Juan Lopez Stage 3 BA Architecture Technology Reports

Juan Felipe Lopez Arbelaez Technology Reports / Stage 3

Juan Felipe Lopez Arbelaez B4016558 Academic Portfolio BA (Hons) Architecture 2016/2017 Newcastle University

ARC 3013 Part 1

Architectural Technology Technical Report Juan Felipe Lopez Arbelaez B4016558

Contents

Design Summary -8-

Technical Report -13A: Construction Reduction -14B: Construction Reuse -17C: Construction Recycling -20D: Value -23-

Bibliography -25-

Design Summary

-8-

The Very Hungry Caterpillar

The studio had a grounded and practical approach to Primer and Staging in order to prepare us for the subsequent phases later in the year. Within the studio, there are recurring elements of society, culture, corporatism and gentrification.

The Site Plan shown opposite shows not only the site itself, McAlpine Street in Glasgow, but its context at a larger scale. This was completed as part of group work to show the extent of developable area around the dilapidated metal reclamation warehouse. This illustrated how whatever replaces the current use of the site, it will have a much larger knock-on effect to the wider area while also highlighting how this location is an important opportunity for developers and gentrification.

-9-

Also part of the group work were highly detailed measured drawings of the existing building and structures on the site. They were completed using measurements taken by the studio during the site visit and don’t use any CAD blocks in order to give them originality and identity.

The Sections emphasise the key tectonic part of the building and its intricacy which isn’t immediately noticeable when viewed externally. The Elevations were supported by a Condition Survey that aided our understanding of how to stabilise the building to make it fit for purpose when we came to suggest our proposals in the future. This gave us a realistic insight into the process and care required in actual projects.

5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 5.10 5.11 5.12 5.13 5.14 5.15 5.16 6.1 6.2 6.3 6.4 6.5 6.6 6.7

Finishes and Render

Missing Bricks and

7.1

Graffiti

8.1

Rainwater Goods

Cut away the bad render using a chisel and hammer, and rake out any debris and areas immediately surrounding. Brush out loose dust and apply the new render in thin coats ensuring it is well pushed in beneath the undercut edges of existing plaster.

Replace missing brick or stone with a new one that matches the old. Seal with mortar. For 6.1 the bricks need replaced with bricks with the dimensions 220mm X 75mm X 120mm. Bricks from 6.2 to 6.6 need replaced with bricks with dimensions 1100mm X 290mm X 120mm. 6.7 can be replaced with stone of any size to fill the gap, as the wall is made up of stone in various sizes.

Spray on some solvent, lightly rub with steel wool and then wipe clean. Repeat as necessary until graffiti is removed. Then use anti-graffiti paint such as Graffiti Magic Anti-Graffiti Paint to paint the surface.

The problem originated as a result of missing gutter supports, so first these need replaced. If the old pipe is damaged cut out the broken section of the pipe and replace it with new pipe. If the pipes are cast-iron use a reciprocating saw with a metal cutting blade to cut out the broken piece of pipe. Alternatively, the whole pipe can be replaced with a new aluminium or cast-iron pipe.

Condition Survey Example

-10-

Individually we produced site models, but we were encouraged to create an individual interpretation of it through materiality and subsequent additions to them that help to convey the idea of our idea that re-imagines the space as it currently is; in order to give it renewed value and importance in the community in order to justify its conservation. My proposal aimed to convert the space into a performance and sculpture gallery space featuring works made from the metals found on-site.

-11-

The booklet created for the Staging phase developed our own personal brief of the project by adding further detail and beginning to incorporate the commercial client on site and its relationship with the cultural client.

-12-

Technical Report

-13-

A: Construction Reduction

Reduce at Source – Questioning the Brief Despite the brief stipulating the need for a new build to be constructed with a total volume of 50,000m3, my design response will instead provide a constant minimum of 20,000m3 while providing the framework and basic structure to expand (or contract) as seen necessary by the client up to the required value of 50,000m3.

In this way, the original brief is not being significantly modified but simply ‘stretched’. One of the more ‘open-ended’ elements of the brief was the aesthetic approach to the build. Having been informed by the volumetric frames enabling the range in total building volume, I have opted for regular and simple forms that will enable greater flexibility and effectiveness for modularisation.

-14-

A: Construction Reduction Doing More with More – Flexibility In-Use This approach applies to the space inhabited by the Cultural Client. By strategically placing complementary entities adjacent to adaptable-use spaces, they lend themselves to be temporarily appropriated by a particular cultural entity or shared in a private/public manner. With the Cultural Client located on the ground floor, many of the issues associated with this strategy are drastically reduced, primarily those concerning to adopt a load and structure strategy that has to accommodate a ‘worst-case’ scenario. As a non-significant proportion of the space is dedicated to this approach, it will minimise levels of redundancy and instead improves the intensity of how the space is used. All of this will inherently reduce the physical and monetary value required for the project by removing the need for an additional new building for this client.

-15-

A: Construction Reduction Doing More with Less – Modularisation

OVA Studio / Hive-Inn

This approach applies to the space required by the Commercial Client. As my approach to the brief allows for constant change within the designated space, modular construction is the most appropriate path as this allows for speed of construction and adaptability so that any changes can be implemented without causing the client or surroundings major inconvenience through off-site construction1 and act as lightweight additions which is a vital quality as the commercial client has an elevated position in the site. This will reduce the amount of primary structure to be initially constructed.

modularisation of units / encouraged to add-remove units as required / high rise / volumetric frame structure2

partially open sided module3

selection enables various configurations

open sided (corner supported) module3

-16-

B: Construction Reuse Building Reuse / Component Reuse Due to the existing building’s trade history, it is my intention to reuse as much of the building and its components in order to preserve its industrial atmosphere4. This will be achieved through different approaches to the external and internal aspects of the building. Externally there will be a focus on renovating the boundary walls as these will provide new and necessary access points to the site and to make use of the large south-facing aspect – something which is appropriate as it is load-bearing masonry structure. Internally, the metal framed structure has provided with a vast and largely empty space which has encouraged their preservation as these are the distinguishing feature and will therefore become a spatial mediator for when the various insertions are fitted into the space in order to accommodate the various cultural entities1. The importance placed on this tactic finds it roots from the work undertaken during the Primer phase as the condition survey, detailed drawings and individual proposals allowed us to spot the potential4 and embodied value (both monetary and ideological) in the existing elements in order to reuse them at large, thus helping to reduce reliance on new constructions and lower carbon emissions5.

-17-

B: Construction Reuse services: circulation + plumbing + ventilation stacked / exposed / upgrade + repaired easily

safety: car park / north of site / isolated maintenance + construction / ease of access to frames

core elements: fixed + solid building core / frames cantilevered / frame reconfiguration possible

foundations: deep pile / high loads withstood / range of uses + designs possible

Design for Future Adaptation The Commercial Client’s building is suited to this approach as the steel frame construction allows for the modular construction to be utilised to its full potential. The choice of an exposed steel structure means that if required it can be repaired or dismantled with relative ease and low cost6 without wasting materials getting to access the area in need. This is because the regular form of it allows for modular dimensions to be used widely as well as the implementation of longer span structures that facilitate a range of spatial layouts to enable it to be adapted efficiently and effectively depending on the client’s needs throughout its use without further construction to take place, or even the need for relocation.

-18-

B: Construction Reuse

David Chipperfield / Neues Muesum

OVA Studio / Hive-Inn

building reuse methods / aesthetic approach to combine historic + contemporary elements7

solid core / stacking services / exposed structure allows efficient repair / construction method8 -19-

C: Construction Recycling reclaimed structural steel9

reclaimed bricks9

metal scultpures from material found on-site

reclaimed Yorkstone paving9

Material Reclamation / Reuse As stated prior, the boundary walls are to be made structurally sound and part of this will require the additions of bricks and masonry in order to do so. Wherever possible reclaimed bricks and masonry will be reused here. Not only do these have a higher embodied value as their aesthetic qualities will fit seamlessly into the building fabric by virtue of their historic value; but as they are not recycled or new, the project will have increased savings with regards to energy and carbon and a reduction in waste by seeing waste materials as ‘new’ materials10.

-20-

C: Construction Recycling

reclaimed material profile tables9 -21-

C: Construction Recycling Sustainable Design by Ethics Various of my approaches towards my design response implies a larger monetary input, an example being the money and time required in reclaiming the materials that will then be placed into the renovation of the boundary walls. This is because of my personal response to my studio’s brief; my project will endeavour to challenge the established perception of the relationship and image of cultural/corporate entities from one of tension and inconsideration to one which is sympathetic and conscious of social, cultural, physical and historical nuances of an area. This therefore justifies the greater focus on reclamation as opposed to recycling. In essence, one of the driving forces behind this project is doing what is right, not avoiding what is worse – making built environment decisions on their ideological value rather than on cost, through good design11.

The proposal put forward for the re-imagining of the space without any architectural work done to the site highlighted the feasibility of reclaiming metal when the current use for the space ceases to apply in order to create metal sculptures. These would adorn the newly created plaza adjacent to the existing building, so that the atmosphere of this space is elevated (by virtue of newly enriched cultural value) through the interaction between people and the artworks and their setting in proximity to their ‘origin’ in the building itself12. This would hopefully incentivise locals to come and experience the other cultural entities housed internally.

Bill Dunster / Olympic Sculpture Park

Bill Dunster / BedZED 95% of required structural steel / reclaimed9

-22-

sculpture park / former industrial site / urban location / motivator for ‘value’ increase / large monetary investment13

D: Value The Need for Creation of a

Value-Giving Process

Historically, the thought of knocking down a built space to make way for a new one would have been considered appropriate – in most cases it might have even been encouraged. However, in today’s world tearing something down, as put in ‘Preservation is Overtaking Us’ by OMA, could be seen as “barbaric”. They argue that “the old is seen as more culturally relevant than the new”14. Value should always be taken into high regard; however, I believe that in some cases, this being one of them, it is more important to examine what the building represents for a particular community or what the space within it could become; in other words, its potential for value, be it physical or otherwise – especially in seemingly disposable buildings such as the one found in my site. It could be therefore argued that over time the current structure has lost its perceived value and through lack of maintenance has drastically reduced its economic value.

What my approach to the construction and development of my design response, through heavily incorporating the existing elements, aims to do is to renew and re-imagine the various values which cannot be measured but are appreciated by its direct and indirect users while inherently increasing the overall economic value of the site. Crucially, the future of the design response will not be determined by the economic value but by the experiential values so that it provides it with a much larger potential for longevity.

Cedric Price / Fun Palace neglected industrial structure / repurposed for greater local betterment / increasing community + cultural value15

-23-

In order to achieve this, it is insufficient to only take a ‘soft’ and micro-applied approach towards instilling value into a project, it has to become a holistic and intensive process that requires consideration from the outset should it be replicated in the future11.

Caruso

St John / Newport Street Gallery

appropriate approach to construction - building reuse / given contemporary use / will have positive knock-on effect surrounding community16

-24-

Bibliography

-25-

Texts 1. Designing out Waste: A Design Team Guide for Buildings.

Pg.32 + Pg.34

The Waste and Resources Action Programme (undated)

The Waste and Resources Action Programme / Banbury, England 2. Everything You Need To Know About The Hive-Inn

Kiri Picone (2014) / All That Is Interesting http://all-that-is-interesting.com/hive-inn-hotel 3. Modular Construction

N/A (undated) / SteelConstruction.info

http://www.steelconstruction.info/Modular_construction#Open_sided_.28corner-supported.29_modules 4. Re-Readings: The Design Principles of Remodelling Existing Buildings Pg.126

S.Stone (2005) / Structural Studies, Repairs and Maintenance of Heritage Architecture IX

WIT Press / www.witpress.com 5. New Tricks with Old Bricks: How Reusing Old Buildings Can Cut Carbon Emissions

Pg.4 + Pg.7

The Empty Homes Agency (2008)

The Empty Homes Agency Ltd. / London, England 6. Design for Deconstruction: SEDA Design Guides for Scotland : Pg.26

Chris Morgan and Fionn Stevenson (2005)

Scottish Ecological Design Association / Scotland

No. 1

7. Neues Museum

David Chipperfield (2009) / Projects

https://davidchipperfield.com/project/neues_museum 8. OVA Studio Enables Traveling Container Hotel Rooms With Hive-Inn

N/A (2014) / Design Boom http://www.designboom.com/architecture/ova-studio-traveling-container-hotel-rooms-hive-inn-04-14-2014/

-26-

9. Reclaimed building products guide

Pg.16 + Pg.17-18 + Pg.20 + Pg.47 + Pg.62

The Waste and Resources Action Programme (undated)

The Waste and Resources Action Programme / Banbury, England 10. Introduction to Cradle to Cradle

C2C World (2014) / YouTube https://www.youtube.com/watch?v=QMsF1P-_vWc 11. Architectural Value

Pg.6 + Pg.13

Matthijs Prins (undated) / Architectural Management: International Research & Practice (Part One: Valuing Design)

N/A / N/A 12. Values in architecture

Prof. Achim Hahn (2014) / Schuko https://www.schueco.com/web2/de-en/architects/magazine/discussion/values_in_architecture 13. Olympic Sculpture Park

N/A (2016) / Wikipedia

https://en.wikipedia.org/wiki/Olympic_Sculpture_Park 14.

Preservation is Overtaking Us N/A Rem Koolhaas and Jorge Otero-Pailos (2014) GSAPP BOOKS / New York City, USA

15. Fun palaces: Joan Littlewood’s Dream to be Realised 100 Years After Birth

Mark Brown (2014) / The Guardian Newspaper https://www.theguardian.com/stage/2014/jul/18/fun-palaces-joan-littlewood-dream-realised-100-years-birth 16. Newport Street Gallery

RIBA (2015) / RIBA: Royal Institute of British Architects https://www.architecture.com/Awards/Awards2016/RegionalAwards/London/NewportStreetGallery.aspx

-27-

Images

all images and diagrams are original works except where noted:

1. Pg.16

OVA Studio Hive-Inn Render http://www.designboom.com/architecture/ova-studio-traveling-container-hotel-rooms-hive-inn-04-14-2014/ 2. Pg.19

Neues Museum Interior

http://www.metalocus.es/en/news/neues-museum-drawings-david-chipperfield-display-lisbon 3. Pg.19

OVA Studio Hive-Inn Construction Strategy Drawing http://www.designboom.com/architecture/ova-studio-traveling-container-hotel-rooms-hive-inn-04-14-2014/ 4. Pg.22

BedZED Street Facade http://hidden-london.com/gazetteer/bedzed/ 5. Pg.22

Olympic Sculpture Park Areal View http://www.bestvalueschools.com/25-most-amazing-sculpture-gardens-in-the-world/ 6. Pg.23

Fun Palance Perspective Inhabited Elevation http://www.interactivearchitecture.org/fun-palace-cedric-price.html 7. Pg.24

Newport Street Gallery Street Facade http://www.carusostjohn.com/projects/newport-street-gallery/ -28-

ARC 3013 Part 2

Architectural Technology Technology Declaration Juan Felipe Lopez Arbelaez The Very Hungry Caterpillar B4016558

Contents

Design Summary -34-

Declaration -39A: Structure -40B: Construction + Materiality -45C: Environmental Performance + Building Services -47D: Studio Specific Technology -49E: Technology Integration Summary -53F: Precedents -54-

Schedule of Changes -56-

Design Summary

-34-

2

N.B. As design has changed twice since last review, this Plan is completed to a level which conveys the main intent of the structure.

Scale 1:300 (to fit max A3)

McAlpine Plaza

Upper Floor Plan

1

Ground Floor Plan McAlpine Plaza Scale 1:300 (to fit max A3)

3

services

N.B. As design has changed twice since last review, this Section is completed to a level which conveys the main intent of the structure.

circulation

Scale 1:300 (to fit max A3)

McAlpine Plaza

Main Short Section

North Elevation McAlpine Plaza Scale 1:300 (to fit max A3)

4

Declaration

-39-

A: Structure Existing Structures Scale 1:500 (to fit max A3)

Current site is dilapidated resulting in varying wall heights within same stretch of wall. Various elements are not structurally sound.

Main structural systems here are brick and masonry wall with an exposed steel frame structure.

-40-

A: Structure Renovated Structures + Site Alterations Scale 1:1000 (to fit max A3)

Expansion of site to include shopping promenade and plaza as this will also help to provide acces to adapt the structure if needed and to add/remove temporary spaces in the commercial client space.

A small amount of movement of earth was required to create an access ramp to the basement housing deliveries and access to building and lift services.

970mm reinforced in-situ concrete ground retaining wall to enable creation of access ramp and basement.

Deep pile concrete foundations to support main concrete cores.

5

-41-

A: Structure

Primary Structure

Commercial Client: Steel Frame

Scale 1:500 (to fit max A3)

Cultural Client: Reinforced In-situ Concrete

Cores: 300mm Reinforced Precast Concrete

6

-42-

A: Structure Secondary Structure Scale 1:500 (to fit max A3)

Top of Concrete Cores with Steel Support Columns

Concrete Slabs

Cantilever Support Cross Bracing

Concrete Underside Support Radiating Out From Core

7

-43-

A: Structure Building Envelope Scale 1:500 (to fit max A3)

Floor to Ceiling Glazing

Exposed Structural Systems

8

-44-

B: Construction + Materiality Cultural Detail Section McAlpine Plaza Scale 1:50

My building’s atmosphere will be strongly driven by the structural and tectonic honesty. The inherently ‘heavy’ aspects will remain as such, an example of this being the reinforced precast concrete cores which will be perceived as monolithic.

What is naturally light and lean yet rigid such as the exposed steel frames will also be left exposed wherever possible. The expansive use of glazing aids to further this. The contrasting yet successful marrying of structure sytems mirrors the contrasting clients inhabiting the site in a symbiotic manner.

9

N.B. As design has changed twice since last review, this Section is completed to a level which conveys the main intent of the structure.

-45-

B: Construction + Materiality Commercial Detail Section McAlpine Plaza Scale 1:50

In spite of the highly industrial nature of the structure in terms of its aesthetics, the building will not feel ‘cold’ as through the addition of an aggregate to the concrete cores to give them a red hue and recolouring the frames in the cultural client to their original yellow; it will help ‘warm’ the nature of the space to make it more inviting both internally and externally.

N.B. As design has changed twice since last review, this Section is completed to a level which conveys the main intent of the structure.

10

-46-

C: Environmental Performance + Building Services SW prevailing wind to provide natural ventilation.

Expansion of site to claim portion of existing car park to house renewable energy source.

Large southern orientation to proposal to utilise natural day lighting and renewable energy source.

Location Plan McAlpine Plaza Scale 1:1250

11

-47-

12

Scale 1:300 (to fit max A3)

McAlpine Plaza

Main Short Section

C: Environmental Performance + Building Services

-17-

D: Studio Specific Technology Existing Elevation McAlpine Plaza Scale 1:250

-49-

D: Studio Specific Technology Condition Survey to Restore Elevation Symbol

Defect

Repair

Water Damage

Dig out any damaged brickwork back to the undamaged parts and patch up what is left. Fillers, made up of spare and/or cut bricks, can be used to patch up the damaged areas once the damaged brick is removed. When damage is extensive the whole face of the brick will need to be removed. The damaged brick face is then replaced, usually with a half brick cut lengthways, and sealed in place with mortar. If the brick is entirely beyond repair then the whole thing will need to be taken out and a new brick will take its place. To ensure the brick matches the original take a sample to a brick manufacturer.

For water staining you can remove the stain using a commercial brick cleaner and a stiff-bristled brush to scrub the stains, and then rinse the bricks with clean water.

Vegetation

Mosses can be removed relatively easily from a building by physically removing the plant, and then in some cases chemical control may also be appropriate. For larger plants, the main aim is to kill the roots of the plant so that when it is pulled out the roots don’t remain in use. To do this, use herbicides or weedicides such as Weedol Rootkill Plus to treat the soil and cause the plant to die from the roots upwards. It can then be removed. Also, the plants are clearly getting moisture from the wall, so using water resistant paints would prevent any further growth of plants. This will require a professional who will need to locate where the water is getting into the wall and plug the hole to ensure there is no moisture feeding the roots. For plants with extensive root systems there can be more problems and therefore more issues with removal. Dealing with this vegetation involves more planning and looking in to preventive maintenance, particularly with regard to rainwater disposal systems and proactive pruning.

Where large roots are removed there has to be some backfill, as mortar, brick and/or render may be taken with the plant as it is removed. There should be a maintenance plan in place which requires bringing professionals in to help. For example, rainwater gutters should be cleaned manually every 6 to 7 months to ensure that they do not over flow and allow water to be misdirected onto the building.

13

Cracks

Clean all crumbling brick and mortar from the crack with a chisel and hammer. If the crack runs through a brick widen the break using a chisel angled into the crack to enable you to clean the inside of the crack to its full depth. Remove debris using a wire-brush, and flush it thoroughly using water. The crack can then be filled with mortar. To ensure the mortar colour matches the original a colour test can be done by mixing a small amount of mortar and spreading it onto a scrap of cardboard where it will dry quickly to show its true colour. Mortar colouring can be added to the mortar as necessary.

Finishes and Render Defects

Cut away the bad render using a chisel and hammer, and rake out any debris and areas immediately surrounding. Brush out loose dust and apply the new render in thin coats ensuring it is well pushed in beneath the undercut edges of existing plaster.

Missing Bricks and Stone

Replace missing brick or stone with a new one that matches the old. Seal with mortar. The bricks need replaced with bricks with the dimensions 220mm X 75mm X 120mm; 1100mm X 290mm X 120mm. For the stone wall, stone of any size can be used to fill the gap, as the wall is made up of stone in various sizes.

Graffiti

Spray on some solvent, lightly rub with steel wool and then wipe clean. Repeat as necessary until graffiti is removed. Then use antigraffiti paint such as Graffiti Magic Anti-Graffiti Paint to paint the surface.

Rainwater Goods

The problem originated as a result of missing gutter supports, so first these need replaced. If the old pipe is damaged cut out the broken section of the pipe and replace it with new pipe. If the pipes are cast-iron use a reciprocating saw with a metal cutting blade to cut out the broken piece of pipe. Alternatively, the whole pipe can be replaced with a new aluminium or cast-iron pipe.

-50-

D: Studio Specific Technology Restored Elevation McAlpine Plaza Scale 1:250

-51-

D: Studio Specific Technology Renovated Elevation Translucent panelling and artifcial lighting added as a way of showcasing the steel frame and the irrgeularity of the texture in stone and brick of original elevation in a modern reinterpretation.

McAlpine Plaza Scale 1:250

Elevation informed location of structure for commercial client.

Majority of original elevation retained into final proposal to serve as public fronting for cultural client by creating openings for dors and windows.

14

-52-

E: Technology Integration Summary

The brief requirements for the project have highly dictated my approach to structure and architectural technology in my project. The presence of two clients has clearly transcended into each having a specific construction system that best serves them; with a third type of construction serving as the unifying agent between the two main systems. The main considerations undertaken relate to how long and in what way the served spaces will be used; but also, how the decisions made could enable the structure to become both functional and decorative.

On the ground floor, where the cultural client is the main occupant of the space, the reinforced in-situ concrete cast construction is the favoured system. This is because the structure will house a more defined space that must respond to the existing boundary walls. This might require for some last-minute adaptations to be made as a tolerance for any discrepancies between the brick/ masonry boundary walls and concrete additions with regards to the dimensions required.

The upper floors, occupied by the commercial client, will mainly comprise of a steel frame structure as this enables maximum adaptation after its initial construction. Its strength: weight ratio makes the cantilevers, which are crucial to the aesthetic approach of my design, possible. The exposed structure sections along the perimeter of the frames also enables the insertion of the prefabricated module extensions that will allow the amount of space to be increased or decreased as required in an efficient manner. The exposed structure alongside the restored steel trusses in the ground floor will continuously adorn the site, thereby becoming both functional and decorative.

Lastly, the two circulation cores which help to unify the commercial and cultural clients will incorporate a precast reinforced concrete structure with an aggregate to give it a pink colour to distinguish them from the rest of the project. This means it can be fabricated off-site while preservation and restoration work takes place on-site. The height of these two towers also means that lifting the concrete panels via a crane is a more sensible approach. They will also provide ‘anchoring’ points for the steel frame construction for greater stability and structural integrity.

15

-53-

F: Precedents

Centre Georges Pompidou / Exposed structure as functional and ornamental.

Example of prefab modules: their external facade and construction process.

Hive-Inn / Exposed steel frame to enable maximum adaptability in-use and beyond.

C.C. Santo Domingo / Visual effect of pink aggregate pre-cast concrete precedent.

The Brick House / Visual and Constructional junction between concrete and brick.

-54-

F: Precedents

Tianmen Mountain Restaurant / Structural approach to glazing the cores’ roof.

Solar Panel section through the type that will be included in proposal.

CMT Building / Implementation of horizontal louvers into facade for sun shading.

Baron House / Structural and Visual approach to fenestration in porposal.

16

Ground Source Heat Pump linked to underfloor heating for heat distribution.

-55-

Schedule of Changes

-56-

List Key for Revised or New Work:

XX

1. REVISED - Reconfiguration of to accommodate accessible services at every storey.

2. NEW - New plan layout to coincide with structural changes.

3. REVISED - Reconfiguration of upper half of commercial client structure and spatial configuration.

4. REVISED - Adapted elevation to match structural and spatial changes.

5. REVISED - Inclusion of retaining walls and concrete core pile foundations.

6. REVISED - Adaptation of primary steel frame structure in commercial client to match new proposal.

7. REVISED - Adaptation of secondary structure for commercial client to match new proposal.

8. REVISED - Adaptation of building envelope for commercial client to match new proposal.

9. NEW - Cultural detail section showcasing the construction and materiality of the space.

10. NEW - Commercial detail section showcasing the construction and materiality of the space.

11. NEW - Location map to show site features to be taken advantage of for Environmental Performance and Building Services.

12. REVISED - Adaptation of Environmental Performance and Building Services strategies to match new design.

13. REVISED - Inclusion of Condition Survey detailing exact processes required to restore elevation.

14. REVISED - Completed to show relation between renovated elevation and revised commercial client design.

15. REVISED - Adapted to match thought processes behind new structural strategy for commercial client.

16. REVISED - Addition of more architectural and technology precedents exploring a greater range of aspects in the proposal.

-57-

Studio The Very Hungry Caterpillar

B4016558