The Gdansk Centre of Cinematography Thesis Project Joel Barnes
urban design abstract Poland joined the European Union in 2003, seeing many beneficial improvements to the lives of its citizens. A mass of infrastructure has been implemented across the Pomorskie region; the inauguration of world class institutes, excellent public transport was created and global companies began operating from the area as a result. However, the infrastructure of Gdansk is, like its population, fragmented. The devastation of World War Two left the city in ruins and its reanimation has led to sharp contrasts in building aesthetics and urbane landscapes. Recent issues with immigration has only compounded this issue of societal divide. Whilst Gdansk has the necessary infrastructure to thrive as a European port city, its younger population are migrating to Central Europe, resulting in a stagnating population, critically effecting its economy whilst damaging Gdansk’s societal image. This project aims to help restore the image of Gdansk and provide identity by providing the means to excel in industries that have a solid base in the city. Boosting the city’s already vast network of creative industries, we intend to densify the existing make up, concentrating these industries in the new development and provide a space for young professionals to be creative without restrictions. The aim is to create a place which is appealing to live and build a career while giving people opportunities they otherwise wouldn’t have.
preface
Modern cinema in Poland has decreased in its popularity for global consumption yet film and the development of the moving image has been integral to Polish culture since its conception. The urban design scheme aimed to restore a societal image of identity by boosting the city’s vast network of creative industries in an area of the city steeped in creative history. The proposition, a center for cinematography; combines a screen school, a cinema and a visual arts gallery. This synthesis of functions delivers a creative programme, one that preserves its historic significance, showcases national talent and is educates the creative minds of future generations.
gdansk urban design project centrum kreacji
Gdańsk becomes capital of Duchy of Pomerania 997 1224 1260 1308 1326 1350
------------------1614 -1627 -1655 -1709 ---------1734 -1742 ---------1871 -1887 -1896 -1899 -1900 -1901 -1918 -1919 -1920 -----------1965 -1970 -1972 -1980 -1982 -1989 ------------------ 1455 -- 1537 -- 1543 -- 1558 -------------- 1793 -- 1807 -- 1813 -- 1815 -- 1852 --------------- 1927 -- 1937 -- 1939 -- 1945 -- 1946 -- 1952 -- 1953 ---------------1993 --1994 --1998 --1999 --2002 --2004 ---
__ A BRIEF HISTORY HISTORICAL CONTEXT OF GDANSK St.Catherine's Church built 1326 997 1308
Teutonic takeover of Gdansk Franz Rhode sets up printing press
1537 1709 Buibonic plague
City becomes part of Prussia
1793 1896 1852
Old fortifications dismantled in North and West of city
Königliche Warf established.
Russians bomb Gdansk and take it from Nazi Germany
Westerplatte and the start of WW2
1939 Battle of
1945 Solidarity (Polish trade union) founded; Gdańsk Agreement signed
1980
During preparatory research on the region and the city, it was clear that a lot of development of Gdansk was due to the inclusion of Poland to the European Union in 2003. New projects, such as the Solidarity Centre and the Museum of The Second World War were examples that this city was an emerging cosmopolitan European city that was establishing itself on the map after a turbulent history.
Research into demographics and Gdansk’s economic sustainability was carried out, so to assess its key strengths and investment opportunities, as well as it weaknesses. Historically, Gdansk population trend fluctuated greatly. The end of the Second World War led 95% of Gdansk’s Pre-war population to be displaced, giving the following generations who returned a strange sense of missing identity. Following the war and the return of Polish independance, many people returned and the population has maintained a steady figure of 450,000. However, in the modern era, 15% of the tricity population is aged over 65. This is set to increase in the coming years, which will leave more and more people not in work, stagnating the economy.
Unemployment Rate
Gender Ratio
Approx. 212,500
Approx. 247,500
Under 24 Unemployment Rate
Investigations into the regions higher education facilities helped us better understand graduate statistics and employability for graduates and young people. Gdansk has outstanding academic facilities and has also begun to excel in the tech industry, however it continues to struggle to keep graduates from leaving after they have been trained and graduated. Through research, it was found that the creative industries sector already had a sizeable base in Gdansk, but is spread over a large area, most outside the city limits. Through substantial funding from the European Union of previous academic facilities, Gdansk has emerged economically a city of the future boasting a plethora of Technical and Creative Industries. This potential lies in the city planning’s ability to harness its creative excellence and to unify these industries.
68.2% of representatives of creative industries believe that concentration of industries into one single area would enhance the coopoeration within the creative industry secrtor and enable them to grow and improve. This could eventually result in international promulgation of the creative industries sector in the city and provide a valuable economic asset. Industries in biggest support of a Creative Industries Hub:-
82.5% of represetatives of Software companies 81.8% of representatives of Design companies 73.1% of representatives of Architecture practices
On visiting Gdansk, we identified a site north of the cultural quarter, which had been vacant for some time. There was considerate history surrounding the immediate area due to its proximity to the old dockyard, which ran along the Northern riverbank. This was a key area, we believed, for development. Firstly, it was perfectly located between the tourist centre of Gdansk, quickly becoming a popular destination year round, and the industrial and educational centres to the North West. Additionally, the land was most derelict and ripe for redevelopment, removing any challenges of demolition or renovation.
Industrial sector situated around the island of Gdansk Shipyard Educational Sector containing Gdansk University of Techonology, Medical University, University Hopsital and University Sports Centre Commerical and leisure sector loacted at the heart of the town centre
Our site which is located at the centre of a trifector of city hubs. As can be seen, the site has excellent transport connections on a wide scale however the infrastructure on site is barely existant. A new road has been constructed however which run on a right-angled course through the site. This road will become the spine of the developent as well as a new canal system. From this, the new development can be structured, emulating the successful urban fabric of the town centre.
Railyways Primary Roads Secondary Roads
URBAN DESIGN- NDSM Wharf: An Urban Strategy for Creative Culture CREATIVE INDUSTRIES Enterprise warehouses are in use by small, creative and socially responsible businesses. These are housed in temporary offices which until redeveloped in the near future are encouraged to operate out of the wharf. This inclusion is echoed around the entire area, promoting small, privately owned businesses whether it is a new media company or a coffee shop. PROTECTION OF HISTORICAL IMPORTANCE The Wharf has retained a lot of its original infrastructure to preserve Amsterdam’s vital industrious naval history. Inversely, the retention of these artefacts has proved useful in new projects and have led to wildly creative ventures. The colossal shipbuilding shed has become home to a Casco with work spaces for over 400 artists and new media startups, whilst also hosting one of the largest artistic ‘incubators’ in Holland, quickly gaining the title of ‘Kunststad’ (Art City) in the process. The dockyard has been left expansive and readily useable for large events such as festivals and music venues. MIXED DEVELOPMENT Described as a city within a city, NDSM-wharf contains all the components for that to be a reality. The ability to live and work in the area gives it a dynamic that can rarely be found in such a unique urban environment.
Master Plan Site Analysis The master Plan covers an area of Gdansk roughly measuring 1.1km2 with a mixture of vacant land and existing infrastructure. Using the process of Palimpsest, the original canal network was reinstated on the existing footprint, with additional canal ways connecting with the Motlawa near The Second World War Museum. Six separate ‘islands’ were created as a result, accessible by various bridges throughout the plan. Through analysis of Gdansk’s existing urban make up, a new rigid grid was placed over the area to aid travel by cutting commuting distance and enable clearer navigation the scheme.
The scheme provided a multitude of building typologies, but the heart of the scheme revolved around the new centre of Creative Industry, housed in the retained dockyard structures. They are positioned, juxtaposed between new industry to the south and existing waterfront property to the North. As this expands, the tourist sector may shift or expand towards the site and further influence the creative industries that operate there.
Economic Sustainability-
Social Sustainability-
Our Master Plan intends to create a new market of Creative Industries for an area for which there is demand for. A key factor in our economic model is to try create a platform for graduates in which to remain and boost internal economies instead of the economies of foreign cities. This model retains a younger population reinvigorating a local markets and encouraging the start of young families due to increased job opportunities and therefore promote sustainable economies due to the longevity of its intentions.
The social aspect of the site concern factors such as desirability, societal image, lifestyle alterations and densification of cultures. The Master Plan intends to provide new housing for thousands of people, on relatively cheap land, close to a city centre with strong transportation links. These incentives will attract a diverse range of cultures, something that Gdansk struggled with becoming part of the EU. Creative Industries would be the vehicle of economic and social desirability, creating a ‘sought after’ hotspot in Gdansk that would thrive given time.
Biodiverse and Sustainability-
Natural
The Master Plan ties in with existing and predicted sustainable projects that are happening both on a city and regional level. Even though the Master Plan’s primary factor is to stimulate economy, there will be intentions to implement sustainable strategies throughout the site such as; Waste management, flood risk prevention, air quality, biodiversity, green urban zones and reducing local cO2 emissions.
thesis design project
thesis development and research
motlawa river
existing buildings
demolished buildings
Implementation Strategy Phase 1 (2-3 years)
Phase 2 (5-15 years)
Phase 3 (5-10 years)
Initial development is funded 50% by the local authority, 50% applied for EU funding for infrastructure and flood alleviation on site. Canal and Boulevards developed to provide a framework for further development. Sewers and electric lines developed by local authority accordingly. U-Boat Warehouse renovated and converted for use as Starter Incubator with cheap rentable office spaces. Warehouses refurbished/made good where applicable, ready for reuse. Market developed at the east of the shipyard.
Major demolitions carried out across site and secondary roads linking the main road grid built by local authority and plots on central grid begin development. Developers given VAT exemption for development on central grid if they contribute a small percentage to cost of infrastructure on adjacent land. Local authority builds plots along the canal, including the Incubator square, boat park and retail square, and the offices around the two anchor buildings. These spaces are then rented out by the council, offering cheaper rates to companies within the creative industries. Remaining plots along the canal sold to developers for a slightly higher rate. Cultural center inception within the heart of the shipyard with additional program to bid for European Capital of Culture 2029. Creation of series of pavilions on neighbourhood site to support bid.
Gdansk wins European Capital of Culture bid. Plots on site continue to develop outward from the center in accordance with the framework. Library, university facilities, exhibition centre and hotel developed with partial funding from the Capital of Culture. Neighbourhood developed on remaining site inhabited by pavilions. In a utopian vision, the future inhabitants decide on the physical requirements of the neighbourhood via a series of social discussions. Parkland on the east of the site developed simultaneously.
retained buildings
reinstated canal route
fused grid system
road network
new boulevard
finished master plan
master plan 2027
Contextual Analysis Due to method of implementing such a Master Plan over a series of years, it is intended to act as a structural mantle in which a reasonable bid for the 2029 European Capital of Culture. The proposal also aligns with other projects currently occurring today, such as the 2027 Port of Gdansk Expansion and the Gdansk 2030 Plus scheme. The Thesis project acts as part of a series of flagship buildings promoting the field of creative ventures, showcasing the urban design’s key elements of creativity, local community and cultural heritage.
During the project, there will be a consideration to the short term and long term impacts of the project and how these can be translated to ephemeral and permanent events and structures alike. The resulting program will revolve around the promotion of creative industries, specifically the development of a centre for Cinematography and Screen School. This, alongside Joe Barker’s scheme proposal of a Theatre, and a centre of Music and Art, acts as the combined centre of Visual Arts and a flagship development for the creative industries district and the European Capital of Culture in 2029.
EUROPEAN CAPITAL OF CULTURE
Existing Creative fabric (Origins of Polish Film) The proposal of the centre of cinematography was derived from Polish history and its strong relationship with the moving image. Cultural identity of Poland and its people are deeply rooted in Film, with the first cinematographers being Polish. Kazimierz Proszynski had patented the Pleograph (his first film camera) before the patent of the Cinemograph by the Lumiere brothers in the 1890’s. Polish film was influential at the start of the 20th century, and quickly became pioneers in Silent film. During the interwar period over 150 film studios were set up producing up to 50 feature films per year. Before the commencement of the Second World War, Jewish influence in Polish film was huge and became integral to the themes of the films produced. Growing anti-Semitism in Poland during the 1930’s led to a net migration of Polish businessmen to America in search of a new life. They saw an opportunity to invest in Hollywood, comparatively small to what it represents in modern society. MGM, Warner Brother and even Broadway were founded in co-operation with Polish filmmakers, proving the full extent Polish nationals influenced world cinema. Polish film has since declined in global recognition but has produced some excellent Directors, Producers and Actors and still home to some of the most prestigious awards in cinema.
An expansion of a creative quarter in Gdansk Studies show that the existing creative industry make up in Gdansk has catered to a variety of media. Architecture, software developers and advertising contribute to over 50% of the market available, with Film and video at 5%. This provides evidence that the market is unsaturated and can be exploited through the Thesis project as a viable project to exhibit and educate those in the visual arts. It is therefore the intention to establish this centre as a national competitor to schools operating in Lodz and Warsaw, and provide budding filmmakers the facilities to practice and enjoy the art.
The first initial massing was rather arbitrary in its location, but the scale was appropriate to the designs brief. The splitting of the design was to differentiate between entertainment and education, so that there would be a division in public and private space. In a wider context, the complex sits at the edge of the shipyard and the proposed creative industries and has a close geographic connection with both the canal network and the Motlawa River to the North. Site lines have been created along the road network and open spaces exist as a vital public realm between the Cinematographic centre and the Solidarity centre.
reused warehouse district outdoor exhibition space museum of the second world war
creative industry hub location and site parameters
joe barker’s thesis site
center of solidarity proposed thesis site
Site location changed due to an analysis of site features. The grid framework was the basis of the location of the existing buildings. The Master Plan was altered to allow more flexibility around the Northern edge of the creative industry structures. Taller buildings were redesigned considerately shorter to improve lines of site towards the docks and more green spaces lowered the urban grains density. The site found in the initial massing was deemed too large and was located to the East, bordering a series of existing, retained structures; this was due to their architectural character. The lines of geometry of these building juxtaposed the general grid and allowed an interesting turn in the building fabric. A diagonal route was made in relation to the surrounding grid, turning the buildings 45 degrees and allowing a greater deal of natural sunlight to be attained throughout the
Line of sight was an important factor in the consideration of the buildings shape and size. The Master Plan was designed to retain a low verticality (except for key landmark structures) and therefore the site needed to adhere to these rules. Pedestrian access is paramount to the site as this exclusion of vehicle usage promotes a reduction in visual and audible noise pollution. The site is located adjacent to the canal network and a potentially busy avenue proposed in the Master Plan. To avoid possible interruptions in the pedestrian routes, a subterranean road network around the site is implemented. In addition, buildings on site are lifted 1m from the floor to pronounce their separation from the surrounding context and allow visitors a clear sightline when walking around the complex.
The elevation of the adjacent building was kept in mind when designing the verticality of the proposed structure. Due to the historical significance, the project was capped at a maximum or 21m, the height of 19th century adminisgtration building.
When deciding the site, there was a consideration to the scheme on an urban level, how did the buildings interact with the opposing buildings and what new geometry was created by angling buildings as shows.
By illuminating the model from undereath, the first example of the buildings potential is shown. The contrasting architectural styles of heavy internal elements and lightweight framing is showcased.
INVESTIGATIONS INTO CINEMA DESIGN
First Crit Review The plans produced for the first review were at 1:200 scale, with indications to program and spaces in the cinema complex. Designed over 5 levels, the cinema boxes were sporadically laid out so that every other level contained a break out space from the main route. The circulation route became integral to the essence of the building, and wrapped around the various boxes before leading to a central staircase that recessed backwards from the central atrium. This provided ample light from the sky light above, whilst creating an impacting entrace lobby. Similar to concept diagrams, two cores serviced the space, with admin accommodation on the southern facade and a service core on its western side. This alleviated excessive solar gain in summer and added to the buildings thermal mass in winter, where it would become active as part of the passive ventilation stystem.
First Floor
Second Floor
Third Floor
Forth Floor
THE CONTEMPRARY CINEMA SPACE By opening up the central circulation space, informal entertainment spaces are created around the formal cinema boxes. Whilst not prescrived, the negatie spaces that the cinemas have created will become outdoor/indoor auditoriums in their own right. These will add to the environmental conditions and merge circulation with entertainment seamlessly.
SECOND CRIT VISUALS
Cultural Centre, BIG A proposed cultural centre and cinema, proposed as part of BIG’s EuropaCity Master Plan. The complex was derived around the celebration of Film making. Below the centre lobby space, Television production facilities were viewable to the public, whilst above, split into 3 blocks depending on the cinematographic genre, were large indoor cinema screens. Topped with an extensive array of walkable roofs the building is accessible from either end, making the space transitional as well as helping the rest of the structure’s heat retention. Outdoor screens operate in summer whilst sightlines are kept free by aligning the structure to proposed elements of the aforementioned Master Plan.
Cwm Ifor Primary School, Architype The use of partition walls in the school allows a huge amount of flexibility when addressing classroom sizes and methods of teaching. The buildings core is very exposed and open portions off minimal spaces for services and necessary admin offices. The result is a bright and inviting atmosphere, where learning environments are not set by the parameters of the walls. Sustainable splitlevel roof design maintained ambient temperature by opening high level windows and orientation the building towards prevailing winds to increase the efficiency of natural ventilation. Acoustically attenuated materials also helped prevent sound pollution into the core areas, which were serviced by a radial grid of accommodation, alleviating walking distance.
The Nelson Atkins Museum, Steven Holl The exterior framework of Steven Holl’s museum utilises the advancement in Glass technology as a viable structural component, as well as an aid in environmental conditioning for its purpose. The Museum, which requires even lighting for some of its exhibits, is made possible for the translucent properties of its low iron U profile glazing units. Diffused light is evenly spread across the buildings facades, which from its exterior, seems to glow, illuminating the interiors contents. The curtain wall is suspended by the structural glazing, and runs the full length of the parapet roof. The false ceiling conceals any ventilation equipment whilst retaining a flush finish.
FACT Cinema FACT is an Art House cinema that offers gallery spaces, box floor cinemas, conventional black box cinemas to cater across the visual arts. The cinema acts as another transitional space as it has an entrance and exit along its North/South axis. Due to the limitations of the plot, the cinema boxes were stack on top of one another, connected by their shared projection gallery. The box floor cinema is located on the ground floor and is a transformable venue. To lighten their mass, the three cinema boxes are steel framed with a concrete clad exterior.
Second Review Analysis The second review explored a more detailed analysis of the floor plans layout and the relationship between spaces. Considerate changes to the main circulation was derived from the need to allow sunlight through the main entry lobby without creating a suntrap on entry. This also brought visitors through the building before entry the main circulation point, which enabled them to find disabled access such as ramps and lifts. The 1000mm podium the building sits on falls away towards the north east to allow a split level access to both the front and back of the building. The cinema boxes have retained their dimensions and locations on the plan but are now accessed from different floor levels without the need of a central staircase for access (although this is still possible). The top floor is open plan and allows the freedom of the user to define its function. Open air galleries are the most viable usage of space due to the soft lighting and warmer air that will be found nearer the top of the building. Both cores have a fire escape and a lift shaft to enable total disabled access throughout the building.
CENTRAL CIRCULATION THROUGH CINEMA COMPLEX
The structural aspect of the design hinged with the implementation of the cinema boxes. Once they had been massed, the load distribution had to be calculated to allow a reasonable solution to roof design. Shell structures were first suggested as a viable method to cover the span in which to fill but the complexities of shell geometry did not match with the other aspects the design principles. During the first tutorial, it was discussed that the Cinema boxes were to hang in suspension on a truss roof system, at approximately 3000mm deep. This had altering implications on the walls, which would have to support the primary load of the roof as well as the additional weight of the cinema blocks. Due to this, the concrete cores of the cinemas were substituted to a steel framework, panelled in concrete cladding for aesthetic. This option was adopted in the FACT center. During the second tutorial, it was agreed that the principles of the design would be compromised if the usage of tensions cable supported the boxes. Instead, the cinema spaces were again made from 200mm precast concrete, with the ability to increase the thickness of the walling for additional services (electrical, ventilation supply).
Environmentally, the cinema complex would be utilising numerous precedents to maximise the efficiency of a heating and ventilation strategy. Passively, the buildings orientation was designed to allow maximum daylight, where possible. The complex sits about a south facing plinth, which receives sunlight throughout the day due to the existing low rise building to the south. Evening sun perforates the western side of the complex, where there is more glazing, allowing sun entering the building until later in the day. Originally conceived as a space frame, the cinema contents existed within its internal environment. A space frame removed the need to heat its interior unlike a conventional building environment, but rely on the efficiency of the outer skin to provide ample solar protection and wind shielding. The frame was to be constructed from a glazing structure to enforce the notion of transparency, and to heavily contrast the more solid concrete elements inside, aesthetically this was a desired effect. Most cinema venues rely on mechanical ventilation to provide fresh air and ambient temperatures internally. However, it was intended that the cinema spaces would adopt a natural ventilation strategy. This was achievable due to the buildings outer skin acting as a climactic controller, allowing the internal boxes to regulate temperature more effectively. The frame was edited slightly to include a concrete roof in place of a glazed finish. This was mainly due to the concerns of overheating as a result of direct sunlight. Everyman Theatre, Liverpool: The Everyman stands as precedent for a sustainable approach towards effective ventilation and heating strategies in Theatre Design. To enable purely natural ventilation, the theatre space is raised on a concrete plenum and air is driven into the space by an inlet louvre where it is cooled due to the concretes thermal mass. In summer, Grills under the seating bring cool air into the theatre, before heating and eventually rising into air handling units at the top and eventually extracted through four chimneys. In winter, cooler air is taken in and passed through the AHU’s, reversing the cooling heat pump without the need to use the boilers. This air is then used to preheat the room before performances. Additional heat sources such as the lighting rigs and occupant are ample in warming the room, even in Winter.
exploded axonometric showing structural components
site plan and public realm
first floor
key 1. lobby/ entrance 2. administration 3. cafe public/ gallery
floor plans
4. cinema one 5. bar/ lounge 6. student reception 7. entrance to screen school
second floor
key 1. cinema two 2. heart of circulation 3. cinema two 4. administration
third floor
key 1. cinema three 2. rooftop bar 3. public exhibition space 4. administration
axonometric through central circulation
technical strategy
wall detail through cinema box @ 1:10
the building envelope is maintained by a glazed curtain wall running around the perimeter and creating a micro climate inside. the space inside is unheated and relies on the thermodynamic properties of the okalux glazing to prevent over heating in summer and keep temperatures ambient in the cold polish winter. heavy uses of concrete in its interior acts as suitable thermal mass, retaining hating absorbed in the day time and releasing it slowly through the day. the detail expressing the parapet roof allows the building to conceal two guttering systems and window attenuators at the apex of the glazing, allowing building management systems to release exhuast air during warmer periods of the year.
elevation and structural make up 1:50
cross section through cinema three @ 1:50
roof - wall junction 1:20
seating detail of cinema @1:10
long elevation
Short Section
Long Section
internal/ external visuals
Fire Safety & Costing StrategyPractical Assessment
Means of Escape: In compliance to Part B ‘Horizontal means of Escape’ Table 2 ‘Limitations on Travel Distance’, the building is classed under the sub category ‘Assembly and Recreation’. To comply with regulations, the maximum distance of travel is 18m (more than one direction). However the building environment is varied and some of this area does not include rowed seating. This can allow up to a maximum of 45m distance of travel. To make sure the design is thoroughly resolved, the 18m figure has been used as a benchmark and is shown diagrammatically. Fire Door Info: Building specifications of doors to align with regulations relevant in Part B/Appendix B/ Table B1 and information from coordinated fire engineer. The stairwell is built in accordance to part B with fireproof concrete encasing the stairwell, there is a seperate plant room with mechanical ventilation seperate to the rest of the building to ensure fresh air supply is remained regular and available in the result of a fire.
Diagram showing both cores as means of escape, by creating two fireproof cores, means of escape distances is cut in half as occupants are provided with 2 means of escape, in addition to the main entrances and exit which can be used if no celar threat is detected.
Costing Prior to the proposed Master Plan, the funding model was heavily influenced by funding rom the European Union, previous projects, such as the European Solidarity Center (opened in 2014) was built on a funding model of 51% local investment and 49% investment from European Union, of which a total budget exceeded 229 million Zloty (ÂŁ47.6 million). Funding models for the projected Master Plan can be derive from a forecasted investment preparing the city for the ECOC in 2029. Local investor companies such as Starter may sponsor the construction due to its involvement in both the ECOC and its integral involvement in the creative industries, of which Starter is the anchor client. Furthermore, in accordance to the implementation strategy, on winning the European Capital of Culture Bid, investment at local and national level will subsidise the preliminary costs involved in construction. The project will not require substantial geological surveys, as the land is flat and presently unoccupied, also driving down any costs of demolition and removal of waste material. However, due to the Master Plans strategy of reinstating the canal network close to the proposed sight, there will have to be an assessment of rock and soil quality as part of the feasibility study. If the area be suitable, pre-construction drawings can be conducted including tanking the area to make the foundation level and basement watertight. Using UK figures, tanking in conditions in which the soil is treacherous can cost up to ÂŁ3,000m2. Fees for Architects, engineers, quantity surveyors, charges for planning and building regulations will make up the remianing pre construction costs.
Fin.