ground floor. If both installed at 45Ë&#x161;, the mirror on the ground floor will reflect the view of the park, and so when depositing books you can see the library you are giving them back to.
A. Front view B. Back view
B.
The purpose of the structure being a pointed tower relates to the form of the library and how it reflects the pointed spires of the Shrewsbury skyline. The facade of the kiosk remains the same height as the existing structure and the pitched roof bends into the roofs of the High street. The construction process will be straight forward as behind the free standing facade is an empty plot and access for construction will be easy. The structure of the kisok consists of a frame consiting of 19 steel i - beams bolted together with clip angle joints which are set into a concrete foundation. concrete is laid in-situ around the steel structure and pre-fabricated panels are then bolted onto the set concrete structure. These panels allow for te steel structure to be concealed and increase the thermal mass of the kiosk. The existing facade will be reinforced with a steel beam and a void cut to allow for a doorway. The structure is then bolted to the existing facade concealing its presence.
OUTPOST// CONSTRUCTION
Where the beams are connected on a 45Ë&#x161; angle a splice bracing connection will be used to allow stability.
1590mm
5.
2. 305mm
1.
4.
240mm
8000mm
5000mm
3.
305mm 350mm
6.
215mm 270mm
8.
215mm 350mm
9.
A.
5000mm
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1010mm
A. 4.
550mm
215mm
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270mm
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2150mm
3700mm 850mm
350mm
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305mm
7. 353mm 305mm
6000mm
305mm
220mm 10000mm
1:5 Section:
1:5 Plan of ground floor:
1. 1010mm x 3400mm steel door (large to create grandeaur and curiosity) 2. 305 x 165 x 40mm I beams 3. existing facade 4. Guttering for drainage 5. Lighting for illumination at night 6. Double glazing to allow view into library 7. Walls: Interior in-situ concrete (encasing the steel structure) 20cm insulation and waterproof membrane Exterior pre-fabricated facade panel (bolted onto primary concrete structure) 8. Mirror 9. Operable glazing to allow for book depository from the west side and illumination below mirror 10. Book depository 11. Floor: Screed 200mm insulation In-situ concrete slab waterproofing 12. Sleeve foundation
1. Existing pre-fabricated concrete facade 2. 100m Pre-fabricated concrete facade panel 3. 205mm In-situ board form concrete wall with 20cm insulation and waterproof membrane 4. 305 x 305 x 97 mm I Beam column 5. Mirror 6. Doubel glazed window 7. Bookcase 8. Arm chair 9. 1010mm x 3400mm steel door
2900mm
300mm
3. 1700mm
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8.
3400mm
1500mm
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AA.
10.
750mm
310mm
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800mm
750mm 305mm
750mm
3890mm
1000mm
305mm
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The 1:100 model of the entire building and topographical context helped me understand the structure of the proposed design. By working in 3D i was able to solve problems of an array of connecting details in the building. By including the beam structure within the model i also understood the buildings structural stability and manipulation of light to the interiors.
3.1 // 1:100 MODEL
The topographical base is made of corrugated board, with the walls and floors in 4mm greyboard emulating the texture and appearance of concrete. The model aims to show the flow of people through the central walkway, the materiality and overall form within the topographical context.
The oculus in the ground floor of the library
View of the library approaching from the west
South-East facade of the cafe entrance
The bridge walkway to the council offices and mayor parlour
Birds-eye view of the South-East facade
Theatre
Central walkway
Birds-eye view of the North-East facade
Lbrary entrance
Cafe
MODEL // 1:100
ELEVATION SOUTH-EAST This view illustrates the approach from St. Chads Church, the existing path continues through the library central staircase to guide people towards the entrances of each side of the building. The direction of the board fom corresponds with the height of the concrete mould. For shorter span it is horizonatal and for longer it is vertical.
MODEL // 1:100
ELEVATION NORTH-EAST The model illustrates the view of the library as you enter from the park. The central staircase as a route to the town encourages people to enter the library and integrates into the topography. The pink pigmented board form responds to the materiality of the surrounding town, with the motif of the quarry gates replicated within the shading panels to reflect the high summer sun.
PRISON
STATION
CASTLE
H
IG
H
ST
R
E
HIGH STREET
ET
SWIMMING BATHS
THE SQUARE
ST CHADS
MARKET HALL THE ABBEY
LIBRARY WYLE COP
LANDMARK EDGE
SHREWSBURY SCHOOL
RI
THE QUARRY
MAJOR DISTRICT MINOR DISTRICT
VE
R
SE
PEDESTRIAN PATH
VE
VEHICLE PATH
RN
MAJOR NODE MINOR NODE
3.2 // TOWN PLAN // 1:2500
0
25
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The masterplan reveals the relationship of the library to the town and how the central staircase will frame the views of the boys school to the west and the market hall to the East. The library acts as a continuation of the main high sreet containing the train sation, existing library and shopping district. At the beginning of the project i illustrated a map in the style of Kevin Lynch which highlighted the discontinuation of the main axis through the town. Now when finishing the project the map now has a continuation of the route from town via the main staircase through the library which frames the view onto the boys school across the river,
3.3 MASTERPLAN // 1:500
When deciding on the landscaping aorund the library i thought it would be most suited to continue the route to the original park walkway and the river. I wanted to keep the surrounding landscape of trees untouched to remain with the concept of the buidling being a continuation of the street and not to over embellish the site.
0 5 10
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LEVEL 2 PLAN
12 1. ENTRANCE 2. LIFT 3. FIRE ESCAPE STAIR 4. CAFE 5. THEATRE 6. COUNCIL OFFICE 7. COUNCIL LOUNGE 8. MEETING ROOM 9. MAYOR PARLOUR 10. ENTRANCE TO LIBRARY
11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
RECEPTION DESK STORAGE ROOM SERVICE RISER STAIRS DOWN TO LEVEL 1 DISABLED W/C MALE AND FEMALE W/C LOUNGE AREA ATRIUM OVERLOOKING RESTAURANT ATRIUM OVERLOOKING LIBRARY EXTERIOR CENTRAL WALKWAY
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LEVEL 1 PLAN 1. ENTRANCE FROM PARK 1:200
2. LIFT 3. FIRE ESCAPE STAIR 4. ATRIUM OVERLOOKING RESTAURANT 5. THEATRE 6. CHILDRENS LIBRARY 7. COMPUTER WORKDESKS 8. LOUNGE AREA 9. MODEL PLANE 10. STORAGE ROOM
11. 12. 13. 14. 15.
SERVICE RISER STAIRS TO LEVEL 0 DISABLED W/C MALE AND FEMALE W/C EXTERIOR CENTRAL WALKWAY
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LEVEL 0 PLAN 1. THEATRE 1:200
2. LIFT 3. FIRE ESCAPE STAIR 4. RESTAURANT AND BAR 5. LOUNGE AREA 6. LIBRARY 7. BOOK DEPOSIT KIOSK 8. KITCHEN 9. AUDIO ARCHIVE 10. MALE AND FEMAL W/C
11. DISBALED TOILET 12. RECEPTION DESK
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3.6 ELEVATION NORTH-EAST 1:200
ELEVATION NORTH-WEST 1:200
ELEVATION SOUTH-EAST 1:200
ELEVATION WEST 1:200
3.7 // INTERIOR VIEWS
VIew of St.Chads from the cafe, the library aims to reveal the key nodes surroundng the site.
The triple height atrium space in the library allows for interconnectivity between each floors.
3.8 // EXTERIOR VIEWS
North-East elevation of the library in winter from the boys school
South-East elevation of the library in summer approaching from quarry walk
Cruz, Alberto, in Pérez, Fernando. Churches of Modernity in Chile European and American precedents. Santiago: Editions ARQ, 1997. Page 178. Cullen, G. 1971. The Concise Townscape. London: The Architectural Press. Frascari, Marco. “The Tell-the-Tale Detail.” In Theorizing a New Agenda for Architecture, an Anthology of Architectural Theory 1965-1995, edited by Kate Nesbitt, 498-513. New York: Princeton Architectural Press, 1996. LEFAIVRE, L., & TZONIS, A. (2003). Critical regionalism: architecture and identity in a globalized world. Munich, Prestel. (photographs) Holmes, R., 2020. [image] Available at: <https://core.ac.uk/download/pdf/41798853.pdf> [Accessed 25 May 2020]. TANIZAKI, J. (1977). In praise of shadows. New Haven, Conn, Leete’s Island Books.
Technological Continuity in Architecture focuses heavily on the contextual understanding of a design project. Key design decisions have considered the contextual, social and historical layers of the site. My idea of relating the roof form to the surrounding context of the town by framing key vistas and continuing the roofscape of the town required me to think about the structural capabilities of materials used. To create a complex roof structure I had to develop a sound understanding of the process of reinforcing concrete and its structural capabilities. A technologies lecture by Allan Haines informed my understanding of concrete and its ability to create complex form. Another lecture by John Lee informed my understanding of how ornament is an expression of technological details, and how the ornamental qualities of a building which also tell the story of its function and history also inform us on its structural processes. This informed my understanding of detailing as I previously understood it to be entirely functional.
3.9 APPENDIX + CRITICAL
The framework and structure of Continuity in architecture is largely concerned with the historical, social and contextual factors that present challenges within the design process. Through the atelier’s seminar series of key theoretical readings, I was able to apply the theories concerned with the atelier’s design approach into my design project. A key design strategy was to frame the key views surrounding the site and to continue the main axis of town into the park. In doing so I was able to design my studio project with an understanding of the relationship between the buildings and people and buildings and their environment. From a critical standpoint, I believe that my misunderstanding of many of the theories has inhibited my design process and that when later understanding the key readings I can apply the knowledge for my future design proposals.