Josh Sharp: Final Year Thesis Portfolio

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

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prior to excavation work commencing; the void is spanned by walkways offering views out across the dig

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archaeology gradually unearthed as ground level drops; excavation depth increases

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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

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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