JOSH SHARP T H E S I S PORTFOLIO
URBAN STRATIFICATION OF DEVA FROM ROMAN GARRISON TO MULTI-LEVEL CITY ______________________________
ARCHAEOLOGICAL MUSEUM, EDUCATION CENTRE & RESEARCH ARCHIVE_Town Hall Square, CHESTER
MArch 2017 1st Class Degree at the University of Nottingham
RIBA Silver Medal Nomination
Royal Institute of British Architects 2017
Highest Thesis Portfolio Mark at the University of Nottingham
N: d.o.b
Joshua David Sharp 20.05.93
The University of Nottingham @ web in
josh.sharp@hotmail.co.uk www.joshdsharp.wix.com/portfolio www.linkedin.com/in/joshsharp1/
THE ‘ROW’ CONCEPT_DECLARING THE THESIS The key aim of this thesis was to define whether or not a template of Chester’s ‘Rows’ would still be a usable method of urban routing in modern-day society, when considering a consumer’s navigatory methods across the urban grain. The Research Document briefly summarised how Chester evolved from a rural farming mound to one of the highest ranked Roman garrisons outside the immediate vicinity of the Roman Empire. The gradual decline and eventual dissolution of the Empire left the city vacant and ruinous, until it was re-inhabited in the Middle Ages by merchants, who utilised a secondary walkway at roof-level to double the amount of display space for their produce and wares. Links between these elegant promenades and their Parisian counterparts, (lyrically written about by Walter Benjamin), led to the analysis and interpretation of the city through the eyes of the ‘flâneur’. Consideration was also given to the concept of raised ‘skywalks’, as advocated by Alison and Peter Smithson. Direct parallels were drawn between Chester’s “streets-in-the-sky” and the Brutalist equivalents. The notations of Jan Gehl were found to counter large amounts of the Smithson’s ideals, suggesting that the creation of raised avenues reinforced a sense of division, thereby weakening the cohesive abilities of the community. Legibility comparisons, through the eyes of both Cullen and Lynch, led to Chester’s Medieval streets being compared with those of Leicester. Typological studies, as well as footfall and daylight analyses were performed, to further intrepret Chester’s raised walkways through more physical methods than purely historical and theoretical.
Although the Research Document originally insinuated that the earlier conclusive points could be utilised to formulate a modern-day routing construct for commercial purposes, local socio-economic analysis highlighted how additional retail premises are not required within the walled city; a modern translation of the Rows would therefore pose a greater benefit to the viewing and educational potential of Chester’s heritage.
The spatial quality of the city’s raised arcades was found to alter dramatically from one Row to the next, suggesting that, when viewed both in terms of physical analysis and theoretical terminology, there is no single feature which distinguishes a more prominent and therefore successful Row walkway from the others in the Row network.
Would it be useful, therefore, to consider the current ‘Row Model’ as a viable template for a contemporary circulation method within the confines of the city? This may be interpreted as a pastiche, rather than a sympathetic re-imagining of the original condition.
Through the combination of: • varied but clustered typologies • ergonomically and environmentally-considered Row avenues • and softer transitions between multi-level structures this web of elevated platforms entertains the notion of social activities on a variety of levels.
Key Attributes to Consider & Key Evocations to Re-produce: • Constantly challenging one’s perception of where the ground plane lies • Piercing areas of seclusion with public routings • Fluctuating levels of daylight and width of passageways • Potential use of the city’s ‘Urban Strata’ to emphasis its key historic periods
THE CHESTER ROWS_EXISTING SITUATION • Section, plan and elevation of Chester’s existing elevated Rows • The via praetoria underlies modern-day Bridge Street • The via principalis, the principal road running east to west across the garrison, underlies Eastgate Street
The Dublin Packet, 40 Northgate Street CH1 2HA
+36.0m
+35.8m street level condition
Row level condition
elevation
NO HEIGHT SEPARATION_
Distance of Separation_c.0.3m
Browns of Chester, 34 Eastgate Street CH1 1LF
+35.1m
street level condition
Row level condition
+33.5m
elevation
MID STOREY-HEIGHT SEPARATION_
Distance of Separation_c.1.6m
The Three Arches, 50 Bridge Street CH1 1NQ
+32.7m
street level condition
Row level condition
+30.2m
elevation
FULL STOREY-HEIGHT SEPARATION_
Distance of Separation_c.2.5m
THE CHESTER ROWS_FLUCTUATING TOPOGRAPHY • Sectional studies illustrate the varying distance of separation between the elevated Row and street level • As level access from both the Row and rear of the property is maintained, Chester’s topography causes a gradual reduction in the Rows’ elevation • A full storey-height difference on Bridge Street culminates in a level colonnade on Northgate Street (the highest point of the city)
Animism
Navigating using Cullen’s ‘Physical Mapping’ Technique
Projection & Recession
Incident
Hazard
Outdoor Room
Projection & Recession
Pedestrian Ways / Linking & Joining: the
Infinity / Enclosure
Mystery / Defining Space
Occupied Territory
Enclaves
Indoor Landscape & Outdoor Room
Incident
Hazards
Narrows
St. Martin’s Square
Navigating using Lynch’s ‘Linguistics / Mental Mapping’ Technique
Cank Street_
street signage takes priority over vacant units and weathered shop names
Malcolm Arcade_
strong graphics of each shop fight for attention along the dark internal promenade
Malcolm Arcade
Silver Street_
linear arrangement allowed for easier viewing of shopfronts and store names
Loseby Walk_
large expansive brick facades emphasised street signs and block text shopfronts
Loseby Lane / Silver Street_
combination of colour and text creates unique imagery, catching and guiding the eye of a visitor to the city
St. Martin’s Square
CASE STUDY: SEQUENTIAL SPACES & NAVIGATING THE CITY_LEICESTER • • • •
Cullen = ‘palpable urban language’; physical incidents and street geometry allow one to navigate the city Lynch = ‘intangible syntax vernacular’; numerous elements of the city can be utilised to locate oneself The ‘visitor’ initiates their journey each time from the same location Utilising successive elements, each obstacle / ‘incident’ sculpts the visitor’s transition from start to finish
Incident
Infinity
Sequential Spaces
Indoor Landscape & Outdoor Room / Occupied Territory
Hazards
Sequential Spaces
Occupied Territory / Outdoor Rooms / Enclosure
Navigating using Cullen’s ‘Physical Mapping’ Technique
Incident
Projection & Recession
Pedestrian Ways / Linking & Joining: the Floor
Eastgate Row North
Enclaves / Defining Space
Eastgate Row South
Hazards
Enclaves / Enclosure
Mystery / Defining Space
Incident
Bridge Street Row South
Navigating using Lynch’s ‘Linguistics / Mental Mapping’ Technique Eastgate Street_
street signage dictates entrance to public retail precint
Eastgate / Grosvenor Hotel Arcade_ strong graphics of each shop fight for attention with legible fonts and tonal variety
Eastgate Row_
traditional commercial typologies represented by variable signage
Eastgate Row North
Northgate Row_
The Cross_
mix of typologies less relatable to retail; resulting lack of activity in this area
vehicular guidance stands out against the advertisement panels set into each recess of the Rows at this location
Northgate Row
Watergate Row_
hand-painted signage across traditional architraving contrasts with the “harsh” graphic of modern polymer lettering
Watergate Row South
CASE STUDY: SEQUENTIAL SPACES & NAVIGATING THE CITY_CHESTER • Cullen’s stimuli are arranged as a series of glances; Lynch’s technique concentrates on textual stimuli • Leicester’s irrational layout promotes a more unique experience of the ‘flâneurie’ concept (greater variance in enclosures, shorter avenues, etc.) • Chester’s navigation occurs mainly on the Row’s; from the raised level, street level signage is less legible
LEICESTER_Silver Arcade
CHESTER_Medieval Row Townhouse
CONTRASTING FORMS OF ENCLOSURE_LEICESTER & CHESTER • Sections highlight Leicester’s planned interior arcades, as well as Chester’s contrasting external walkways • Though both employed to increase the amount of retail space in each city, Leicester’s interior arcades are privately-owned and gated at night • Contrastingly, Chester’s Rows, though fully-accessible and public, are surrounded by the private rooms of the townhouses that accommodate the walkways
strength of visual connection_sectional relationship effect of shadows on the visibility of socialisers symbology representing the strength of each relationship strength of visual connection from higher level_plan strength of visual connection from lower level_plan
street level
single storey separation
multiple storey separations
underpass level
underpass level + semi-storey separations
underpass level + multiple storey separations
street level + multiple semi-level separations
configuration of multiple semi-level separations
SOCIAL RELATIONSHIPS OVER MULTIPLE SPLIT-LEVEL CONFIGURATIONS • • • •
Graphic analysis and projection of potential configurations of a split-level relationship Sectional views illustrate the fluctuating strength of sociability as the conversations span multiple levels Symbology aids in defining the strongest relationship in each instance Mid-height fluctuations offer more palpable connections than full storey-height separations
THE CHESTER ROWS_SPLIT-LEVEL SYMBOLOGY OVERLAY • • • •
‘Sociability symbology’ super-imposed onto the existing Rows Correlation between strength of communication and vertical separation is clearly illustrated Horizontally, street level acts as a public arena, whereby all consumers are equal Vertically, the strength of communication is weakened; eyes tend towards a natural downward trajectory
KEY Dead end / No access
Stairwell / ramp reads more legibly as a method of ascension onto the upper Row level; from an exposed situation to intimate
Stairwell / ramp reads more legibly as a method of descension onto the lower Street level; from shadows to direct light
Stairwell / ramp reads equally legible as a method of vertical conveyance in either direction
EMOTIVE RESPONSE TO INCIDENTS OF VERTICAL CONVEYANCE • Symbology suggests a logical routing of ascension / descension across the city’s Rows, based on: - ergonomic dimensions of existing stairwells - sensory / emotive qualities created by fluctuating light levels • Speculative re-purposing of vacant units within the rigorous lattice of Chester’s Rows
STACKED PLAN_PERCEPTION OF DEPTH • • • •
Echoes the spatial configuration of elevated walkways in the current urban state Speculates on the aesthetic of a stacked city; each typology is visible throughout a staggered floor plan Visibility of each typology from above provides one with a sense of position, as well as depth Semi-level changes promote a more horizontal communication to counter the vertical separation
floor_00
floor_01
floor_02
floor_03
floor_04
floor_03
floor_04
floor_03
floor_04
RAMPS_ • • • •
Smoothest method of ascension and / or descension requiring effort by the user / visitor Slowest method of ascension due to increased surface coverage required to accommodate regulation gradient Amount of internal area ‘lost’ to circulation and unusable space beneath ramps is a negative Disabled access is considered and provided for
floor_00
floor_01
floor_02
STAIRS_ • • • •
Most disruptive method of ascension and / or descension requiring effort by the user Slow method of ascension due to relatively large surface coverage, as well as steeper gradient Amount of internal area ‘lost’ to circulation and unusable space beneath stairs is a negative; less space ‘lost’ than when utilising ramps Disabled access is no longer provided for; multiple methods of transition are required
floor_00
floor_01
floor_02
LIFTS_ • • • •
Smoothest method of ascension and / or descension; requires no effort from the user Effective speed of lifts as the primary method of ascension correlates with the number of floors aiming to transition across; one level change is usually quicker on-foot, multiple levels are invariably quicker by lift Amount of internal area ‘lost’ to circulation is at a minimum Disabled access is considered and provided for
STACKED PLAN_METHODS OF VERTICAL CONVEYANCE • Studies into the alternate methods of ascension and transition around a proposal, factoring in: - disabled access - speed - efficiency of movement - loss of internal area due to circulation zoning and unusable resultant spaces
THE ‘ROW’ CONCEPT_PROVING THE THESIS • A literal overlay of the current Row condition onto proposed site; the existing ‘Forum’ Shopping Centre • Emphasises how a pastiche of the current Row condition would not work in a contemporary situation: - disabled access is not considered - clash of architectural styling / potentially outdated decor - spatial sequencing is poor / no logical routing - disprutive arrangement of public and private spaces between existing site and the Row concept
THE ‘ROW’ CONCEPT_PROVING THE THESIS • Lino printing creates potential contemporary routing construct via carving and removal of material • Perceptible in both plan and section, a subterranean routing is suggested, illustrating the: - influence of existing topography on the site - logical routing and circulation designed into the floor plans of museums and galleries - level changes and ground fluctuations throughout the scheme - concept of carving / mass removal; creating exhibition spaces and circulation corridors
1
6 Junction of Trinity Street & Hamilton Place
Junction of Goss Street & Hamilton Place 4
9
8
10
2
7 Goss Street Car Park
Town Hall Square / Northgate Street 7 5
3
6
8 Town Hall Square / Northgate Street
3
Junction of Northgate Street & Princess Street 2
1
4
9 Junction of Hunter Street & Hunters Walk
Junction of Northgate Street & Princess Street
Views towards the Site g
Views away from the Site
5
Site Boundary
10 Junction of Hunters Walk & Princess Street
Junction of Hunters Walk & Princess Street
Views towards the site
Views away from the site
CURRENT CONTEXT CONDITIONS_ Site & Immediate Vicinity
CHESTER CITY PLAN_ Existing Site Condition 1:1000
Hiberni
Londinium
Frisii Noviomagus
Chauci
ia Hadr
Chatti
Gaul Aquitania
Lugii
Marcomanni
Argentoratum
Augusta Raurica
Maeotae
Cotini
Quadi Pannonia
Thrace
Armenia
Byzantium
Thessalonica
Galatia
Assyria
Asia
Lusitania Achaia
Athens
Mauri
Numidia
Mesopotamia
Gaetuli
Palmyra
Tripolis
Cyrenaica
Garamantes
Nasamones
ing
Str
eet
Charax
Jerusalem
Cyrene
Tripolitania
W atl
Babylonia
Judaea
Creta
Lepcis Magna
Susa
Babylon
Tyrus
Cyprus
Africa
Viriconium (Wroxeter)
Antioch
Ephesus
Carthage
Lindum (Lincoln)
Deva (Chester)
Paraetonium Oxyrhynchus Ammonium
Hegra
Ægyptus Thebae
Land occupied by the Roman Empire Land potentially occupied by the Roman Empire
(land found to contain Roman archaeology, but no record of Roman settlements in these areas)
Hegra Come
Camulodunum (Colchester)
Dubris (Dover)
Venta Bulgarum (Winchester)
Isca Dumnoniorum (Exeter)
Chester Market Hall_ Architects: Brothers James and William Hay Date of Completion: 1863 Style: Neo-Baroque
Londinium (London)
Aquae Sulis (Bath)
Aila
Memphis
Verulamium (St. Albans)
Glevum (Gloucester)
Petra
Alexandria
eet Ermine Str
Epirus
Sicilia
Gordyene
Cappadocia
Macedonia
Rome Neapolis
Mauretania
Eboracum (York)
Albania
Roxolani
Italia
Tingis
Colchis
Moesia
Dalmatia
Baetica
Iberia
Bosporan Kingdom
Dacia
Hispania
Alani
Carpi Jazyges
Lugdunum
Tarraconensis
ll
a n’s W
Langobardi
Chamavi
Fos se W ay
Britannia
Noviomagus (Chichester)
Berenice Hierasycaminus
THE ROMAN EMPIRE_27BC. - 395AD. Roman Empire at its Height; 117AD.
North gate
Water Tower Street
In the late 1960s, the city council commissioned the demolition of the city’s Market Hall, leaving a tiny remnant of the original facade. In its place, a new retail project was erected, which sought to advertise and promote the Brutalist ideals of the period
A
e ss Str
e Princ
A - Barracks
Northgate Street
Hunter Street
et
B - Hospital & Stores
B
C - Granaries D - Workshops E - Elliptical Building
C
F - Headquarters
Cathedral (Saint Werburghs)
G - Commander’s Residence H - Bathhouse
E
Hamilton Place
Watergate Street
A
St. Peter’s Church
Eastgate Street
F
St. Michael’s Church
Via Principalis
A
Pepper Street
G
Water gate
C Bridge Street
The Guildhall
Weaver Street
St. Werburgh Str eet
Goss St.
Trinity Stre
et
D
East gate
Via Praetoria
Deva
H
A
Bridge gate
DEVA_ROMAN GARRISON
Chester’s ‘The Forum’_ Architects: Michael Lyall Associates Date of Completion: 1971 Style: Brutalist
Overlay of Chester’s Street Plan, viewed with the current layout of the city; note the retention of the cross axes that still form the primary thoroughfares
In 1995, the primary facade and roof level were partially demolished and re-designed, whilst the interior retail units received minor renovations
RECORDS OF THE SITE_
Previous architecture on-site and within the vicinity
ARCHAEOLOGY_SITE STRATA
Due to the size of the proposed site, the bounded area contains portions of a large variety of the buildings that once stood in the north-west quadrant of the Roman garrison: - Barracks - Workshops - Hospital - Goods Stores - Granaries - The Elliptical Building
The solid black tone illustrates the extent of the Chester Archaeological Society’s excavations, prior to the remains being unearthed and destroyed
Speculative floor plan of the Elliptical Building; there are no other precedents for this building anywhere else within the boundary of the Roman Empire
ROMAN RELICS_THE ELLIPTICAL BUILDING Unique to the Roman Empire
Council Offices
The Grosvenor Museum
Cheshire Record Office Site Location
Visitor Information Centre
Presentation bowls
Garden courtyard pottery
Amphorae remnant History & Heritage Centre
Deva Roman Experience
Institutional Coding
Drive-time Boundaries
Primary Schools
10 minute drive by car
Secondary Schools
20 minute drive by car
Universities / Colleges
30 minute drive by car
Site & Educational Institutions 01
Site Boundary scale n.t.s
03
08
04 02
Decorative water vase
Stamped cemetery tile
Mortar & painted plaster
10
06
Pottery Vessels
09
07
05
11 12
13
Cheshire West & Chester Council’s Offices Location: HQ 58 Nicholas Street Chester CH1 2NP
The Grosvenor Museum
Location: 27 Grosvenor Street Chester CH1 2DD
Cheshire Record Office
14 15
Location: Duke St Chester CH1 1RL
17
16
50
20
19
18
23 24
22
21
25 36
35
39
Bone & glass playing pieces
Ornate hair & cloth pins
Beaded necklace & earrings
49
26 42
40 41
Miniature Fragments
34
43 48
27
28
33
29
47 30
46 32 31
45
Visitor Information Centre
Location: 4 Vicar’s Lane Chester CH1 1QU
History & Heritage Centre
Location: St. Michael’s Church Bridge Street Chester CH1 1NW
44
Deva Roman Experience
Location: 1-2 Bridge St Chester CH1 1NL
26_ Duddon St. Peter’s School
02_ Brookside Primary School
27_ Utkinton St. Paul’s CoE School
03_ Cambridge Road School
28_ Eaton Primary School
04_ Wolverham Nursery School
29_ Tarporley CoE Primary School
05_ The Oaks Community School
30_ Huxley CoE Primary School
06_ Woolands Primary School
31_ Bunbury Aldersey CoE School
07_ Elton Primary School
32_ Tattenhall Park School
08_ Helsby High School
33_ Saighton CoE Primary School
09_ Hillside County Primary School 34_ Christleton High School
37
38
01_ Parklands Community School
10_ Kingsley St. John’s
35_ Waverton Community School
11_ Alvanley Primary School
36_ Bishops’ Blue Coat High School
12_ Manley Village School
37_ Boughton Heath School
13_ Acresfield Primary School
38_ The Queen’s School
14_ Kelsall Community School
39_ Overleigh St. Mary’s School
15_ Upton by Chester High School
40_ Belgrave Primary School
16_ JH Godwin Primary School
41_ The King’s School, Chester
17_ The Arches Community School
42_ Huntington Community School
18_ Dee Point Primary School
43_ Eccleston CoE Primary School
19_ Highfield Community School
44_ St. Peter’s School
20_ Mill View Primary School
45_ Park Community School
21_ Chester Blue Coat CoE School
46_ Ysgol Estyn Hope CP School
22_ Hoole Primary School
47_ Dodleston CoE Primary School
23_ Delamere CoE Primary School
48_ Derwen Primary School
24_ Kelsall Primary School
49_ Broughton Primary School
25_ Tarvin Primary School
50_ Edward Morgan Catholic School
Location & Proximity of Primary Schools
Dagger blade & sheath
Decorative horse harness
02
01
03 04 16
Canteen spoons & knives
Luggage labels
Apron strap Antefix legionary symbol cap
05
Military Equipment
01_ Whitby High School
12
15
06
13
14
02_ Hillside County Primary School 03_ Dorin Park School 04_ Upton by Chester High School 05_ Chester Blue Coat CoE School
11
06_ Christleton High School 07
The Grosvenor Museum_
986sqm / flr
(3 storeys) + (speculative size of off-site storage facility)
07_ Abbey Gate College 08_ Darland High School 09_ The Rofft School
986sqm / flr x 3 storeys + 986sqm / flr x 1 storeys
10_ Castell Alun High School 11_ The King’s School, Chester 12_ The Queen’s School
10
13_ St. David’s High School
3,944 sqm
14_ Elfed High School
08
15_ Hawarden High School
09
16_ Connah’s Quay High School
Building inscription remnant Cheshire Record Office_
740sqm / flr
(3 storeys) + (speculative size of off-site storage facility)
01
740sqm / flr x 3 storeys + 740sqm / flr x 6 storeys
02
6,660 sqm
338sqm / flr
(3 storeys)
Military diploma
Ceramic & lead water pipes
338sqm / flr x 3 storeys Visitor Information Centre_
Location & Proximity of Secondary Schools
Stone altar tablet
Commemorative headstone
03
Carved Inscriptions
1,014 sqm
08 07
04 06 05
History & Heritage Centre_
244sqm / flr
(2 storeys)
244sqm / flr x 2 storeys
01_ West Cheshire College 02_ University of Chester_Science Park
488 sqm
03_ University of Chester_Kingsway Campus 04_ The University of Law_Chester 05_ West Cheshire College_Chester Campus 06_ University of Chester_Queen’s Park Campus
Deva Roman Experience_
494sqm / flr
(2 storeys)
07_ University of Chester_Main Campus
494sqm / flr x 2 storeys
988 sqm
08_ University of Chester_Technology Initiative
13,094 sqm approx.
ACCOMMODATION REQUIREMENTS_ Programme & Spatial Sizing
RESEARCH ARCHIVE Hermetically-sealed units & preservation chambers will provide optimum storage conditions
Currently housed in numerous locations across the city, this scheme seeks to rehouse all relics and artefacts within a single structure, offering public exhibitions and private archival areas for research
Location & Proximity of Universities / Colleges
Sandstone carvings from a funerary stone
Bronze cauldron
Archival scrolls & drawings
Unique Research Objects ARCHAEOLOGICAL MUSEUM Varying qualities of space & light will offer unique viewing experiences of historical relics
EXHIBITION CONTENT_
CLIENT LOCALE_
Archaeological Relics & Archival Assets Numerous examples of Chester’s unearthed artefacts; each type requiring a different class of archival condition. Stonework will retain moisture, so must be stored separate from delicate parchments and cloth, etc.
Proximity & Contextual Inclusion EDUCATION CENTRE Lecture spaces & interative learning will be promoted via an external archaeological dig
With over 70 educational institutions inside a 30-minute catchment area, the site is well-placed to offer maximum exposure of the city’s historical relics to thousands of students, as well as visitors to the area, thereby boosting Chester’s tourism industry
perspective view
perspective view
perspective view
perspective view
perspective view
elevation view
elevation view
elevation view
elevation view
elevation views
plan view
plan view
plan view
plan view
plan view
sectional view
sectional view
sectional view
sectional view
sectional view
Horizontal Planes_
Cantilever / Horizontal Accents (& Separation of Programme)_ collection of lower volumes support upper levels entirely; sense of excitement under canopy
Cantilever / ‘Bookended’ Wedge Volume (& Separation of Programme)_ collection of lower volumes support upper levels; countered by opposing forces from primary wall
Vertical Elements_
horizontal planes spanning vertical voids; circulation passes from ground to subterranean levels
horizontal elements connected by vertical voids; connect exhibition spaces spanning multiple levels
Circulation & ‘Single Mass’ / Snaking Perimeter_
solid mass form pierced by carved voids at varying depths; portions of mass removed
FIVE KEY MASSING FORMS_
Diagrammatic intent & hand-modelled iterations
The change in topography across the site is identified
Sectional cut emphasises how the first-floor Row carves through Chester’s townhouses
Existing spatial carving in occurence on Chester’s Rows
Carving occurs at ground level to create excavated public spaces
The subterranean voids are retained; the large exhibition spaces have been segmented up into vertical walls, thick enough to contain circulation and display cases
Location of Row carving highlighted; gradient of terrain marked
Location of Row physically carved away to create cantilever
Horizontal floor planes are introduced for circulation and display
With a fixed soffit height, the focus shifts to the sub-level; large exhibition spaces occupy the site’s subterranaen levels, whilst circulation above ground is further rationalised
Vertical walls connect elevated cantilever and subterranean spaces
The ground level threshold is rationalised; a series of exhibition spaces occupies the site with a reading gallery cantilevered across the exhibition spaces for optimum views
A layered site, this gradual shading emphasises the potential to excavate further down into the site from within the scheme over time; above ground, circulation occupies the thick vertical walls, as well as the cavernous voids that connect them
Evolution of the Sectional Carving Concept
CONCEPTUAL CARVING_
Circulation via Reductive Mass
Precedent Study_ Project Title: Kolumba Museum Architect(s): Peter Zumthor Date of Completion: 2007 Location: Cologne, Germany Typology: Heritage Museum Detailed 1:200-scale iteration of the initial draft model; horizontal planes at regular intervals provide exhibition spaces & methods of vertical conveyance
The structure in the main archaeological space does not conform to any rational grid; the narrow columns gently contact the ground at minimal points, in areas of lower archaeological significance.
STRUCTURAL MASS_
Archaeology defines the location of the structure’s primary mass & loading
Physical draft model of the vertical circulation concept; connections spanning multiple levels link the research areas to the subterranean exhibition spaces
CIRCULATION ITERATIONS_
Hand-modelled iterative explorations, analysing potential programme separation via the combination of the ‘five key massing forms’
Circulation layout and structural massing during the Roman occupation; note the clear distinction between solid & void
Inversion of solid & void ensures minimal disruption to remains and original building foundations that occupied the site
Sectional cut taken through one of the key vertical walls; thick enough to house exhibition spaces, as well as circulation spaces & stair cores
A number of cast plaster blocks offered blank forms on which to test multiple methods of carving; wood grain added additional textural qualities Mechanical carving methods resulted in smoother finishes, whilst hand-chiseling and hammering offered more unique, less controlled varieties of reductive mass Casting objects within the plaster allowed resultant voids to form; harsh contrasts between the smooth interoir and roughly carved external faces
STRUCTURAL INVERSION_
Preservation of existing archaeology is ensured via the placement of key structural loading walls over areas of lower archaeological merit; circulation will carve through these vertical walls to offer connections between each exhibition void
SPATIAL QUALITIES_
Hand-modelled cast explorations, analysing potential spatial qualities through light, surface finish, spatial ergonomics & configuration, etc.
Sitting on an important archaeological site within the city walls, the new proposal could benefit from incorporating the geometry of the conflicting street axes (Roman & Medieval) which collide at the centre of the site
Taller existing buildings force one’s line of sight between narrow streets and out towards the city centre; shorter structures gradually draw one’s attention to the Cathedral, whilst the north-west quadrant offers expansive views north
Existing architecture imprints itself onto the form of the proposal; taller, imposing buildings are countered by a new form which sits close to the pavement edge, where there is potential for a soft landscaped link to the neighbouring park
SITE STRATEGIES_
Key programmatic layout considerations & design “moves”, based on existing infrastructure in the immediate vicinity, as well as the linearity and orientation of the surrounding streetscapes
1_ Reference the importance of this site’s archaeology by emphasising the key geometric outlines / footprints of the original structure’s that stood during the Roman’s occupation
Roman Archaeology & key street axis (with a link to the existing Row)
2_ Highlight the steet which runs north - south across the site, the only street still conforming to the Roman road pattern; a secondary route spanning east - west promotes the existing Rows as the primary entrance to the new scheme
Roman Archaeology begins to partially accommodate the Medieval axis
3_ Gradual incorporation of the Medieval street pattern (still employed today) as the building height rises; the Roman street axis becomes less defined at the higher levels of the programme
Medieval axis takes precedence as the floor levels begin to rise
Carving continues along Medieval axis; few hints of Roman axis at higher levels
4_ Eventually, the highest level contains mere hints as to the orientation of the original Roman street axis; the overall built form reads as a shifting floor plan which tilts on its central point to conform to the Roman axis, then the Medieval
The Elliptical curve is the sole marker of any Roman archaeology at the highest level; roofscape conforms fully to the Medieval (and contemporary) street axis
EVOLUTION OF SITE STRATEGIES_SHIFTING AXES
Conflicting street axes from Roman & Medieval periods; as the floor levels increase, the shifting of axes is perceived via the carving of angular routes across voids and through vertical planes
second level plan
first level plan
upper ground level plan
POCHÉ TO FRAME_
The presence and overall ‘mass’ of the building is focused on the lower levels, whilst a lighter support structure emphasises the transition from poché to frame across the building’s section
SHIFTING AXES_
As the floor levels increase, the shifting of the proposal’s axes are legible in the floor plans; twisting from the Roman to contemporary trajectory, this design characteristic emphasises the site’s location as being at the confluence of conflicting streetscapes
BASEMENT LEVEL PLAN_ 1:200
LOWER GROUND LEVEL PLAN_ 1:200
UPPER GROUND LEVEL PLAN_ 1:200
FIRST LEVEL PLAN_ 1:200
SECOND LEVEL PLAN_ 1:200
ROOF LEVEL PLAN_ 1:200
NORTH ELEVATION_ 1:50
NORTH ELEVATION_ 1:200
SOUTH ELEVATION_ 1:50
SOUTH ELEVATION_ 1:200
EAST ELEVATION_ 1:50
EAST ELEVATION_ 1:200
SECTION A-A_ 1:200
SECTION B-B_ 1:200
SECTION C-C_ 1:200
SECTION D-D_ 1:200
SECTION E-E_ 1:200
SECTION F-F_ 1:200
KEY INTERNAL SPACE_ ARCHAEOLOGICAL VOID & VIEWING GANTRY
Artefacts displayed on plinths whilst a copper inlay signifies the trajectory of the lower floor’s axis; feathered brickwork emphasises the ‘shifting’ nature of the upper floor plans’ axes, whilst the viewing gantry spans the live archaeological dig, minimising any possible disturbance to relics still buried beneath the site
d con
Se
t Firs
or
Flo
or
Flo
d oun
r
rG
pe Up
nd rou
or
Flo
or
Flo
er G Low
prior to excavation work commencing; the void is spanned by walkways offering views out across the dig
d con
Se
or
Flo
r
loo
tF Firs
ro
rG
pe Up
r
loo
F und
d oun
r
er G Low
or
Flo
archaeology gradually unearthed as ground level drops; excavation depth increases
r
loo
F ond
Sec
t Firs
per
Up
or
Flo
nd rou
or
Flo
G
r
d oun
er G Low
or
Flo
once a set depth has been reached, excavation is halted; smaller artefacts are displayed around the museum whilst larger discoveries are left in-situ
KEY CIRCULATION SPACE_ CONCAVE CIRCULATION STAIR & VIEWING GANTRY
Carving through the concave wall, the pale brick staircase provides access to the museum’s upper levels; views out across the archaeological void are framed by the feathered brickwork slit which slices through the outer skin of the wall and climbs with the stair to the highest floor level
EXCAVATION SPACE_ SHIFTING PERCEPTION OF GROUND PLANE
The site’s topography manipulates one’s perception of the changing floor levels throughout the building. Similarly, the gradual excavation of the central void causes the floor level of the scheme’s main space to lower; as time progresses, the gantry walkways will appear to span the void at a much greater height than they did originally
Juniper
Juniperus communis
Bay
Laurus nobilis
symbol of wisdom & glory
Trees & Topiary_ Bay Laurus nobilis symbol of wisdom & glory Cypress
1
Cupressus sempervirens
Box Buxus sempervirens PLANTSCypress IN BRITISH ROMAN GARDENS
2 Sweet Chestnut
Castanea sativa
Cupressus sempervirens
TREES & TOPIARY
Laurel
Strawberry tree Pear
Juniper Juniperus communis
Viburnum tinus
Arbutus inedo
Pyrus communis
Laurel Viburnum tinus Mulberry Morus nigra
Walnut
Juglans regia
Myrtle
Myrtle Myrtus communis
Myrtus communis
Strawberry tree Arbutus inedo Damson
3
Walnut Buxus sempervirensJuglans regia
Prunus domestica
Box Almond
Prunus dulcis
Fruit Trees_ Italian Stone-Pine
Mulberry
5
Damson
4
Cherry
Damson Prunus domestica
Cydonia oblonga 7
9
Plum
10
Bay
Ficus carica
Cherry
8
Cherry Prunus avium
Prunus avium
Fig
Quince
Morus nigra
Prunus domestica
FRUIT TREES
6
Almond Prunus dulcis
Pinus pinea
Laurus nobilis
symbol of wisdom & glory Fig Ficus carica
Medlar Mespilus germanica
Prunus avium
Prunus domestica
Medlar
Chives
Pear Pyrus communis eaten for good health
Allium schoenoprasum
Fennel
Foeniculum vulgare
Plum Prunus domestica
Mespilus germanica
Quince Cydonia oblonga
11
Plum
Prunus domestica
Aniseed
Pimpinella anisum
Parsley
used for making a special cake eaten at the end of festivals to
Petroselinum crispumaid digestion
Herbs_
Aniseed Pimpinella anisum an ingredient in cakes eaten at the end of festivals to aid digestion
12 Violet
Viola odorata
Chives
1_ Existing brownfield flat land; potentially landscaped parkland
2_ 3_ 4_ 5_ 6_ 7_ 8_
13
14
15
Chester Bus Exchange
Chives Allium schoenoprasum
9_ Steps up to northern colonnade 10_ Sunken Peristylium courtyard 11_ External colonnade & open-air
VEGETABLES
Rosemary Leeks
Point of pedestrian access onto site
museum courtyard
Shallow water channel
12_ Vehicular access to Public Square Sweet Rocket Hesperis matronalis 13_ Sculpture Garden 14_ Vehicular access to the EducationPimpinella anisum Aniseed
Stepped lawns Stepped planted bays Roofscape of Town Hall Public Square (with mosaic floor);
flexible market / performance area
16
Allium schoenoprasum
used for making a special cake eaten at the end of festivals to aid digestion
Centre
Sage 15_ Open-air archaeological dig 16_ Pedestrian access from the south
Fennel Foeniculum vulgare eaten to promote good health
Rosmarinus officinalis Allium porrum
Salvia officinalis
sacred plant
Garlic
Rosemary Rosmarinus officinalis
Allium sativum
Sage Salvia officinalis sacred plant
LANDSCAPE PLAN_
VEGETABLES Thyme Leeks Acanthus Ivy
Thymus vulgaris Crocus
Allium porrum Acanthis mollis Hedera helix
Thyme Thymus vulgaris used in bathing to give strength used in bathing to promote muscle recovery Crocus sativus used for stomach problems
leaf shape used widely in the decoration of stone and marble columns
Flowers_
Onion
Lavender
Garlic
Narcissus
Crocus Allium sativumOriganum margorana Marjoram
Allium cepa
Lavandula stoechas
Crocus sativus
Acanthus Acanthis mollis leaf shape used widely in the used as a bathing additive decoration of stone & marble columns used for stomach problems
Crocus Crocus sativus used for stomach problems
Narcissus jonquilla, Narcissus poetica
Turnip
Mustard
Marjoram Origanum margorana
Sinapis alba Lavender Stone lily
Nettle
Lavender Lavandula stoechas a bathing additive
Brassica rapa subsp. Rapa
Lavandula stoechas Gladiolus
Urtica dioica
used as a bathing additive
Narcissus Narcissus jonquilla & Narcissus poetica
named after the swords used by gladiators
soldiers thrashed themselves with nettles to keep warm against Britain’s cooler climate
FLOWERS Rose
Wormwood Stone lily
Rosa gallica, Rosa damascena, Rosa alba
Artemisia absinthium Gladiolus
Nettle Urtica dioica soldiers thrashed themselves with nettles to keep warm against Britain’s cooler climate Rose Rosa gallica, Rosa damascena & Rosa alba
planted at side of road so soldiers could put the leaves in their sandals to ease feet used by gladiators named afteraching the swords
Stone lily Gladiolus named after the swords used by gladiators Wormwood Artemisia absinthium planted on the roadside so soldiers could put leaves in their sandals to ease foot ache
a sunken Peristylium courtyard garden provides a cool, shaded for relaxation and contemplation in the heart of Chester’s
environment city centre
a double-height colonnade spans the full northern facade; paler brickwork emphasises the late-afternoon shadows, whilst cypress trees offer privacy and acoustic buffering
EXTERNAL SPACES_ SUNKEN PERISTYLIUM & NORTHERN COLONNADE
HORTICULTURAL ARCHIVE_ AUGMENTATION OF THE PUBLIC REALM_ LANDSCAPING STRATEGY
Upper ground floor display area, housed within a double-height brick cube; a series of elevated walkways offer gantry access to each of these exhibition spaces, whilst a bronze floor inlay echoes historical geometry once present on-site
Lower ground floor reception area; darker brickwork emphasises the lower-level entry into the scheme, whilst various exhibition spaces are hinted at through narrow openings & an accented circulation staircase to the upper level
Curved colonnade circulation wraps around the primary void and offers elevated views across the double-height ‘Row’ walkway; darker brickwork enhances the facade’s permeability, whilst the muted material palette avoids distracting from the controlled geometry
A balance is struck between well-lit voids & areas of contrasting shadow; the ‘chiaroscuro’ effect is employed along the curved colonnade walkway, whereby the arcing trajectory of the floor plan is read via the rhythm of light & dark
EXHIBITION METHODS ON KEY CIRCULATION ROUTES_
The scheme utilises a number of different circulation methods, thereby offering varied and free-flowing access to all public areas of the museum. Where possible, bespoke furniture has been developed to permit artefact exhibitions along key circulation routes. Conversely, where convenient, a lack of relics prompts the visitor to contemplate the spatial configuration and tectonics of the architecture, pertaining to the importance of the scheme’s geometry, both in plan and spatially.
Scrolls, Paperwork & Textual Relics
(consistent light levels maintain paper quality, avoid discolouration & prolong relic lifespan)
Metalwork (Jewellery & Weaponry)
(consistent temperature and low light levels maintain metal quality & avoids tarnishing)
Pottery & Stonework Relics
(consistent temperature maintains moisture levels & stone quality)
Lithographic Film Vaults
(low light and moisture levels)
Artefact Cleaning / Drying Room
Equipment Store Artefact Analysis Labs
(with technician changing facilities)
Artefact Loading / Unloading Bay Archaeological Soil Excavation Basin
BASEMENT SPATIAL CURATION PLAN Main reception waiting area & circulation space; a collection of artefacts are displayed prior to entry into the museum’s main spaces TRANSPORTATION NETWORK_ A series of manually-operated buggies aid the archaeological technicians in transporting the relics around the basement plan to the relevant analysis laboratories
LITHOGRAPHIC FILM VAULTS_ Light & climatically-controlled spaces, these thick-walled chambers ensure no secondary light damages the historic films and reels housed in this archive
ARTEFACT CLEANING / RINSING LAB_ Laboratory with adjoining changing facilities; wall-mounted sinks and wipe-down surfaces provide the optimum environment for the removal of dirt from recently unearthed artefacts
CURATION DETAILS_ ENVIRONMENTAL CONSIDERATIONS & STORAGE METHODS
The scheme’s ‘Basement Level Plan’ illustrates considerations for numerous storage options, ranging from climate-controlled areas for pottery and metalwork, whilst paperwork, drawings and scrolls would be stored in a much ‘drier’, warmer environment, away from artefacts which may still contain trace amounts of moisture. Lithographic film would be stored in specialist, thick-walled vaults with no direct natural or electrical light
Top floor exhibition space; diffused light enters via the bespoke roof struts, whilst subtle material changes denote the layout of key exhibits
EXHIBITION SPACES & DISPLAY METHODS_
CIRCULATION ROUTING ACCENTUATED_ The primary circulation axis was accentuated via a carved entranceway leading from the main public square
COLONNADE & EDGE TREATMENT_ A ‘colonnaded’ edge treatment to the front facade softens the entrance sequence into the reception area
CARVED FACADE & MASSING_ The exhibition pierces the front facade, creating a shaded recess; a loggia entrance continues the soffit level of the Row walkway
ENTRY SEQUENCE_ EVOLUTION OF FRONT FACADE & MASSING
KEY EXTERNAL SPACE_ ENTRANCE LOGGIA & COLONNADE
The soffit height of the loggia-style entranceway provides continuity with the existing elevation of the Row walkway; stepped massing breaks up the proposal’s impact onto the public square, whilst the pale brickwork softens the new scheme into its existing ‘listed’ context
FACADE TECTONICS_ BRICKWORK CHIAROSCURO DETAIL
Emphasising the concept of shifting axes, the edge condition of the front facade is softened via the ‘feathering’ of the brickwork soffit; angled inset brick wythes create a consistent rhythm of ‘light’ and ‘shadow’
INTERNAL FACE
1
EXTERNAL FACE Sits gap
UNIFORM ROMAN BRICK_ flush alongside its uniform counterparts with a mortar of 20mm, half the depth of the bricks themselves
2 FORMER CREATION & PRELIMINARY FILLING_ The former lid measures to fit the internal dimensions of 295mmx92mmx41mm; initial clay is added gradually to ensure the bottom corners are tightly compacted
INTERNAL FACE
3
4 Once down
full, the process is repeated until
PACKING & TAMPING DOWN_ of gently rolling a weight and tamping the lid the top surface finish is as smooth as possible
EXTERNAL FACE SHIFTING ROMAN BRICK_ Sits at a projecting angle of 9 degrees when at full projection; specialist former required to achieve bespoke angled uniformity
5
6 DRYING & RELEASING_ Left to air dry for a number of hours, the former is carefully unscrewed by hand in order to avoid any disruption to the still moist and malleable clay
INTERNAL FACE
EXTERNAL FACE FULLY-PROJECTING ROMAN BRICK_ Shifting on both axes, these bricks appear to be fully cantilevered from the main facade plane; twice the width of a typical roman brick
7
TWISTING BRICKWORK DETAILS_
Though laid by hand, the above details denote how the three different ‘marker bricks’ would sit within the overall construction configuration
FLUSH MORTAR JOINTS ON THE HORIZONTAL & VERTICAL_ With no deep-set mortar joints, this brickwork configuration appears much flatter with minimal shadow coverage and relief
FLUSH MORTAR JOINTS ON THE HORIZONTAL_ Flush mortar finishes along the horizontal axis result in an emphasis along the vertical axis; the bricks are read as individual elements
8 SANDING & TESTING_ Once completely dry, a light-grade sandpaper can be run gently across the edges to remove any flakes of clay; the process is then repeated to generate a number of bricks
PHYSICAL MANUFACTURE OF 1:1 SCALE BRICKWORK_
FLUSH MORTAR JOINTS ON THE VERTICAL_ Flush mortar finishes along the vertical axis result in an emphasis along the horizontal; bricks are read as thin bands of masonry due to deep-set shadows
MORTAR JOINTS_ BRICKWORK CHIAROSCURO DETAIL
01_ Once cleared, the site is levelled off; extensive archaeological groundworks must be performed in order to ascertain the location of key artefacts still known about within the site boundary and immediate vicinity
02_ The flattened site is then marked-up to confirm the layout and arrangement of the floor plans’ key geometries; secant piles are carefully pile-driven to ensure minimal disruption to any surviving archaeology
03_ Top-soil is carefully drawn back from each pile’s head and a viscous water-proofing course of liquid cement is sprayed; the top-soil is then raked back to recover the piles
04_ The internal floor slab is prepared via the further levelling off of the top-soil, and spot-height checking to ensure minimal gradient displacement; a 500mm deep in-situ cast pile cap tops off all of the secant piles
150mm of by 100mm
05_ top-soil, followed work up from
06_ The concave wall is built up off the pile cap; a double-skin masonry construction, with blockwork interior to maximise the structure’s rigidity. Internally, plumbing, ducting and electrical plant is fixed in place
aggregate is layered of poured concrete,
on top producing
a
of
the internal level base to
‘GEOPLAST’ MULTIMODULO / GRANCHIO_ A polymer formwork system that creates a solid, ribbed foundation slab, guaranteeing a high load-bearing capacity; the resulting ventilated crawl space permits ducting and wiring to run easily beneath the structural floor Key Characteristics: • reduces on-site installation time, compared to traditional formwork • reduces concrete usage; requires single pour of slabs • easier installation of plumbing and electrical plant • offers protection from radon gas and rising damp
Tessellation / ‘nesting’ of MultiModulo formwork system 07_ Once underfloor plant is fixed in position, the ‘multimodulo’ polymer floor system is fixed together in-situ; this lightweight structural casting formwork can be drilled directly into the cast slab beneath for maximum rigidity
08_ Once screwed together, a wire mesh is laid perpendicularly across the formwork, which in turn is covered with 100mm of in-situ cast concrete, forming a flat, elevated floor with a ventilated plant void beneath
09_ A final high-quality screed is applied to the floor build-up; usually a fluid concrete mix, this screed can be left as the floor finish, or an additional layer can be applied, depending on the building’s required aesthetic
CONSTRUCTION PHASING_ SECANT PILING & GROUND FLOOR BUILD-UP
ROMAN BRICK IDENTIFIED_ The required brickwork is sourced; test samples are sent to site to ensure aesthetic continuity 01_
01_ PILES & CAPPINGS_ Uniform concrete piles are driven into the ground in areas containing the lowest amount of known archaeology on-site; a series of concrete pile caps top each group of piles, proving a stable base from which to build the structure off
02_
02_ CONCRETE CAP CONNECTIONS_ Once the geometry of the known floor plan is marked out, and the required piles driven and capped, a series of in-situ cast connecting concrete channels link each cap to the next, strengthening the overall structural grid further, whilst also offering a solid base to begin wall construction off
‘KEYED’ BRICK SLIP_ To ensure maximum rigidity and adhesion of concrete to brickwork, each slip is positively keyed
03_ TIMBER MOULD_ A mould is constructed, measuring the external dimensions of the bespoke beamwork required on-site
04_
‘KEYED’ BRICK PLACEMENT_ Each keyed brick slip is accurately positioned within the confines of the timber former; checked to ensure it matches the approved design drawing bond pattern
1
05_ 03_ COLUMN PLACEMENT & FOOTINGS_ Initial footings for all masonry construction are laid out, whilst the reinforced concrete columns are fixed to the centre of each pile cap, where required
2
04_ HOLLOW CORE PLANKS_ As the primary structure of the scheme rises out of the ground, lateral bracing is required; a series of extruded concrete hollow core planks are laid perpendicularly to the column grid, offering structural rigidity in both directions
SEALANT & STEELWORK_ Polystyrene crimps sit within each mortar joint to ensure uniform joint spacings; silicon sealant and sand reduce the chance of concrete leakage. Steel reinforcements are inserted to allow the precast units to become structural elements
3
06_
CONCRETE POURING_ Self-compacting concrete is mixed and poured into the mould
4
5
07_
LEGEND_ 1 _ Wall Construction; 41mm Roman brickwork, 120mm blockwork, 140mm fibre insulation, cavity with tray and moisture membrane, outer face of Roman brick with weep hole 2 _ Floor Construction; 50mm concrete screed (to architect’s aesthetic specifications), 420mm pre-cambered concrete hollow core plank
3 _ Wall Construction; 102.5mm brickwork, cavity with ties at 670mm centres, 140mm fibre insulation, 120mm blockwork, 370mm expanding foam, 25mm waterproofing cement, moisture membrane, 650mm diameter pile with 1.25m cap 4 _ Floor Construction; 25mm concrete screed, 100mm slab, MultiModulo system at 600mm centres 5 _ External drainage network fixed to slab
CURING & STRIPPING_ Once cast and cured, to achieve a compressive strength of C40, the unit is stripped from the mould 05_ PRECAST CONCRETE BEAMS_ Laid perpendicularly to the hollow core planks, these precast concrete beams are finished with bonded brickwork to achieve the required tectonic aesthetic the scheme’s concept strives toward
06_ STRUCTURAL GROWTH_ As the structure rises, the construction process is repeated on the higher levels; precast hollow core planks and reinforced concrete beams with bonded brickwork are used to ensure structural and aesthetic continuity throughout the building
TRANSPORT & POINTING_ Once on-site and craned into position, the unit can be finished off by pointing along the voids left by the polystyrene crimps 08_
1:20 & 1:10 CONSTRUCTION DETAILS_ PILING & BASEMENT WALL
CONSTRUCTION PHASING_ PILING & HOLLOW CORE CONCRETE PLANKS
CONSTRUCTION PHASING_ PRE-CAST CONCRETE BEAM WITH BONDED BRICKWORK
CFRP ROOF BEAMS_ Primary structural build-up: • Main Structure_ polymer reinforced structural mesh • Sealer Layer_ sprayed on for additional resilience • Corrosion Barrier_ fine grains of fibreglass enhance beam durability • CFRP Core Layer_ high compressive strength and water resistance • Vinyl Ester Resin_ provides impact resistance and increased durability • Tonal Gel-Coat_ pigmentation of top layer / finished aesthetic
ROOF CONSTRUCTION_ CARBON-FIBRE REINFORCED POLYMER BEAMS
+ve
+ve
-ve
+ve
VENTILATION STRATEGY_ NATURAL AIR CHANGE VIA FLUCTUATING PRESSURE DIFFERENCES
As the prevailing winds create a negative pressure difference across the roof of the main archaeological void, stale air is drawn out via the roof vents; natural ventilation ensures consistent air change rates
In an open circulation space, direct light offers a harsh contrast between darker, intimate exhibition spaces, and openplan public routes
In a quieter exhibition space, with ancient relics and archaeology on display, a softer, more evenly diffused natural light is beneficial The glazed gaps between each CFRP roof beam permit natural light to enter key spaces within the building; the angled separation ensures minimal direct light can reach the artefacts on display, as the solar beam is diffracted and dispersed evenly across a space, rather than focused on a single point of the room
Two water pipes run parallel along the full length of each CFRP beam
Filled with cold water, the water is circulated constantly from each beam back to the main heat recovery plant room
As the sun’s rays hit the roof, the light is bounced around the angled interior to focus as much as possible onto the water pipes
The black bituminous paint that lines the interior of each beam absorbs more of the sun’s thermal energy than a paler surface would
The water gradually warms, providing increasing amounts of thermal energy to the plant room on the top floor of the scheme
A heat recovery system efficiently harvests the thermal energy; the cool water is now recirculated back up into the roof beams to be reheated
Photography of a 1:50 physical model, depicting the consideration for risers to span from the basement’s ‘geothermal plant’, up into the lower levels of the scheme. The above section indicates the efficiency of this proposal; as the uniform concrete column and masonry wall arrangement would ensure a rational, even distribution of heat around this part of the museum, avoiding areas of higher temperature that may gradually speed up the artefacts’ deterioration
This process is repeated on a continuous cycle, ensuring maximum energy is stored; mechanical systems would still be required to ensure comfortable internal temperatures throughout the year, but there is great use in the consideration of these initial energy-saving design strategies Heated air from the geothermal plant rises up through the masonry wall cavity, gradually radiating heat throughout the structure’s primary elements
DAYLIGHT STRATEGY_ SOLAR GLARE MEDIATION
Photography depicting recently unearthed Roman hypocaust remnants in and around Chester city centre; though in a poor state, the overall concept of underfloor heating is still perceptible
SOLAR HEATING STRATEGY_ WATER & HEAT RECOVERY SYSTEM
The concrete hollow core planks, which slot into the masonry walls at regular intervals, offer the optimum method of even heat distribution
GEOTHERMAL STRATEGY_ CONTEMPORARY HYPOCAUST & THERMAL MASS ENVIRONMENTAL STRATEGIES_
For additional information on the enclosed schemes, as well as numerous other projects from my portfolio of work, please visit my personal website -----
www.joshdsharp.wix.com/portfolio