Second Year Portfolio - Newcastle University - BA Architectural Studies

BA ARCHITECTURAL STUDIES - STAGE 2 - SESSION 2013/2014

ISOBEL EATON

CHARRETTE WEEK

PLACED, DISPLACED

CONTENTS

LIVING ON THE EDGE

CIVIC CENTRED

CROSSOVER

CONTENTS

(NON DESIGN WORK)

PLACE OF HOUSES

ARCHITECTURAL TECHNOLOGY - STRUCTURAL AND TECTONIC INTENT

ENVIRONMENTAL DESIGN AND SERVICES

ARCHITECTURAL TECHNOLOGY - ACCESS FOR ALL AND MEANS OF ESCAPE

YEAR DESIGN REPORT

OVERALL

much I have advanced with photoshop in comparison, and have since improved it. I

I am generally pleased with how this year has gone as I feel I have worked hard and improved hugely. My biggest improvement has been my computer skills as I am now quite competent at CAD and Photoshop, two programs I wouldn’t have touched last year. I also feel my modelling has improved as last year I thought it was my weakest element and this year my models have been one of the strongest parts of each scheme. I have learnt that I should always do my technical drawings in the computer as I don’t think I am neat enough to hand draw and CAD is often a lot quicker. My biggest challenge this year has presentation for the final crits, it nearly always dragging down my grade. For the last project I used the computer and printed large sheets and I think I will always do this from

was very keen to have good presentation boards as in the past I have always been let

now on as it is neater and easier to organise.

cladding. Unfortunately, I ran out of time to completely finish my boards which left them

CHARRETTE

quite messy in places. I also had handwritten titles which my tutor was not a fan of and I

I was initially pleased to be in this charrette as it seemed more of the more interesting ones, however, I am not sure I got as much out of it as I might have if I were in another group. We were all

think some black borders or something similar would have helped hugely. In some ways I

down by my presentation. This was the first time I had attempted diagrams to help explain a scheme and found them incredibly useful to help get my ideas and concepts across as well as acting as brilliant visual aids when talking through your design in a crit.

I also produced a concept strip which again helped to explain my design and prompted me to start with my main points. My plans were fine but I hand drew them on tracing paper and my render especially was quite smudgy. My sections and elevation, however, were quite successful I thought and I was really proud of the detail I included in the pallet

was pleased as I think my boards were well ordered but I know from speaking to my tutor

working towards an individual aim and I got on well with the other second years so I didn’t mix with other year groups or get to meet anyone new. I was , however, pleased with my final result as

I was moderated down for poor presentation so I am very disappointed about that. I have

although my costume was unattractive, it was completely functional and waterproof.

represented all of my work since the crit and am confident the scheme now comes

PLACED DISPLACED

across a lot better.

I was pleased with my concept for this design as it was basic but gave the opportunity to make a series of small design decisions making the final solution quite complex. I was also pleased with my model because I felt it was very neat and showed off my design well. It was described as ’inviting’ which I was really proud of. The plans I produced were neat and clear but not particularly interesting. I have since rendered them slightly and I think it did improve them as well as making an aspect of my concept clearer. My section was reasonable but I should have done it at a larger scale to show more detail. My elevation was quite poor as it was too basic and the timber rendering was not at all to scale. I have since redone it and although it is still quite basic, I think it is a lot more effective. My largest problem with this project was my presentation as I made boards which I felt looked quite immature compared to others’. I also made a few major mistakes like cutting images in half to fit onto the board rather than designing my boards around the images. I have since represented and I think the whole scheme comes across better.

CIVIC CENTRED

LIVING ON THE EDGE

I feel like this was my worst project as my design was under developed , leaving the exterior unattractive, some serious lighting issues, and messy interiors. I was unwell early on in the project and I feel the missed time contributed to me never really getting into it. I did, however, like my initial concept of gaps in the form and feel if I had had a few more weeks, my design could have been quite successful.

This project was incredibly useful for learning software as I used CAD for all my plans and I printed boards rather than cutting and sticking for the first time. This meant my final presentation boards were neat, well ordered and finished for the first time this year. I feel like my use of diagrams has improved but I definitely need to get better at doing them on the computer in future. Again, I feel like my model was one of the stronger elements of the scheme as it showed my design well, including my landscaping and produced some

This was my favourite and best project of the year. I feel like my design was well resolved and reasoned with a strong concept and a creative appearance. I was particularly keen on my concept of upcycling and with the layout of the interiors.

decent photos.

I made three final models at differing scales which I feel was a very useful process as

I was not keen on this project as I don’t feel it was long enough to create a finished de-

each one showed a different aspect of my design. The 1:500 showed the basic fluid

sign and I work very differently to others in my group so we struggled to reach a compro-

shape of my design and the 1:100 showed everything in much more detail. I made the

mise that was also a satisfactory design. I wasn’t very keen on our final design because I

1:200 of all three sites to show how I landscaped the overall area which I feel was suc-

don’t feel it hit the brief or was as creative as it could have been, however, I was very

cessful, especially as it fit into our group site model. Apart from that model, however, I

disappointed with our final grade as some of the work we produced was not bad. I pro-

didn’t present enough information about how my design fits into the wider site so I have

duced the technical drawings, the diagrams and the presentation boards at the end. I

since produced several pieces of work to help explain that further. One of these was a

was pleased with the section as I feel it was attractive and showed the design well and

photomontage I produced as my improved piece of work, but on reflection I realised how

the diagrams were useful at explaining our concept.

CROSSOVER

* NEW WORK IS MARKED WITH AN ASTERIX AND NOTATED AT THE BOTTOM OF THE PAGE

IMPROVEMENTS

PLACED DISPLACED 

New Diagram

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Rendered Plans

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NEW ELEVATION

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NEW MODEL PHOTOS

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PRESENTATION

LIVING ON THE EDGE 

THE SITE PAGE

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PHOTOMONTAGE

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Rendered Plans

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PRESENTATION

CIVIC CENTRED 

REDESIGNED THE GLAZING SYSTEM

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Updated Plans to New Glazing System

CHARRETTE WEEK

My charrette project was based on a post-apocalyptic world. Our

DESIGN AND FINAL OUTCOME

task was to design an outfit that would help us to survive in a specific category. My category was water so I wanted to design an outfit that would collect and store rain water.

INITIAL SKETCHES

Funnels to collect rain water

FINAL DESIGN

Tubes to create a fountain effect

FINAL OUTCOME

DISPLACED

PLACED

My concept for this scheme is all about changeable spaces. Most of the furniture is moveable, either because it can slide, or because it is on wheels. The concept sketch to the right represents the different positions for each piece of furniture. It was inspired by an image produced by Sarah Wigglesworth showing the increasing disorder at the dining table (shown be-

CHANGEABLE SPACES

low).

The diagram below shows the plans for my design with the moveable furniture highlighted. There are two moveable cabinets on each floor which as well as providing storage and display space, also can be used as partitions to change the space further.

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GROUND FLOOR PLAN

FIRST FLOOR PLAN

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New Diagram

There is a strip of timber flooring that runs through both floors and is also reflected on the faรงade. This represents the fixed elements of the design contrasting the changeable nature of the other half of the house.

PLANS

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GROUND FLOOR PLAN

FIRST FLOOR PLAN

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My plans are hand drawn but I have scanned them in and rendered them since the final crit.

CHANGEABLE SPACES

These plans show some of the layouts that I imagine would be used for varying situations.

WINTER

GUEST

SUMMER

PARTY

SECTION

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ELEVATION

FACADES

FRONT FACADE

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I have redone the elevation since the final crit.

BACK FACADE

INTERIORS

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These are new model photos /photomontages

ON THE EDGE

LIVING

REFURBISHING THE EXISTING SITE MAIN CONCEPT My main concept for this project was upcycling. I felt it fit into the local area well, as it is an area on the rise with an artistic community. My workshop would be furniture building and the underlying theme would be to upcycle existing furniture. I was also very keen to use the existing buildings on the site within my design in a creative way that might bring new life to them.

PRECEDENT I took initial inspiration to refurbish the site from a local building; The Toffee Factory. It has had many uses and is a historic building in the Ouseburn. It was refurbished in 2011 and is now an attractive and successful space.

THE EXISTING MATERIALS The existing buildings on site currently have several interesting elements but as a whole are unattractive, so after some consideration I decided to dismantle them and use their raw materials.

I would also use any materials from the unused boats at the site and any others that might be donated.

STRUCTURAL SCULPTURE Once I had decided to dismantle the existing buildings, I quickly became interested in creating a structural sculpture of some kind. I wanted the use of these materials to be visible from street level and eye-catching in a way that might invite the public into the exhibition space.

UPCYCLING

I initially experimented with stacking the materials to create a tower of some sort.

I then moved on to wanting to create a frame work for the materials to be displayed on which could become the exhibition space. The materials could be used as and when they were wanted, to help the students to create the space they design. It would help them to personalise their surroundings, increasing their feelings of home and sense of achievement.

I came up with a set of steel frames that materials could be hung from, stacked on top of, piled around, etc. They are also arranged in such a way that gives the occupants an opportunity to create routes through, or open spaces, depending on what they want to achieve from the specific exhibition.

I decided not to depict any uses for the space as the idea is that everyone would imagine the space differently. By showing examples, their interpretation of the space would become limited and the principle behind the concept would be lost.

USING RECYCLED MATERIALS I decided to clad my workshop in an interesting recycled material to continue my upcycling theme, which would create a striking visual that would be seen from street level.

I researched the Watts Towers as they use a wide variety of recycled materials and as a design is definitely very striking.

I decided upon using old wooden pallets as they have an interesting texture inside and out. This is the manifesto house by James and Mau architecture. It shows well how I

UPCYCLING

envisage my cladding might look.

They also create interesting light patterns throughout the interior, which I furthered by arranging them in such a way that the positioning of the pallets dictated the glazing areas.

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2.

1.

Lime Street

River

3.

1.

Each Bedroom has a view along the river, not just across it.

2.

Partie diagram showing how above Lime Street level, the scheme is public and eye-catching and below, it is private and subtle.

3.

The light tunnels take light from above Lime Street and take it to the lower storeys.

4.

Each set of users have separate and defined entrances.

DIAGRAMS

Lime Street

4.

River

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Re-done diagram.

SURROUNDING AREA

SITE B

THE SITE

AERIAL PHOTOMONTAGE

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EVERYTHING ON THIS PAGE IS NEW WORK

PHOTOMONTAGE *

* NEW WORK

THIRD FLOOR PLAN

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Original plans but have been rendered to show exterior timber decking and type font added since the final crit.

SECOND FLOOR PLAN

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Original plans but have been rendered to show exterior timber decking and type font added since the final crit.

FIRST FLOOR PLAN

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Original plans but have been rendered to show exterior timber decking and type font added since the final crit.

GROUND FLOOR PLAN

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Original plans but have been rendered to show exterior timber decking and type font added since the final crit.

SECTION A

SECTION B

ELEVATION

1:200 MODEL

1:100 MODEL

1:100 MODEL

CIVIC CENTRED

SITE A LIBRARY/GOVERNMENT

LIBRARY/GOVERNMENT I decided to design a library and government building because I felt that they complimented each other well. I wanted to create spaces that felt accessible to all and that were centred around Tynemouth and it’s merits.

THE SITE I initially chose site A because it is situated slightly away from the town. This meant that the approach to the site felt calm and reflective, which would put people in the right mind set to read in the library or discuss local issues. Also, it showcases Tynemouth's natural and historical value well. It is surrounded by interesting rock formations, has views of the pier and is overlooked by the monastery.

The site for my scheme is actually located slightly to the west of site A in order to engage with the cliff face which inspired my design. I created a public space surrounded by the intriguing rock formation and a link down to the beach, while keeping a route through the site to the pier.

ROCK FORMATION

SITE LOCATION

DESIGN PROCESS The form for this design came from the initial concept of creating gaps through it like a crevice through rock. I started with a cuboid and split it into four blocks to create these gaps. I then rotated them to maximise the views through them and to make the most of the south light; the sun shines through the gaps at mid-morning. Lastly the form developed in order to bring

GAPS IN THE FORM

people into the building or to lead them through the gaps between them.

GAPS BETWEEN THE FORMS

CONCEPT SKETCH

MATERIALITY The exterior would be polished concrete and glass, sometimes with the glass overlapping the exterior. I imagine the finished materiality to be similar to the precedent shown below; The Razor Residence by W. Cunningham.

PRECEDENT This is the Wing Buildings by Bjarke Ingles. I liked the way the two form interact and wanted my forms to react in a similar way. I was also interested in how they used the space in between.

INTERIOR ROUTES I wanted there to be alternative routes through my design so there would be various ways to get to each space. This helped to make all of the elements feel connected and especially the government spaces felt

more

accessible. There

are

brides between each form to allow people to travel from space to

ALTERNATIVE ROUTES

space with ease. To make this clearer, I arranged them in such a

SECTIONAL ROUTES DIAGRAM

way so that on the first floor you

Debating

can stand in the first block and be able to see through the bridges to

Chamber

the last block. The bridges are also glass so could also be used as viewing points.

Book Stack CONCEPT SKETCH

Meeting Rooms

Admin Office and This represents my initial idea of intricate routes inspired by rock formations.

Storage

Book Stack

Cafe

Children’s Book

Mayor’s Office

Stack

and Classroom

Reception and

Crèche

Waiting Area

DIAGRAMS AND SITE MAP

VIEWS OUT AND SUN PATH

ROUTES THROUGH THE SITE

The views through the gaps in the forms are aimed out towards the sea. You would also be able

The main route through the site is through the large main gap and then either down to the

to see the ends of both piers. The sun would light the gaps at most parts of the day but would

beach or through to the pier. There are also routes through the other gaps but I imagine

be best mid - morning.

these would be mainly used by specific users, not the general public.

SITE MAP

1:100 MODEL

ROOF PLAN

SECOND FLOOR PLAN

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I have added a considerable amount of glazing.

FIRST FLOOR PLAN

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I have added a considerable amount of glazing.

GROUND FLOOR PLAN

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I have added a considerable amount of glazing.

SHORT SECTION

LONG SECTION

LEADING PEOPLE INTO THE ENTRANCE As I have four separate forms it was not immediately obvious which block is the main entrance. I developed the design by rotating the blocks so the entrance block (the third one) is the most visible from the approach. I also created and over hang above the entrance and glazed the whole area of wall. This is particularly effective as it is the only glazing on that side of the

VIEW OF THE APPROACH

design.

PHOTOMONTAGE

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A large criticism with my design was that there wasn’t enough glazing. The spaces would have been dark and I wasn’t taking advantage of the views out towards the sea. Also it was negatively effecting the appearance of the general exterior. Since the final crit I have added a large amount of glazing to correct these problems and I am pleased with the result. There would now be views out to sea from most areas, sufficient lighting in all spaces, and the exterior has improved tremendously.

IMPROVED DESIGN

INCREASED GLAZING

ORIGINAL DESIGN

ORIGINAL DESIGN

IMPROVED DESIGN

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I HAVE REDESIGNED THE GLAZING SYSTEM AND PRODUCED NEW IMAGES TO DEMONSTRATE THIS.

CROSSOVER

ROUTES AND COMMUNITY TIES

CONCEPT From the start we were very keen to create a design that would be completely integrated within the local community. We thought a good way to achieve this would be to create routes and paths running through our site that led seamlessly into the routes surrounding them. We created various separate forms, each with it’s own purpose, for these routes to run between and around. We also wanted for most areas of our design to be bike accessible and this led to the routes we created being very fluid and spacious between each form. Following on from our ideas of inclusion and fluidity, we decided it would be ideal to design a structure which bike storage could be integrated in to. We achieved this by storing the bikes in the gaps between each panel making up the structure of each form.

ROUTES

VIEWS

BIKE ACCESSIBLE

We wanted to design different routes for the differing users

In order to continue the feelings of community ties

The routes we created are spacious with room for several

of the site. Commuters should have as direct a route as

we wanted to create a central space from which

bikes to pass each other at any one time. There are also no

possible, the footballers and the general public should be

you could see into every form. This made each

sharp turns and the ground is as level as possible.

integrated more with the playing fields, and the mountain

space feel more accessible and connected to the

bikers have a separate route so as to least disrupt their bike

overall atmosphere.

ride.

INTEGRATING BIKE STORAGE AND STRUCTURE

GROUND FLOOR PLAN

BUILDING KEY

MATERIALITY

MATERIALITY KEY

1 - Reception and Bicycle Workshop

Each form has a different timber cladding to give it a unique identity, but as they are all timber there is still a unity there. The six different timbers we chose to use are grown and available in Britain; Oak, Scots Pine and Silver Birchwood are native, while Larch Cedar and Douglas Fir were introduced to Britain between the seventeenth and nineteenth century. We chose the cladding for each form so as to best represent the atmosphere inside it.

1 - Scots Pine

2 - CafÊ 3 – Football Home and Away Changing Rooms and Public Space 4 - Main Bicycle Storage Area 5 - Male and Female Commuter Changing Rooms 6 - Mountain Bike Storage Area

2 - Douglas Fir 3 - Cedar 4 - Oak 5 - Larch 6 - Birch

SECTION/ELEVATION

INTERIOR PHOTOMONTAGES

ROOF STRUCTURE

BEAM (ROOF SUPPORT) CENTRAL POSTS/LIGHT

STRUCTURE

WELL SUPPORTS

FAÇADE PANELS

POST (ROOF/ FAÇADE SUPPORT)

HUBS AROUND THE CITY

NON DESIGN

16.

key factor, it could be that feeling at home is a state of mind; if you need a certain place to be your home for a period of time then you can make that so. Either way it is probably correct to say that all long term occupants will have a sense of familiarity with the space so at least an ‘essence of the notion of home’ is achieved.

Home Away From Home?

It is generally agreed that people feel better in an environment that they find pleasing, so it follows that institutions such as hospitals should aim to create such an environment for their occupants. Is it possible, however, for such places to actually create a feeling of home, or does an institution, almost by definition, exactly oppose these feelings?

Bachelard has written that ’all really inhabited space bears the essence of the notions of home’1. In this essay I will be discussing to what extent, if at all, this is true and what techniques and theories are used to try to create the notion of home in such spaces. I will be looking specifically at the James Cook University Hospital and testing these theories against our generally perceived opinions of what a home really is.

The James Cook University Hospital is in Middlesbrough and claims to be ‘one of Europe’s most modern hospitals’2. Medically, I can’t comment on the truth of this claim but, architecturally, its design brief definitely had some very modern ideas, especially on the type of atmosphere they were looking to create. It included the phrase ‘to humanise the inhospitable hospital’3, which it could be argued suggests the keenness to create a ‘human’ and therefore potentially homely environment but I would argue that this is a bit of a leap. The word ‘humanise’ suggests the clinical and almost mechanical atmosphere of existing hospitals and the want to bring them back to something relatable to people, but just because a space is more ‘human’, does it

then follow that it is homely? On a sliding scale between cold and emotionless spaces and the spaces we would call home, humanising a building would definitely be a step along this scale, but that is not necessarily to say that it would be enough to make feelings of home possible.

One of the ways suggested in order to ‘humanise’ the hospital was to use ‘memorable surroundings’4 and an example of this is shown if you look at the hospital entrance. The use of sculpture and the way it is laid out is definitely memorable but I’m not sure it has done anything to humanise the building, in fact it may well have done exactly the opposite.

18.

There is a theory that having pride is important when it comes to feeling at home.

This is shown well in a quote from Steinbeck’s Cannery Row; ‘and with pride, the Palace became home’5, which Dovey then comments on, saying ‘there was a transition from [a] […] rational attitude to one of love, care and concern.’6 It follows then that creating a striking entrance to James Cook may make people care more for it, as they would want to feel a part of something that they consider to be great. Alternatively, there is the argument that scale is very important when it comes to feeling at home. Dovey writes about having ‘a familiarity with certain spatial patterns’7, meaning, in a sense, that for most people a large and imposing space, no matter how attractive, would be daunting and not a space they would feel connected to, not a space they would feel at home in.

In this case the two arguments almost entirely contradict each other as it would be difficult to create a memorable and attractive space, fitting to an important building such as a hospital, and also give it the sense of scale that most of the occupants would be able to relate to.

As demonstrated in the entrance, the new build includes a lot of ‘integrated public art works’8, based on the idea that ‘positive distractions/stimulation=positive psychological effect’9. This as a theory is

generally agreed to be true; people react well to attractive and interesting things to look at, however, art in the home is often a sign of personal taste and used as a way to make your mark on a space.

Bachelard wrote that ‘an empty shell, like an empty nest, invites day-dreams of refuge.’10 It could be argued that this means that people want to find a home in somewhere blank; somewhere they can make their own personal home. If that is the case then perhaps by decorating a room, you are reminding the occupant that it is not their space, as someone else has already made their mark on it.

Of course, to some extent, people staying for a long period in a non-domestic space will always be able to personalise it by moving in some of their possessions and personal decorations, however, control over the space is not something they will ever have. Dovey claims that a feeling of home requires ‘control, freedom, and a security of tenure’11 which I would argue is not something you can ever have in a non-domestic space. In most cases, the occupants are aware that it is not their permanent home and do not have the authority to make basic decisions about the space; what pictures to hang, the colour of the walls, often even the layout of the furniture. A member of staff at James Cook is quoted talking about how they aren’t allowed to put pictures up on the walls in the new build due to regulations.

He says ‘the building is only rented…so how that’s going to work I’ve no idea as yet.’12 It is the lack of control that they will h a v e o v e r their surroundings that really seems to be concerning him. I would argue that it is very difficult to really feel at home in any space that you are unable to make rudimentary decisions about.

considered bizarre. It is definitely a valid aim, as if you create a space that people feel comfortable and relaxed in they may well feel more at home, however, there is also for most people, an element of disor-

19.

der and sometimes even chaos to their home which makes a home lived in, rather than just a show home. Dovey agrees with this principle when she says ‘many people are more at home among their own ‘disorder’ than within someone else’s order.’13 In a hospital, or actually, most non-domestic spaces, there needs to be a sense of order to give people confidence in the place, but, by creating such a space you are losing out on a sense of familiarity that might come from somewhere less planned. In this case, although tranquil spaces are probably more pleasant and appropriate, I would argue that in aiming to create such a space you are making it harder for people to feel at home.

Familiarity can mean someone associating with a certain aspect of a place but also, and probably more commonly, it can mean an emotional connection and a knowledge of a specific place; people often wouldn’t feel at home in a new house as soon as they move in, it takes time. In non-domestic spaces people can stay for varying lengths of time and it seems obvious, then, to conclude that people who stay there longer feel more familiar and so more at home regardless of the form of the space itself. Alternatively, Ballantyne wrote that ‘The house shifts its role and what we ask it to do, according to what is going on at the time.’14 In that strain of thinking is it possible that non- domestic spaces, such as hospitals, also shift their roles to what people need or want them to be? And in that case, maybe instead of it being the amount of time spent in a place being the

‘Like fibres in a rope, each property lends strength to the meaning of home.’

Judging by many of the design decisions in James Cook, such as creamy coloured walls and integration of internal and ex-

ternal spaces, the hospital was aiming to create a calm and tranquil atmosphere.

This seems to be the atmosphere that most non-domestic spaces aim for; anything to the contrary would probably be

Feeling at home is a state of mind that comes from many different factors. This is well described by Dovey when she says ‘like fibres in a rope, each property lends strength to the meaning of home.’15 When it comes to non-domestic spaces, it is generally difficult to encourage a complete feeling of home because not all strands are possible and often one strand may contradict another. Putting a picture on a wall makes a space more furnished but can remind occupants of their lack of control there; an attractive and memorable space gives a feeling of pride while it may also be daunting and less relatable; order creates an enjoyable space while disorder may be more familiar; and the list continues. Non-domestic spaces will always have a purpose, and have to cater to a varying group of people. This sets certain limits on how at home people may feel because function, practicality and a sense of appropriation must come first, and stylising a space too much may alienate more people than it endears. For these reasons I would argue that while ‘notions of home’ are definitely possible, and they come in a variety of ways, they will also always be limited. Home can, in most circumstances, not exist beyond the domestic sphere.

In most cases, creating a notion of home should not be the main aim and more focus should be spent creating a pleasant and inviting environment for people to spend time in until they can return to their actual home.

References 1.

G. Bachelard, The Poetics of Space (New York: Orion Press,1964), p. 5

2.

South Tees Hospitals NHS Foundation Trust. (2014). The James Cook University Hospital. Available: http:// southtees.nhs.uk/hospitals/jamescook/. Last accessed 13th Jan 2014.

3.

P. Kellett, Lecture 7: Institutional Home: at home in hospital?

(Newcastle University: Blackboard) slide 5

4.

P. Kellett, Lecture 7 , slide 5

5.

J. Steinbeck, Cannery Row (New York: The Viking Press,1954), p. 23

6.

K. Dovey, Home and Homelessness, in: I. Altman and C. M. Werner (eds.), Environments, Human Behaviour and Environments, Advances in Theory and Research Vol. 8. (New York: Plenum Press, 1985), p. 50

7.

K. Dovey, Home and Homelessness, p.

37

8.

P. Kellett, Lecture 7 , slide 5

9.

P. Kellett, Lecture 7 , slide 5

10.

G. Bachelard, The Poetics of Space, p.

107

11.

K. Dovey, Home and Homelessness, p.54

12.

P. Kellett, Lecture 7 , slide 21

13.

K. Dovey, Home and Homelessness, p.

37-38

14.

A. Ballantyne, Architecture Theory: A Reader in Philosophy and Culture (London: Continuum, 2005) p. 233

15.

K. Dovey, Home and Homelessness, p.51

Images 16.

Original Image, pencil drawing

17.

Original Image, pencil drawing

18.

P. Kellett, Lecture 7: Institutional Home: at home in hospital?

(Newcastle University: Blackboard) slide 9

19.

P. Kellett, Lecture 7 slide 28

17.

The Place of Houses ARC 2023 Word Count : 1482

Isobel Eaton 120087440

Isobel Eaton: 120087440 ARC 2009 Technology Living on the Edge - Site B

Structural Diagrams:

My design is made up of two main structures; steel frame and timber frame. The part that is street level is steel frame and therefore everything below it is also steel frame. The part below street level however, would be finished with timber and would appear to be exactly

Overall Structure

the same as the timber frame structure that sits next to it that it runs into. The back wall below street level is a retaining wall so actually that whole wall would be concrete as timber would rot if placed in direct contact with the earth.

Steel Frame

Street Level

Retaining wall

Steel Frame with Timber Finish Timber Frame

Structural Diagrams: Primary Structure

Steel I Bars

Concrete Retaining Wall

Timber Frame

Structural Diagrams: Steel Joists make up the Roof Structure

Secondary Structure

Steel Joists make up the Flooring

Timber Joists make up the Roof Structure

Concrete Flooring

Timber Joists make up the Flooring

Structural Diagrams: Tertiary Structure

Steel frame construc on above street level would be glazed on the walls and roof Steel Frame Flooring Timber deck

Timber wall structure in between steel frame – only needs to support itself Timber Flooring

Timber Sheathing

Tectonic Intent:

1

Junction

Wall Section 1:20 Construction My design is based around the idea of up-cycling so most of my material choices reflected that. The main body of my design is timber framed and cladded largely because timber is a very sustainable material. I decided to use Beech because it can be locally sourced from Jesmond Dean and this makes it an even more sustainable choice. This also suited the aims I had for this part of the building because I wanted it to be quite subtle and delicate; I felt a pale timber was the easiest way to achieve that. Contrastingly, the other part of my design is a large steel structure which is mainly glass and then clad with recycled materials. I decided to have a steel frame building at street level partly because other materials would struggle to support my design but also because it is a very modern and almost industrial material that completely contrasts with the natural feel of the storeys below. As it is situated on top of part of the timber structure, the steel frame has to run through it, all the way to the ground in order for its weight to be supported. This then means that the ‘timber structure’ below is now supported entirely by steel and only really finished with timber. It is important that the point where the steel structure runs into the timber structure in the lower parts of design is seamless and not visible once construction is complete.

Wall to Roof

2

Intermediate Floor Junction

3

Wall Openings: Head and Sill

4

Wall to Ground Floor Junctions and Foundations

Tectonic Intent: Wall Section 1:5 Sheathing Ver cal Timber Ba en to Support Cladding Plasterboard Horizontal Timber Ba en to Support Cladding

Vapour Control Layer Ven lated Cavity

Insula on Ver cal Timber Cladding

Breather Membrane

Structural Diagrams: 1 Wall to Roof Junction 1:10

Vapour Control Layer wrapped around insula on and overlapping with waterproofing sheet

Waterproofing sheet runs over the vapour control layer and tucks under the caps at each end of the roof

Timber Deck

Steel Cap Tightly Packed Insula on

Timber ba ens to support junc on Vapour Control Layer in Wall con nues into Ceiling Insula on Timber Joists

Plasterboard to make the Ceiling

Blue arrows indicate the placement of the sealant.

Structural Diagrams: Wall Openings: Window Head 1:5

Timber Lintels ‐ should be approved by an official mber frame supplier

Fire Insulate Vapour Control Layer bends round to meet window joint Compressible Filler Plasterboard follows round to meet window joint Cavity Tray leaves the construc on underneath the cladding

Tightly packed Insula on at the window reveal Triple Glazing Air ghtness Tape.

Blue arrows indicate the placement of the sealant.

Structural Diagrams: Wall Openings: Window Sill1:5 Triple Glazing

Allows water run off

Compressible Filler

Solid Sill

Drainage

Tightly packed Insula on at the window reveal Plasterboard follows round to meet window joint

Breather Membrane and Vapour Control Layer overlap

Structural Diagrams: Intermediate Floor Junction 1:10 Gap for mber to expand and contract

Timber flooring

Timber stud Insula on

Plasterboard for Ceiling

Vapour Control Layer bends around mber stud and back to the internal wall

Structural Diagrams:

Wall to Ground Floor Junction 1:10 Breather Membrane bends under mber studs (on top of waterproofing)

Gap for mber to expand and contract

Insula on

Slippage Sheet Waterproofing runs under concrete, up and over concrete blocks under the main wall structure External Ground Level

Timber Flooring Vapour control Layer from Wall bends under Insula on Concrete Slab Sand Blinding

Sand Infill Sub‐base Concrete blocks Concrete Founda on

Sustainability Ratings:

U - Values:

External Wall 0.098 W/m²K Retaining Wall 0.071 W/m²K

BRE Green Guide

External Wall A+

Ground Floor 0.067 W/m²K

Internal Wall A+

Intermediate Floor A+

Sustainability Ratings: BRE Green Guide

Roof A+

Internal Wall A+

Ground Floor A+

ENVIRONMENTAL DESIGN AND SERVICES COURSEWORK MODULE CODE: ARC 2010

ISOBEL EATON STUDENT NUMBER: 120087440

ENERGY STRATEGY: CONSTRUCTION AND MATERIALS The Tutor’s flat is situated on the ground floor with a floor above it belonging to the residents. The back wall is buried into the site so has a concrete block construction while the other three external walls are timber construction with glazed areas.

The External Walls The external walls that aren’t buried will be a standard timber frame construction. In order to make the build more sustainable, they should be well insulated to avoid heat loss; this will prevent occupants using unnecessary energy. This is an exploded wall diagram:

conductivity of 0.15 W/mK. however, it is locally sourced which is more sustainable and is a lighter shade so fits more with how I wanted my building to look so that is the one I would choose.

Materials External Boundary Cladding: Beech Ventilated Cavity Breather Membrane: Permafol fire proof membrane Sheathing: Beech Insulation: Cellotex Plasterboard: Kingspan kooltherm k17 Internal Boundary

Conductivity (W/mK) 0.15 0.033

Thickness (m) 0.12 0.01

R-Value (m²K/W) 0.04 0.80 0.17 0.30

0.15 0.021 0.021

0.06 0.15 0.025

0.40 7.14 1.19

-

-

0.13

R-Value = 12.27 m²K/W U-Value = 0.098W/m²K This meets the Association for Environment Conscious Building’s Gold Standard.

The Buried Walls The internal plasterboard is often standard gypsum which has a thermal conductivity of 0.19 W/mK. Ideally this value should be as low as possible to retain the most heat. I also found an insulated plasterboard; the Kingspan kooltherm k17, which has a conductivity of 0.021 W/mK which is much lower than the standard. It also has a few other advantages such as a vapour control layer included and it has a class 0 fire rating. For these reasons I would use this.

For the insulation there are a lot of options. One is Rockwool which has a conductivity of 0.034 W/mK while Steicoflex has a conductivity of 0.038.

The one I would use however is Cellotex which has a conductivity of 0.021 W/mK. As well as it having the lowest conductivity it also achieved a class 0 fire performance and achieved an A+ rating when compared to the BRE Green Guide.

Timber framing is usually made from soft woods. My design also has timber cladding and I would want to use the same material for both. Cedar has a conductivity of 0.11W/mK and Douglas Fir is 0.12W/mK .Beech has a

One whole side of the construction is buried into the site which should actually help to prevent heat loss. This is called earth-bunding (where a thermally significant element insulates one or more of the sheltered elevations). So long as the insulation and water-proofing is sufficient, by using the thermal mass of the earth, it should be a successful method to store heat and so cut down on energy usage. This is an exploded wall diagram:

The main part of these walls is generally made from reinforced concrete. It is best to use lightweight concrete which gives a thermal conductivity of 0.1 – 0.3 W/mK, compared to dense which is 1.0 – 1.8 W/mK, however concrete is not very sustainable due to the large amount of carbon dioxide

it gives off so I looked elsewhere for a more environmentally friendly solution. Masterblock produce blocks that contain a minimum of 20% recycled materials and their ‘ultra’ blocks have a conductivity of 0.25 W/mK which fits into the lightweight concrete category. Aircrete is similar to concrete however it is made from up to 80% recycled materials as well as being durable, (well in excess of the Green Guide to Housing Specifications 60 year building life), impervious to rotting or burning, sulphates or the freeze/thaw cycles and can be recycled at the end of the buildings life. Low density aircrete has a thermal conductivity of 0.11 W/mK which is also relatively very low so for these reasons I would use this material over all others I have looked at.

The main insulation in this sort of construction is generally placed on the outside of the concrete and after the waterproof layers. If the insulation is porous one more waterproofing layer is added but if not then it is the outermost layer of the construction. This is because it protects the waterproof membrane against freeze damage and it is a more efficient way to keep heat in the building. To save materials I would use close-celled extruded polystyrene sheets which are non-porous so the extra waterproofing layer wouldn’t be necessary. A good example of this is Kingspan’s Styrozone which at the appropriate thickness, (≤ 120mm), has a conductivity of 0.029 W/mK. It is also unaffected by air infiltration and meets all of the fire regulations. Alternatively, Foamular XPS is particularly strong when it comes to blocking any transmission of water vapour and claims to be particularly good for perimeter and foundation applications. It also has a conductivity of 0.029 W/mK but it is more suitable so I would go with this one.

Generally, on the outside of the concrete there would be a waterproofing system consisting of a layer of emulsion waterproofing membrane, a heavy grade waterproof membrane and, finally, a liquid water sealant which is sprayed on. Paraphalt is a type of emulsion waterproofing membrane that is similar to liquid asphalt in the way it is produced, (liquid asphalt is a common waterproofing material). It has a conductivity of 0.43 W/mK. The middle membrane layer used is often polyethylene sheeting called EPDM which is also often used in ponds and swimming pools. It is heavy to work with and not very sustainable because it is made from petrochemicals. It

has a conductivity of 0.2 W/mK. Instead of using a combination of various layers I would use Bentonite clay which is a naturally occurring type of clay soil. It is natural and uses less material so is more sustainable and is also self-healing. It has a conductivity of 1.14 W/mK. Material External Boundary Insulation: Foamular XPS Waterproof Layer : Bentonite clay Block work: Aircrete Insulation: Cellotex Plasterboard: Kingspan kooltherm k17 Internal Boundary

Conductivity (W/mK) 0.029 0.2

Thickness (m)

R-Value (m²K/W)

0.08 0.015

0.04 2.76 0.075

0.11 0.021 0.021

0.3 0.15 0.025

2.72 7.14 1.19

-

-

0.13

R-Value = 14.10 m²K/W U-Value = 0.071 W/m²K This also meets the Association for Environment Conscious Building’s Gold Standard.

The Ground Floor The ground floor would have a concrete base with a timber floor above.

This is shown in an exploded diagram below.

For the sub-base I would use crushed recycled aggregate because it is more sustainable. The specific example that I found has 30% crushed glass which enriched the silica and so reduced the thermal conductivity to 1.1 W/mK. Instead of using Hard Core I would use Jabcore which has a conductivity of 0.036 W/mK compared to the standard 1.04 W/mK. The screed that is most suitable for my design is sand cement screed which has a conductivity of 1.1 W/mK. I would use the same timber and insulation as I have for the walls. The DPM is so thin its results would be negligible so I decided not to use it when calculating my final U-Value.

Material

Conductivity (W/mK)

Thickness (m)

External Boundary Sub Base: Crushed recycled aggregate Hard Core: Damp Proof Membrane Concrete: Aircrete Insulation: Cellotex Floor screed: Sand Cement Screed Timber Joist: Beech Timber Flooring: Beech Internal Boundary:

1.1

0.3

R-Value (m²K/W) 0.04 0.27

0.036 0.11 0.021

0.15 0.00025 0.3 0.15

4.2 negligible 2.72 7.14

1.1

75

0.07

0.15 0.15 -

0.2 0.1 -

1.33 0.4 0.13

R-Value = 14.97 m²K/W U-Value = 0.067 This meets the Association for Environment Conscious Building’s Gold Standard.

The Glazing I have some quite large areas of glazing throughout my design so I decided to research options for glazing that would provide some insulation to cut down the amount of heat lost through the windows. Traditionally, glazing consists of a double skin of glass containing dry air, however using gases such as argon, xenon or krypton can greatly increase the thermal performance. Using triple glazing instead of double effectively adds another layer of insulation which would again increase the thermal performance of the window. You can also apply low emissivity coats to windows which reflect thermal radiation back into the building. I would use a triple clear glass system with two argon fills and two low emissivity coatings which would make the final UValue for my windows 0.8 W/m²K. To further increase the thermal performance of my glazing I would make sure to design out cold bridges, such as aluminium spacers surrounding the glazed units and widen the cavities between the two glass panes.

DAYLIGHTING Largely due to site constrictions the windows in my design are mainly orientated north and north-east. While the solar gain would not be as high as if I had south facing windows, it does mean that the space would have general north lighting throughout the day and over-heating in summer would not be an issue.

Approximately 15 % electrical consumption in the average household is electric lighting. The simplest way to reduce this is to use glazing to light spaces effectively so daylight is the main source of light. My design has a large open plan living area where the occupants would spend most of their time. I produced a Dialux model for this space to test the effectiveness of my glazing.

Figure 1.

Figure 1 shows my initial design for the glazing. A lot of the space is well lit at about 100 lux (the purple), however, the space near the main windows is too probably too bright.

Figure 2.

Figure 2 shows the Dialux model once I took out two windows and the space is lit a lot better. Most of the space is 100 lux which is optimal so this means that electrical lighting during the day will be limited. The area near the window is still a bit too bright, some areas exceeding 800 lux, so some sort of internal or external shading device may be needed.

ENERGY SOURCES By using materials and structures with lower thermal conductivity than the standard I managed to lower the U-Values for the walls, floor and glazing.

This helped the flat to retain as much heat as possible which then reduced the needs for space heating. These values helped to increase my SAP value to 85 and improved the percentage of DER over TER to 22% and so acheives a credit 4. These are not the only measures of the flats sustainability. I have also tried to use more sustainable materials, for example ones which are locally sourced or whose production is less harmful to the environment than the standard. Another way to measure the sustainablity of a dwelling is to look at its CO₂ it would produce when occupied. Below is a table showing the energy requirements and the resulting CO₂ emissions for my design.

Electricity for Pumps Electricity for Lighting Total Electricity

KWhr/year

Kg CO₂/year

Cost £

130 293 423

67 359 426

16 83 99

Heating System 5840 1156 181 Water Heating System 4453 882 138 Total Heating 10293 2038 319 In order to improve the energy strategy for my design I researched some alternative and more sustainable methods of providing energy.

Electrical Requirements Although my tutor’s flat is not situated in such a way that it would be able to catch south light, other parts of my design are perfectly situated. There is a very large south facing area (about 64m²) which could hold a large number of solar panels. Also aesthetically, this would not be a problem as the cladding is a patchwork of recycled pallets so the solar panels may even complement the design. The electricity generated from there could then be used by the occupants of the tutor’s flat.

Solar panels turn sunlight in to electricity which can be fed into a mains supply.

They do this using photovotaic cells which are ideal for a locations such as Newcastle because they also work on overcast days. They should ideally be facing south so as to achieve the maximum solar gain and so generate the most electricity.

I would use UNI-SOLAR cells which have an output of 68 W and an area 430mm x 400mm. Approximately 25 solar panels would be plenty to provide for the tutor’s flat and would easily fit on my available area. If they are exposed to 5 hours of sunlight for 180 days a year with a total output of 1.7 kW, the yearly output would be 1530 kWhr. This is much higher than their annual usage so would be plenty.

Heating Requirements The solar panels that I would use to generate electricity would use up quite a small percentage of the available space. This means that I would also be able to install a solar water heating system to reduce the energy the occupants would need to heat their house. Solar water heating systems use solar panels called collectors which collect heat from the sun and uses it to heat up the water which is then stored in a hot water cylinder. As the flat is only for three people the recommended area for these solar panels is 3m² for the most cost effective system. I would use Baxi Solarflo which can produce up to 55% of the energy required to heat domestic hot water annually.

Isobel Eaton ARC 2009 Technology Assessment Access for All and Means of Escape

Isobel Eaton ARC 2009 Civic Centred Title Page 04/05/2014

Access For All

Means of Escape

DISABLED PARKING¹  There is a need to provide adequate parking so that people with disabilities can access the main entrance of the building as easily as possible. I would place 2 disabled parking spaces as near to the main entrance as is sensible for my design.  The space surrounding the parking spaces should be sufficient to enter, leave and circulate to the rear of the vehicle. This means it should have a 1200m accessibility zone between, and a 1200mm safety zone on the vehicular side of, the parking bays.  The route from the parking spots should be as direct as possible, easy to navigate and completely level where possible. The path towards my main entrance is level, very direct and clear to follow.  The surface surrounding the parking space should be firm, durable and slip resistant.  It should be clearly signed as a disabled parking space.

CALCULATING THE OCCUPANCY LEVEL:⁵

WHEELCHAIR ACCESS FOR MAIN ENTRANCE²  Main entrances need to be clearly sign posted and easily recognisable  The entry route should provide weather protection, should not present a barrier for wheel chair users and prevent being a trip hazard. I will achieve this by providing a level landing of at least 1500 x 1500mm, clear of the door swings. Also the material used for the flooring will not impede the use of wheel chairs.  My design will include manually operated doors as these give the easiest wheel chair access and for people with limited physical dexterity. Sliding doors that react to sensors are the best as this cuts out the risks associated with automatic swing doors.  The doors must be wide enough to allow access to a variety of users including wheelchairs, people with buggies, people with assistance dogs, etc. As it is an external door to a new building used by the general public the minimum width for the door is 1000mm.  It should be possible to see other people approaching the door, allowing sufficient reaction time to avoid collisions. My entrance doors face directly into a straight space so this is feasible.

WHEELCHAIR ACCESS IN THE BUILDING³ 

My building is designed in a way to ease complete horizontal and vertical access to every part for a disabled person. One of the main ways I have tried to achieve this is by making sure there is enough to space to manoeuvre a wheel chair everywhere possible.  I have paid particular attention to the reception area as it is the first point of access. It is a reasonably open space with a clear route through to the lift and the main desk has a lower part to enable wheelchair access on both sides.  All floor surfaces within the building are slip resistant.  I have only included doors where necessary to create the easiest routes through. Where doors are necessary they would be activated by a button to aid people with limited upper body strength.  All storeys are reachable from a wheelchair accessible lift with dimensions 1500 x 1500mm.  All of my toilets allow disabled access to prevent users having to travel further to reach a toilet.

OTHER RELEVANT FACTORS⁴  In order to aid people with hearing impairments I have not used any screens which can sometimes impact on their ability to lip read.  All areas will be clearly signposted to help people move through the building easily. They will also be designed in such a way to aid the visually impaired.  Spaces will be designed to create visual contrasts between floors and ceilings to aid visually impaired people better understand their environment.  Lifts should allow adequate time for people with assistance dogs to enter and leave without colliding with the doors.  All stairs should have a visibility strip in a contrasting colour to aid visually impaired people navigate them.

Storey Room

Room Area (m²)

Floor Space Factor (m²/per person)

Occupant Capacity

2

Debating Chamber

80.01

0.5

160

Library Book Stack Area

45.42

7.0

6 Sub-Total: 166

1

Interview Rooms

32.76

1.0

32

Library Book Stack Area

79.74

7.0

11

Children’s Library Book Stack Area 50.23

7.0

7

Mayors Office

23.26

6.0

3

Classroom

28.55

1.0

28 Sub-Total: 80

0

Admin Office and Storage

37.60

6.0

6

Cafe

95.85

1.0

95

Reception and Waiting Area

33.59

1.0

33

Creche

53.04

2.3

23 Sub-Total: 157 Grand Total: 403

MINIUMUM ESCAPE ROUTE CORRIDOR AND DOOR OPENING WIDTH FOR EACH STOREY: As all of my storeys have a maximum capacity between 60 and 600 people, two escape routes per storey is required. Each escape route must differ in direction by 45° or more OR be separated from each other by fire resisting construction.⁶ The minimum corridor and door width in mm for the second floor is 1050, for the first floor is 850 and for the ground floor is 1050.

MINIMUM STAIR WIDTH FOR EACH STAIR: Staircases 2A and 2B are the two escape routes from the second storey. In order to calculate the minimum stair width, I have assumed that one of these would be unavailable in the event of a fire.⁷ Stair

Storey

Occupant Capacity

Floors Served

Minimum Stair Width (mm)

2A

2

166

1

1050

2B

2

166

1

1050

1A

1

246

2

1230

1B

1

246

2

1230

MINIMUM WIDTH FOR EACH FINAL EXIT: Exit Number

N = Number of People served

S = Stair Width

W = Minimum Exit Width (mm)

1 (Crèche)

23

0

750

2 (Reception Area)

279

1230

1034.1

3 (Café)

95

0

850

4 (Café)

95

0

850

5 (Admin Area)

252

1230

1023.3

Exits 2 and 5 serve the escape routes from storeys above and specific parts of the ground floor. I used the Formula: W = (N/2.5) + (60 x S/80) to get these results.⁸ Exits 1,3 and 4 serve solely specific Isobel Eaton ARC 2009 Civic Centred FOOTNOTES: 1 Approved Document Part M, 2010, page 20. 2 Approved Document Part M, 2010, pages 27 & 28. 3 Approved Document Part M, 2010, pages 33-38. 4 Approved Document Part M, 2010, pages 33-38. 5 Approved Document B, Written Page Vol.1 and Vol.2, page 135. 6 Approved Document B, Vol.1 and Vol.2, page 35. 7 Approved Document B, Vol.1 and Vol.2, page 37. 8 Approved Document B, Vol.1 and Vol.2, page 38.

04/05/2014

Site Development Plan

Isobel Eaton ARC 2009 Civic Centred Site Development Plan 04/05/2014 1:250

Second Floor Plan

Isobel Eaton ARC 2009 Civic Centred Second Floor Plan 04/05/2014 Scale: 1:200

First Floor Plan

Isobel Eaton ARC 2009 Civic Centred First Floor Plan 04/05/2014 Scale: 1:200

Ground Floor Plan

Isobel Eaton ARC 2009 Civic Centred Ground Floor Plan 04/05/2014 Scale: 1:200