Juan Felipe Lopez Arbelaez Work / Stage 2
Contents
Contents and Declaration
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Semester 1 Apologia
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Semester 1 Design Work
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P2.3 - At Home In The City P2.3.1 - Study Type P2.3.2 - Leith 2025 P2.3.3 - Dwelling Plus P2.3.4 - Inhabit
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Appendix 1
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Semester 2 Apologia
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Semester 2 Design Work
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P2.4 - Engineering Experience
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P2.5 - Exploring Experience
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Appendix 2
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Non-Design Work
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Process + Reflect
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AP 1
Contents and Declaration This portfolio contains a mixture of old and new work. This work is wholly original or done by others as part of group projects that has been adapted by myself.
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AP 2
Apologia Semester 1 was “an opportunity to refine the personal approach towards designing spaces with regards to how to tackle the creative and reiterative process�.
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Reflection During Semester 1, at the forefront of intention was to constantly maintain a balance between the aesthetics and the functionality of the created designs. At some points the aesthetics may have defined the functionality and at others the functions have moulded the aesthetics. However, at no point was a sacrifice made in meeting the requirements for either the building or the brief. It was also endeavoured to design with the relationship between the inhabitants and studio brief in mind to create a proposal which has occurred naturally and logically as a unique space that simultaneously represents my architectural style and ethos - it’s about making architecture which is sympathetic and sensitive to the circumstances of its creation. The fundamental design should holistically embrace the factors of the environment, whilst the internal development of space is centred on the intended use by the dwellers. In Dwelling Plus it all stemmed from the site and the situation in which it found itself in. It aimed to eradicate the social and urban issues outlined by the previous group project through its design and schedule of accommodation where both promote inclusivity. The building had to be successful when questioned against the existing social and urban context but also be radical and innovative enough to guarantee its longevity – something which was learnt by doing ‘Leith 2025.’ The context defined the form; the form helped define the spaces. Semester 1 was as an opportunity to refine the personal approach towards designing spaces with regards to how to tackle the creative and reiterative process which enabled the final intent to be reached. The driving force behind the main Semester 1 project was to see how the initial and somewhat superficial group-based intervention in Leith could place a significant impact on the individual proposal through the degree in which Dwelling Plus was allowed to be informed by it.
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Semester 1
At Home In The City Study Type Leith 2025 Dwelling Plus Inhabit Each project has its own particular link to the studio group’s brief for the semester of “Mixed Occupancy”.
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Study Type The first group project where drugs, alcohol and rehab featured heavily. It culminated in the production of a short book.
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Booklet Overview As a group we investigated the various characteristics of the Redbridge Welcome Centre. It is a drug and alcohol rehabilitation centre that also offers classes and meals for its residents and the less fortunate. Located in Greater London, it was designed by Peter Barber Architects in 2012. I was in charge of the visual design and layout of the booklet as well as the analytical and supportive text. Furthermore, I had vital input in the creation of the analytical diagrams and measured drawings. My main aim was to maintain aesthetics of the booklet as simple and coherent as possible by referencing the Centre’s “continiuous ribbon� that is its intrinsic quality and its colour scheme throughout.
The key aspect that I took forward following this project was how the levels and zones of privacy were placed and adapted to fit the needs of the building. This is something that heavily informed my schedule of accommodation in my Dwelling Plus proposal.
RIGHT: A diagram illustrating the distribution of the public and the
private spaces across the levels of the centre. The dark red coloured areas represent the public spaces while the green-blue areas represent the private spaces.
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Social Context
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Public (and Private)
It is clearly seen how despite the facade appearing to indicate a totally open space, the section shows the stark contrast between the upper more private floors and the lower more public floors. This is not achieved only by the introduction of walls but also by altering the ceiling height. Lower floors are double height, while upper floors are single height creating contrasting atmospheres of ‘open’ and ‘closed’ respectively. The main circulation space is concentrated in one zone throughout the floors to allow for the most efficient use of floor area and natural movement. The centre becomes more private as you travel up through its levels. The best way to visualise this was to take a section and use colour to obscure the lines to show the varying degrees of privacy. This represents the idea that as an observer we have a less clear understanding of the centre at the top than we do at the bottom in terms of its use and inhabitance.
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This diagram shows the relative relationship between the amount of space dedicated to private (Top) and public (Bottom) areas in the centre. The shapes represent the various footprints that these areas form when viewed in plan. -19-
This diagram compiles the plans with all the possible routes that people might take to move throughout the building depending on who they are and what they want to do. Interestingly the paths crossover on the lower floors frequently while only one or two routes may exist in the upper floors. This follows the idea of increasing levels of privacy as you travel up the building. Similarly, some parts of the building are reserved for only one group of people, as a way of complete privacy. -20-
Speculating Inhabitation
From Left: Approach to the building; Interior dining space in the multi-use area; Private room. These drawings represent the physical journey through the building while also mirroring the metaphorical journey the residents experience in order to get better through the help they receive. -21-
Analytical Text The Redbridge Welcome Centre designed by Peter Barber Architects in 2012 is a revolutionary design concept for drug and alcohol rehabilitation facilities. The project was completed at a cost of £1.6 million over five years in a typical terraced residential area of Ilford near London. Its spatial and visual design play a key role in its success to not only change the public’s perception of how they associate the residents of a place like this, but also how the people within it view themselves. The layout is largely open plan to allow the centre to adapt to its many uses. The various activities that take place include drug and alcohol units, teaching rooms, multi-use spaces, drop-in facilities as well as providing meals for up to 60 individuals each day. The L-shaped ground floor means that the garden is secluded from the busy main roads that surround the building, yet the heavy use of glass blurs the boundary between interior and exterior use of spaces to maintain the feeling of openness at the base of the building. Spaces become more and more private as you go up the floors. Visually, the centre takes the form of several irregularly stacked volumes, with an uppermost level that cantilevers out towards the road. A series of folded planes forming a continuous ribbon through the structure coupled with the double height ground floor made up of almost entirely glass completes the very bold and decidedly conspicuous look Barber was aiming for. He described his approach as “souped-up minimalism”, the composition as “picturesque modernism”, and there is a refreshing energy in this architecture, which doesn’t take itself too seriously — and is all the more approachable for it. In a way, its almost as if the building wants to make its presence known so the public take notice of it, much like the people in it should also be noticed by society as people who matter. As for the patients inside, the open plan layout and large use of glass gives the building a quality of transparency as if it has nothing to hide. Barber wanted to create this atmosphere of honesty that the occupants could draw from, letting them feel free to be honest and express themselves in order to get better quicker while the pure white render is symbolic of purity, cleanliness and renewal which is what the centre aims to instil in its residents and visitors. Due to the nature of the building, and its communal layout very little space is given the capacity to be appropriated by its residents. The spaces are meant to accommodate a series of potentially never ending ‘tenants’ so they had to be designed to be kept generic and quite plain as to encourage the residents to better their lifestyle so they can move on. However, just because no space is meant to be appropriated, it doesn’t mean it can’t be inhabited. When observed from this perspective, there is plenty of space of this type in the floors above ground. Each of the 12 long term residents has their own private bedroom with a single bed, storage space and en-suite. They all have separate joint cooking facilities in addition to the servery below. Each of the bedrooms look out towards the garden. This is not coincidental as it allows patients to escape the trouble they face in the real world and allows them to enter a place of serenity and relaxation. Though simply equipped, it is more comfortable than the average rehab centre and certainly more comfortable than the conditions some of its residents are accustomed to. Each long term resident has a different background and has come here for their own reason. As such, there exists an infinite variety of ways of how each will inhabit their space. As an observer, it is very difficult to exactly describe how this could be unless having lived through a similar experience as the people in these rooms. It is at this point that you realise as much as the building might try to be transparent to everyone, there will always be a degree of separation between the general public and the people undergoing rehab. Peter Barber designed the Welcome Centre as a model to be replicated for future spaces of this kind. He wanted to eradicate the typical design that promoted separation and wanted to create a “hostel without corridors”. The fact such a building doesn’t conform to the design of its immediate surroundings means that a similar centre could be potentially established in various locations all over the world without it having to be adapted or modified to an extent that it looses its essence of transparency and renewal. Its use does not lend itself to be replicated 50 times over, one next to the other to create a new neighbourhood of rehab centres — that would just be unnecessary. But it doesn’t rule out this as a model that shouldn’t be adopted because it does work. Large groups of residents who have passed through it have gained various teaching certificates enabling them to get paid jobs and move into rented accommodation. It should be noted that this is a very rare opportunity to examine a potentially new definition of ‘mixed use’. Usually, ‘mixed use’ implies a high rise building comprised of shopping, work and expensive apartments in the hub of a city. The Redbridge Welcome Centre is the opposite, its a school, a halfway house, a residence for the less fortunate and a rehab centre. This is a mixed use space with a positive social impact that should be made more common and if it were to follow this model proposed by Barber, it could very well happen.
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Leith 2025 We went. We saw. We designed. Looking a decade into the future, in groups, we attempted to improve Leith.
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The Neighbourhood
At the heart of my group’s neighnourhood was Tolbooth Wynd. We felt that this was the most dilapidated section of our neighbourhood. Currently on our site sits a purely residential tower complex, Linksview House, which can be seen on the Southern edge of the site plan (Above). Further Northwest and closer to the main road is further residential properties with some music studios behind the housing. The surrounding area is comprised of residential spaces that have been restored and in some cases had some new modern extensions added to them. Within walking distance is a commercial sector which gives this large site a huge potential to become highly desirable.
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Linksview House
Linksview House was built in the 1960s in a Brutalist style which, to this day, is still present in Leith in places like Cables Wynd House and the Newkirkgate Shopping Centre. Currently however, Linksview House doesn’t feel like it is part of the neighbourhood. As visitors we did not feel welcome to walk around and explore these spaces. Visually, it has not been kept up to a satisfactory condition.
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Existing Issues
It’s vast size casts huge shadows on the only open space in the neighbourhood, the playground. All of this helps to create the main problem with this site: it divides and alienates the entire neighbourhood. The elevation also shows the area chosen for the Leith 2025 Proposal. -28-
Opposite: With specific regards to the only green space in the neighbourhood, the playground, the diagram illustrates Linksview House’s impact on it.
Above: The diagram illustrates how Linksview creates both a physical and psychological barrier in the neighbourhood. -29-
Proposed Solution
Tolbooth Common, a vision for Leith 2025 aims to rectify the existing problems in the neighbourhood. A multi-use complex comprising of residential properties, a sports/community centre, a new building for the music studios along with further commercial space as well as a redesigned playground space. The inclusion of a wide variety of social opportunities arose from the fact that there is few opportunities for the residents to have such a space close to this neighbourhood.
Opposite: Site plan showing the area chosen for renovation.
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By including a sports/community centre this will encourage a positive outlet for the residents while the opportunities for small businesses and cafes will also draw people to the complex to make it an integral part of the neighbourhood that will hopefully change the public’s current perception of Tolbooth Wynd.
Above: The new landscaped space for use by both residents and public located at the heart of the scheme. Opposite: Interior render of the sports/community centre.
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Left: Existing Design - July 4:30pm. Right: Proposed Design - July 4:30 pm. Designing For Light: We have lowered the maximum height of the building to limit the casting of the shadows to the edge of the playground. The cut out sections not only create a clear threshold into and out of the complex for pedestrians but they also open up the views across the neighbourhood and increase the amount of sunlight coming in from the south. This is also the reason why only a small section of the southern part of the site is occupied by low rise buildings. -32-
Unlike the existing structures, we have chosen to use materials that are found in the vicinity of the site such as timber and granite to dampen the visual impact that the stark difference in styles between our proposal and the other buildings will have in our neighbourhood.
Towards Dwelling Plus: There were various elements that I carried forward from our proposal for Leith 2025. These include: 1.The angled facades to maximise the sunlight available at the appropriate times of day. 2. The recessed levels to break up the mass of the building. 3. The Increased amount of vegetated public open space. 4. The overhangs from the roofs to provide shade on the South facing facades. -33-
Dwelling Plus A new kind of student living. A product of Study Type, Leith 2025 and my response to the Mixed Use studio brief.
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Shore Place, The Site
Shore Place is located just South of the Shore, Lieth’s high street. Its close proximity to the centre of Leith meant that the building’s more evident presence in the area would make its public use more effective. It sits opposite the playground, currently the only public open space in the immediate area, giving the site a unique and pleasant environment compared to its neighbours. The adjacent buildings have already been restored or modernised; meaning that a new design would fit into the urban fabric more seamlessly.
After conducting some research into the site’s urban context, I realised that three of the main universities located in Edinbrgh are within 30 minutes from Shore Place via public transport. This distinguishing characteristic heavily informed my schedule of accommodation.
Above: The locations of the universities located within 30 minutes of the site. Opposite: Shore Place and Dwelling Plus Proposal site plan.
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Promoting Inclusivity Taking into consideration the accessibility to local universities from the site and Edinburgh’s large student population, my project aims to cater to the minority groups within the student population: international students, mature students and independent students. The building will house a student-run pub affiliated to one of the nearby universities that will have two key benefits. Firstly, it will enable these students to earn money and integrate themselves within the community. Secondly, it will provide a more accessible price bracket for the area due to the large council homes nearby that may not be able to afford some of the newer shops that have opened - the locals should not be denied the opportunity to enjoy their neighbourhood. It would also combat the somewhat closed atmosphere of the current neighbourhood to encourage socialisation.
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Precedents
Student Residence, LAN Architecture, Paris (2007). There were a few key elements that were taken from this project into my proposal for Dwelling Plus. 1. Building heights were determined by existing buildings so that it fits better into the social fabric. 2. Natural light was key, angled facades and slits between buildings allowed there to be sunlight in every room. 3. Every open space has its own particular use and environment.
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The Mansford Estate, Karakusevic Carson Architects, London (2010). There were a few key elements that were taken from this project into my proposal for Dwelling Plus. 1. The housing estate catered for a variety of sizes of tenants and ownership. 2. The architects humanised the site by creating a micro-community through open space - courtyard and pedestrian zones were instrumental in this. 3. The project sought to erradicate the existing issues caused by the original scheme on the site - ill defined public and private relationships.
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Floor Plans Ground Floor: The Pub and Courtyard.
First Floor: The Student Accommodation.
1. The pub’s narrow shape will encourage people to use the courtyard when possible.
1. As it is arranged over three levels: it creates an opportunity for all the residents to interact.
2. The overhang and living wall help to provide shelter in more adverse weather.
2. The rooms are all almost the same size and feature an en-suite to ensure equality.
3. Storage is shared on the ground floor and there is an accessible toilet as well.
3. Rooms receive evening light which is the time of day when they are usually inhabited.
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Second Floor: The Student Flats.
Third Floor: The Outdoor Space and Privacy.
1. Bedrooms in the 2 person flats receive evening light and have secluded views out.
1. The public benefits from the courtyard while the residents have a communal garden.
2. 4 person flat occupies the entire third floor to guarantee privacy and exclusivity.
2. All dwelling types have their own private outdoor spaces via the terraces.
3. The master bedroom in the 4 person flat has views to the rear garden and the river.
3. The spaces and dwellings become more private higher up the building.
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Section
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Opposite: The double height ceilings in the third floor help to emphasise the intricate roof design to give the largest private dwelling its own distinctive quality. The South elevation of Shore Place can be seen in context. Unlike the floor plans which were completed soley on digital software, the image opposite is a composite of a printed building and hand-drawn context. Both were then digitally joined and coloured.
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Analytical
Left: Schedule of Accommodation Student Accommodation Student Flats Student-Run Pub Shared by Residents Circulation Space
Right: Privacy Allocation Public Use Resident’s Use Private Use
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Sandstone and Granite
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The surrounding buildings informed the materiality of my Dwelling Plus proposal. These materials were mainly Sandstone and Granite. I strategically placed sections of each stone to emphasise the angularity of the design. Secondary materials that were also selected are Walnut Wood and Rusted Iron cladding. Previous: I tried to implement as many of the materials within the pub so that when the folding doors open the space no longer feels like a separate entity. Overleaf: Final Dwelling Plus Model at 1:100. Pg 37: Massing Model Dwelling Plus at 1:200
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Inhabit The Living Wall. The Floating Staircase. The bedroom. Defining moments in key spaces of Dwelling Plus.
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The Living Wall
Open yet secluded. The seasons may come and go, each determining how the pub and courtyard is used, but this space will always retain those two fundamental qualities. In Springtime the flowers would bloom on the living wall to bring life to the building. The colours, textures and smells would add a softer quality to the harsh and rigid stone and metal used throughout. Come Summertime, opening the folding doors would to eliminate the boundary of interior/exterior space and turn the pub and courtyard into one collective endless volume. Here people could gather and enjoy the most of the warm evenings provided by the sunlight pouring directly into the place. When Autumn arrived anyone could seek refuge from the rain and wind by sheltering underneath the overhangs and the little nook formed at the juncture of the main building and living wall - it almost invites you in. A very defined and intentional line between the interior and exterior occurs in Wintertime. People would pack into the long and narrow pub and gaze from the large windows out into the desolate outside world. Throughout the year it offers an escape from the noise and manmade environment of Shore Street just a mere distance away. Walking along the street my design gives no indication that such a space has been carved out from the building; serving as a pleasant surprise for any unsuspecting person walking by. Its effectiveness is due to its adaptability. It happens almost naturally and effortlessly by factors determined beyond the users’ control: the weather and inherent design qualities of my proposal.
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Defining spatial arrangement and use through materiality. I have intentionally placed contrasting materials in the paving of the courtyard and pub. Through these changes in colour and texture a subtle indication is given to the people which use this space so that it may be inhabited as planned throughout the year. As there is no physical boundary, it prevents it from becoming a constrincting and imposed environment. Instead it maintains the intended inclusive and social nature. The irregular sections of landscape reflect the angularity of the mass of the building and the interior furnishings of the pub; while also offering natural qualties when then living wall isn’t visible or in bloom.
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Hydroponic Living Wall Section, Key: 1. Fundamental Wall. 2. Water/ Nutrient Ion Input/ Circulation System. 3. Pump. 4. Waterproof and Root Resistant Membrane. 5. VF Planting Blanket. 6. Nutrition Soil and Planting Blanket Pocket. 7. Plants 8. Water Channel (Recycled). Scale 1:20
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The Floating Staircase
This space shares many similarities with the pub and courtyard that are situated directly below. The space emulates the shape and features that exist below it to encourage the inhabitants to make full use of the adaptable and fluid characteristics, while its open plan layout gives the impression that the living area is larger than it actually is. In pleasant weather, students can open the sliding doors to extend the space onto the terrace to bring the outside world in and give the space a unique aspect uncommon in the typical student accommodation: private open space. Though the lounge is insufficient for the number of students living there, there is no need for it to be bigger as a large one is situated on the ground floor. This space isn’t intended to be used as just a lounge, kitchen and dining space. As a result of one of the walls it becomes an interesting threshold and transitional space. Here the entrance between public and private sectors is framed subtly from the inside by the stairs leading to the upstairs bedrooms. However this isn’t immediately apparent when you enter the flat. The glass stairs help to disguise the fact that there is a solid object directly above and immediately present as you walk through the door. I’ve avoided creating an oppressive atmosphere by having that part of the space double height so that you are not only able to see past the steps but beyond to the top of the second floor.
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Opposite: Top Left - Construction Detail 1:10 Top Right - Elevation 1:50 Bottom - Plan 1:20
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The Bedroom
The bedroom: probably the most important space that a student will ever inhabit. I have intentionally made the bedroom the largest room in the flats as this is probably where they will be spending most of their time relaxing or studying. Thus, it must provide an ambience which is suitable for both. It is very important to make sure that the design of the space helps to create an environment that is pleasant and offers the individual a comfortable ambience. I wanted to ensure this was the case when the occupant of the room woke up and when they returned in the evening. One of the key design features of my building was to frame the views outside while still maximising the amount of natural light that enters the rooms so as to conserve energy and allow for the daylight to be utilised for study and recreation. The bed faces the largest window which allows the student to wake up every morning with views out towards the Shore, Leith’s pleasant riverside high street. The room is lit with soft natural light from behind the bed from small raised up windows to control the amount of morning light so as to stimulate the most natural way a person can awake. In the evening the student would walk into a bright and warm room that had been heated by the southern light all day. The two thin and long strip windows help to frame the view out to the street while still guaranteeing the privacy of the inhabitant.
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Opposite: Student Rental Flat Plan. Diagram shows the various possibilities for views out of the flat. The bedroom has a significantly higher concentration of available views. (1st floor flat shown to avoid scaling down from original size) Scale 1:50
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Appendix 1 A selection of key development work that enabled me to reach my final schemes for Semester 1.
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Light Study of South Facing Balconies. Mid February 9am/12pm
Mid June 9am/12pm/7pm
Mid October 9am/12pm
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AP 3
Apologia Semester 2 “involved a greater amount of experimentation” and “shifted the focus towards how designs, concepts and ideas were represented visually”.
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Reflection Semester 2 involved a greater amount of experimentation in every element that was tackled – from model making to multi-faceted drawings that help to convey more than one message. This semester shifted the focus towards how designs, concepts and ideas were represented visually. There was a strong belief in the concepts and ideas put forward in the work, but also a feeling that the graphic representation was somewhat lacking and as a result let the proposals down. Considerable effort was made to eliminate this by implementing a mix of programmes and media, while combining the digital with the analogue to reinforce the aesthetic and experiential elements of the scheme. Exploring Experience added a personal association to the studio brief. An enriched and unique programme for my main Semester 2 project developed as a result. Furthermore, time was spent sourcing inspirations from architects and their works to utilise these as precedents that were firmly since the very start, informing my design both in aesthetic and spatial qualities. The lessons taken from Engineering Experience in how immersive technology in a tailored space can create radical and powerful moments fed directly into the approach that was taken on this semester’s main design project. The clarity, strength and credibility of concepts behind the scheme were continually questioned throughout the semester to ensure that by the end, everything that had been thoroughly and effectively visualised mentally, was clear to everyone in the final work. This is what essentially became the driving force behind Exploring Experience. Overall, from Semester 1 to Semester 2 there has been a positive movement towards establishing a clearer personal visual and design language as a result of these experimentations which can now be built upon and refined throughout Stage 3.
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Semester 2
Engineering Experience Exploring Experience The experience was set in Berwick-upon-Tweed and it was defined by the union between architecture and technology.
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Engineering Experience Our from
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installation aimed Berwick-upon-Tweed
to to
transport people The Underworld.
OrphĂŠe (1950)
Through the mirror goes Orpheus to rescue his wife, Eurydice, from death. Our film was a 1950s French adaptation of the Greek myth of Orpheus. As the original film was considered a modern adaptation at the time, our idea was to create a 21st Century version and experiment with how modern life would alter the experiences of the real world and underworld. There is a constant battle between the domestic and underworld environments. The mirror acts as the mediator between the two, sometimes acting as a barrier and sometimes acting as a portal – it blurs the line between the two worlds and between the living and the dead. Patterns and the breakdown of them help to create the very opposing atmospheres in the two worlds, the bedroom is rife with patterns from the wallpaper to the parquet flooring. The underworld is unpredictable and nothing seems to make sense as no rules, no pattern, is followed. In terms of volume, the bedroom is not very big, it already feels crowded with all the furniture and even more so when the characters are in the room. Contrastingly, the underworld seems vast and expansive, we are given no indication as to where its limits are.
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Process
From Left: Testing the reflective material used in The Underworld section of the installation; Model of first proposal for installation at 1:50; Construction of maquette for final installation. -79-
Installation
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The installation has two halves, the smaller representing the bedroom and the larger representing the underworld. The middle section connecting the two would act as the mirror, the threshold between the two. To create a sense of unsettledness in the bedroom we decided to model it with all four sides covered by the patterned wallpaper in the film but gradually suck the colour out of it as you came closer to the mirror. People would enter through the domestic side and go towards the middle where the space converges. Here they would have to shuffle through glass screens that once again partly reflect them and partly enable them to see through. Once in the underworld, the viewer would be in a much larger space they’d make their way through fabric onto which the film that we created would be projected on. The fabric would distort the image to symbolise the breakdown of familiarity and pattern established in the previous room. From here they would exit the installation. The experience was made fully immersive by enclosing the installation in a darkened space so viewers would look around it in an environment which blocked out all external light and sound sources. Thus, heightening the senses of those viewing the installation
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The Film
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To view the entire film visit: juanlopez96lop100.tumblr.com/tagged/24ee
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Personal Comment
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I was excited about the prospect of working with and learning from two fields which are often closely associated with Architecture: Engineering, the practical element and Fine Art, the creative element. Unfortunately, our Fine Artist had dropped out of the project shortly before the start and had not found someone to replace them nor did the Fine Art School make a real effort to find a replacement. This was, to say the least, a huge disappointment in terms of the conceptual development and making the maquette. It showed me that the level of dedication and commitment found in architects isn’t common to all practices. In spite of this, we worked even harder as a group to push our creative capabilities to come up with what I believe was a true distillation of the main experiences of our scene in a manner that translated itself well both visually and experientially in the maquette and film. This was something that united our group amongst architects and engineers. Another obstacle that we faced and overcame was managing to coincide our schedules, not everyone was always able to be present; but everyone had at least one major input into the project and whenever anyone had the time they worked efficiently and well. Overall, I believe that we were successful in exploring and experimenting various concepts and design instruments before reaching our final decision. It is for these that reasons and how we were able to overcome initial issues that helped us assure the high quality end result that we proudly presented. Personally, I feel I have learnt a lot from this project; I have improved my organisational and communicative abilities. My presentation skills also benefited as I had to be able to clearly communicate an abstract proposition in such a way that could be understood by the tutors at the meetings. Most importantly, I realised the true extent of my creative thinking potential and is something I hope to continue carrying forward.
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Exploring Experience Pyhsically and Geographically separated. Emotionally and Virtually united. The future of relationships.
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The Concept
Spaces of Astral Projection Astral projection is an interpretation of an out-of-body experience that assumes the existence of an astral body separate from the physical body, the avatar. Astral projection or travel denotes the astral body 'leaving' the physical body to travel in an astral plane, the virtual reality universe.
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The Theory
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Hello? It’s me, can you hear me? Technology has enabled us to be incredibly digitally connected; yet physically disconnected. Despite all of the advances in communications, it still isn't a match for face to face contact. Skype, Facetime, Facebook Video, they all have the same pitfalls. It usually feels like you spend more time checking if the other person can hear you while the other person complains they can't see you clearly enough. Progress, they call it. But what if there was a way to change the experience of using programmes like these from a mere interaction between two people and a screen, to one that blurs the boundaries between the real and virtual world? I believe the way in which this can be achieved is through how people perceive and manipulate space. My proposal will be focusing on long distance relationships and how architecture can help to improve the experience through dedicated spaces that allow for varying degrees of virtual submersion. Long distance relationships extend beyond the common amorous kind to include family and even work relations. Having had a first-hand experience in all of these areas, I am able to see the potential that can be unlocked by linking architecture and technology in order to revolutionise how people interact on a daily basis to better our lives by seemingly bringing us so close to each other, that it may as well be real. The building will be a hub for this experience that will hopefully be the founding site of many locations that provide the same range of experiences. I intend to keep the rear façade and the arches of the existing building while adding a modern extension to house three key spaces: a larger scale exhibition space that further explores the capabilities of immersive technology; medium scale space for a virtual reality restaurant where people can have a long distance activity and on occasion be the birthplace of a long distance relationship and dedicated smaller scale pod spaces for anyone.
Hello, it’s so nice to see you again...
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Berwick, The Site
Opposite: Site Plan Scale 1:1250 North at top of map. The proposal is situated close to Berwick town centre which makes the location more desirable to attract visitors to use the facilities provided. The two access roads to the site, Silver Street (South side) and Anderson Court (North Side) were what intially attracted me to this location. This dual aspect has had a major impact on the spatial organisation. The adjacent structures are private residences and a furniture warehouse.
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Accommodation
Opposite: Diagramatic Schedule of Accommodation in context. The individual pods outside to help to break up the mass of the building and allow for the more public entrance to the building more open and welcoming. This intentionally contrasts the more private and restrained rear entrance.
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Precedents
Alberto Campo Baeza -Offices, Zamara-
John Pawson -Plain Exhibition Space-
Stedelijk Museum Amsterdam -Benthem Crouwel Architects-
Holburne Museum -Eriz Parry-
Royal Ontario Museum -Daniel LibeskindCartier Fondation -Jean Nouvel-
Neues Museum -David Chipperfield-
Museum of Modern Literature -David ChipperfieldAlberto Campo Baeza -Gaspar-
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Opposite: Corresponding influence on element of design. Top Row from Left: Use of frosted glass as semi-dividor of spaces and atmospheres; Inclusion of existing structure encompassed by modern new extension; Reflectance of rear screen. Middle Row from Left: Spatial and atmospheric qualities; Circulation allows access from modern extension to existing extension at various vertical points; Reflectance of rear screen. Bottom Row from Left: Framless glazing system; The use of material textures and colours to distinguish zones, use and age of construction; Integration of slatting into pod design.
-99-
Elevations
Opposite: Rendered Front and Rear Elevations in context. The aim was to maintain the roofscape by not have the building protrude out of the neighbourhood. The designs of the elevations relfect the atmospheres to which they face, the front being more open and the rear being more closed. The rear screen ensures privacy for the nearby hotel guests; while the external pods at varying heights create a cubic landscape so that people can still enjoy the space even when there is no available pod to enter.
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Plans Ground Floor: External Astral Projection Pods and Exhibition Space
-102-
First Floor: Virtual Reality Restaurant
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Second Floor: Internal Astral Projection Pods and Viewing Platform
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Roof Plan
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Building Section -AA-
Opposite: Rendered Section -AA- in context. The existing structure informed the vertical layout of spaces. Where spaces needed to be enclosed then this was deďŹ ned by the existing building; where they could be open they formed part of the extension. The second oor was setback to make a subtle distinction between the existing wall and the new addition. Here the screen disguises this addition. In the triple height atrium, a deliberate enclosed (almost monolithic) structure for the lift and stairs. This makes it a very physical real experience to move around the building to contrast the wealth of digital and inferred reality opportunities. The ground floor was sunken to accommodate appropriate ceiling and roof spaces.
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Construction/Materiality
The building is concrete cast in situ to be able to have exposed matt, smooth concrete on the outside and inside which contrasts the rough, light sandstone. This is is done to represent the marrying of the older and newer elements of the space. The sandstone being native to the site is what grounds the building for the users, reminding them of where they are. The Smart Glass allows for transparency or opacity whenever needed. It acts as a subtle indicator of when a pod is free or not. This taps into the curiosity nature of people who will want to continue to explore the spaces and activities as they are intrigued to know what is happening when they cannot fully see the events. Opposite: Rendered Constructional Section of Building, focusing on the Rear Screen.
-108-
The Pods Opposite: Pod Design Development. The pods implement the arch that was retained from the original structure as an instrument for both aesthetics and thresholds. The final design doesn’t copy it directly, instead it is simply inferred by how the stone is cut on the slatting. The concept behind them is that they all have identical facades that use the materials that represent the old and new aspects of the deisn in identical exteriors (bar the individual heights) to allow for a completely adaptable, fully immersive experience.
-110-
The insides of the pods have climate and lighting control HD Surround Sound Systems and all-round projection screen that can accurately interpret the setting of any place around the world so that the use can feel as if they could either be on a tropical beach or atop a snow-capped mountain. Their partner, using the same pod, under the same condition wherever they may be can then also share the same experience. Both people can choose to hear and see, or just one to still allow for interaction. It is the unique experience and new form of interaction that will enable people in long distance realtionships to be able to sustain long distance as they can continue to build memories together that strengthen the bond between two people. The Exhibition Pods differ by having screens on the exterior facades. This allows artists that primarily focus on digital or film art to display their work, such as Bill Viola. Spectators can then enter the pods to represent them going into the wolrd and mind of the artist by being allowed to enter the artwork itself and its environment.
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The VR Restaurant
Opposite: Visualising the Virtual Reality Restaurant Experience. The virtual reality technology does not create the experience in the restaurant, it enhances it by being able to correctly present a realistic image of the person you are with that responds to movements and environments. With screens you lose depth and perception from a at image. Why not just have this technology at home? Because that would be missing the point. People still go out to dinner not because they have to, but because they want to. The act of making the effort to do something different, seeking pleasure in the tradition of going on dates with current or new partners. This continues to build shared experiences allowing people to do something that orginally couldn’t be done without the other person. The smells, sounds and atmosphere of the real restaurant make it extremely real up until you want to touch that person and you remember they aren’t there. At that moment you know that you still want to have a physical connection with a person, moving the relationship forward and keeping it from becoming stagnant.
-114-
Restaurant Section -BB-
Opposite: Rendered Section -BB-. Taking visual cues from the exterior pods at varying heights, here, the frames that hold the technology for virtual reality lower at various levels to subtly distinguish each of the spaces being mapped out. Diners would have the opportunity to create their own photo-realistic avatar within the building in the dedicated Avatar Creation Room situated on the ground floor.
-117-
Analogue Contrast
A series of dedicated spaces completely devoid of technology offer freedom and release back into the physical realm. There are three key zones: the viewing platform, counselling rooms and the terrace space. The pressures of long distance relationships can be hard to manage and perhaps after a difďŹ cult conversation people can have some room to breathe and appreciate the landscape of Berwick to clear their minds via viewing platform or terrace space; the former of which has views all the way to the sea. The terrace can be used by the restaurant in pleasant weather to offer a non-digital dining experience. The counselling rooms are there for when people, primarily couples, are together to have a private space to talk about matters. This could be particularly useful for certain demographics such as students, where groups of up to seven share a house.
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Analytical
Opposite: Spatial Organisation, Accessibility and Energy Strategies. Scarcity: Utilising and updating all of the existing building to reduce material needs and define spatial allocations of two key spaces (Exhibition Space and Virtual Reality Restaurant). Accessibilty: The building is wheelchair accessible throughout. Circulation, corridors and services cater for wheelchair acces at every level in the same location. Solar Heating: Majority of glazing on South side to maximise solar gains, particularly through triple height Atrium. Glazing on North side kept to a minimum to minimise heat loss. Optimising Energy Efficiency: Boiler Room is located at the centre of the building so warms surrounding spaces through radiation. Double glazing is used throughout but the atrium is triple glazed to minimise heat loss during Wintertime.
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Physical Models
-122-
-123-
-128-
List of Models Astral Projection Pod Model at 1:20 Rear Screen Model at 1:50 Spaces of Astral Projection Whole Building Model at 1:100 Exhibition Space Arches Development Model at 1:100 Circulation Space Development Model at 1:100 Pods Lego Development Model at 1:100
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Appendix 2 A selection of key development work that enabled me to reach my final schemes for Semester 2.
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AP 4
Non-Design Work The second and equally important half of Stage 2 who’s completion has enriched my practical and theoretical knowloedge in architecture.
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Contents
Architectural Technology
-141-
Environmental Design and Services
-153-
20th Century Architecture
-157-
The Place of Houses
-161-
Dissertation Studies and Research Methods
-165-
ARC2009
Architectural Technology Coursework for this module comprises of three pieces: one undertaken in Semester 1 and two in Semester 2.
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Design Summary
Architectural Technology ARC2009
Coursework Juan Lopez B4016558
Sitle Location Map (Site A)
Site Proposal Plan
Front Elevation
Rear Elevation
Section (Facing Shore Place)
Tolbooth Wynd Elevation Individual Floor Plans
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Construction Evaluation
Ground Floor Construction
Upper Floor Construction
Roof Construction
Separating Floor Construction
External Wall Construction (Granite not shown as does not form part of examined wall)
Insulation for Upper and Separating Floor Constructions
Windows
N.B. I have chosen a steel roof consutruction in favour of a timber construction due to to the fact that my roof is of a quite complex design with varying pitch angles, and as such, I belive that the stronger steel is the more appropriate choice in this occassion.
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Suggested Improvements
Construction Declaration
Please find attached the SketchUp file for my constructional model comprising of:
Updated Ground Floor Construction There is most scope to improve the specification of my design in two areas: the ground floor construction and window construction. The intended designs have a summary rating of ‘C’ and ‘D’ respectively, both which fall below the midpoint of the summary ratings. For the ground floor construction I would opt for a suspended concrete ground floor. This would be to still retain the strength that concrete has as it would have to bear the load of three upper floors plus the roof and the fact that one of the upper floors has a larger surface area than the ground floor itself. Furthermore, the irregular shape of the ground floor and the slightly sloping site means that it would be beneficial to have a suspended and block system to reduce the amount of materials used. This would improve the element’s summary rating from a ‘C’ to an ‘A’.
Ground Floor Construction Separating Floor Construction Exterior Wall Construction Windows Roof Construction.
Updated Windows
As my building would be mainly owned by a university, it would make sense to choose components that all have an equal replacement interval to reduce costs on maintenance, in this case 40 or more years. That is why, in order to justify the large expanses of glass which is a crucial element in my design, I would change the window construction to a powder coated aluminium system which is the only other system that lasts for at least 40 years. However this is a much more efficient system and would improve the element’s summary rating from a ‘D’ to a ‘B’.
Tectonic Intent
Having completed the constructional model I can see that my more detailed design decisions have, overall, complemented my architectural concept. Primarily, the Sandstone cladding system that I chose was something that I had wanted to incorporate since the beginning of the design process. Seeing it at such a detailed scale, I can confidently say that I believe this works very well when placed with the various discreet material changes throughout the building. I believe this has been most effective when looking at the roof construction where the materials found in the juncture between the two areas (Sandstone and Slate) emphasise each other in terms of their colours and tactile qualities. The large windows also help to break up the somewhat repetitive scale of the cladding to make the façade of my building more visually interesting. Building these elements gave me reassurance that the proportion between the two aspects was as adequate as I had initially hoped for. There have been however a couple of areas where I believe I struggled to remain faithful to my original design or where the construction elements I chose were detrimental to my original concept. I can find both of these characteristics in my ground floor construction. Due to the cavity I had to allow for ventilation, the height at which the habitable part of the ground floor began was significantly higher than hoped. This in turn meant that the cladding system had to begin higher than intended thus revealing some of the blockwork below.
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Contents
Introduction
Introduction
Pg. 3
Paraplegia is where both legs and sometimes the pelvis and some of the lower body are paralysed. The most common causes are: stroke, head injury and spinal cord injury5.
Audit Location and Scope
Pg. 5
A person is able to lead an active and independent life by using a wheelchair provided they have good upper body strength5. When there is little upper body strength, an electric wheelchair is used5.
Report - Websites
Pg. 8
Report - External Ramps
Pg. 10
Report - Horizontal Circulation
Pg. 13
Report - Passenger Lifts
Pg. 16
Summary
Pg. 20
Bibliography and References
Pg. 21
Appendix A - Access Audit
Pg. 22
Ideally, in buildings, openings and spaces are to be wide and large enough for wheelchairs. Step-free access should be possible to all levels via ramps or lifts. Controls and facilities should be at accessible heights.
The National Theatre completed in 19761, was designed by Denys Lasdun in a Brutalist style2. It is located on the South Bank in London, adjacent to the River Thames. The theatre is one of the United Kingdom's most prominent publically funded performing arts venues. Reinforced concrete construction2 is used throughout and is spread over four storeys; not including the basement area for parking. Due to the fact that 3 theatres need to be accommodated results in an approximate area3 of 16,300sqm. In 1994 it gained a Grade II heritage listing4.
ARC2009 Architectural Technology Coursework Submission Part 2A
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Access and Audit Report - National Theatre. South Bank, London, UK
Fig. 1
B4016558 (140165580) -3-
Ground Floor Plan (not to scale)
Audit Location and Scope
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Complete Ground Floor Plan (not to scale)
Building Name: The Royal National Theatre.
Report - Websites
I have chosen to study this particular topic as a first time paraplegic visitor to the theatre would like to familiarise themselves ahead of their visit with the layout of the building and what provisions exist for their disability. This might inform them on whether or not they would be able to attend without any assistance.
Address: National Theatre, South Bank, London, SE1 9PX. Date of Audit Survey: Monday 4th April, 2016.
Overall, the website performs quite well in its consideration for 'Access for All'. The website is logically structured and easy to use with plenty of tabs to guide the user and clear, high contrast text. There is also a 'Help' tab present throughout the website.
Weather Conditions on Day of Visit: Overcast, 13 degrees Celsius. Site Plan (not to scale)
Home Page:
River Thames
Waterloo Bridge
Upper Ground
South Bank
Main Entrance and Reception
Theatre
Fig. 2 Seating The Royal National Theatre A3200
To reach the 'Access' tab, it only takes one click from the bottom of the page throughout the site. Here there is guidance on how to remove colour or increase text size. There is also information for people with impaired hearing and sight as well as mental disabilities.
Lifts External Ramp
Access Tab: Cloakroom Railway Bookshop
A301
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N.B. Due to scale of building, I have focused on drawing the space which took focus of my Audit. I have included a complete ground floor plan for context. Both can be found on the next page.
The scope of this Audit is the journey leading up to the entrance of the National Theatre. Inside, I focused on the spaces that a paraplegic person would encounter should they be attending a performance in one of the theatres, with regards to my chosen headings. Area assessed approx. 500800sqm.
Cafe
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Report - External Ramps
There is however, room for improvement, videos could be captioned or provided with a transcript. A direct mention of step-free access at the venue or a map of the building showing routes should be added for paraplegic visitors. The site could also be provided in languages other than English.
Reasonable improvements can be made. The first being that there should be signage to indicate its location from a distance as this is the only ramp nearby the main entrance. There is currently no handrail on the ramp and according to Document M, there should be one to meet regulations; its addition is vital. Slight changes can be made to the surface of the ramp, such as slip-resistant strips added as presently, under wet or icy conditions it can be dangerous for people and wheelchair users.
As the building is slightly sunk into the ground, it is imperative that there be a route near the main entrance that enabled paraplegics to enter the theatre comfortably. The National Theatre performs well in this section. There is a ramp located in close proximity to the main entrance. It complies with the required dimensions, as per Approved Document M; meaning that people using a manual wheelchair will be able to use it independently. There is also various material and patterns changes situated correctly in order to notify people of its presence. At night-time there is also sufficient levels of illumination that do not cast shadows when people are travelling on it.
1430.0000
6200.0000
These photographs show the various contrasting ramp and landing surfaces and patterns. The type of material also shows how wheelchair users would not have an issue using it as it is low friction and level.
Fig. 4 An example of how an external ramp has a handrail accompanying it at the Royal Academy of Arts, London.
-Ramp Gradient = 0.05 -Document M states: for length of 6m, maximum gradient = 0.06
1500.0000
-Ramp Rise = 340mm -Document M states: for length 6m, maximum rise = 375mm -Source of lighting is a pole located at the bottom end. Scale 1:75
Fig. 3
2800.0000
An example of the type of map that should be available to visitors that indicates layout and step free provisions. This particualr example is from the Louvre Museum in Paris.
-Ramp Width = 2.8m -Document M States = 1.5m minimum
340.0000
-Foot Landing Length = 1.4m -Head Landing Length = 1.5m -Document M States = 1.2m minimum Scale 1:50
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Report - Horizontal Circulation
A worthwhile improvement is changing the floor surface to show circulation routes through open-plan areas so these remain clear for wheelchairs. A lower pile would also be preferred as it would make manual wheelchair users move more easily. Artificial lighting could be rearranged to better highlight routes.
Plan of corridor surveyed for Audit off main openplan space on ground floor leading to the Disabled W/C. Scale 1:100
The design of the horizontal circulation of the space is critical as to reach any of the amenities, substantial distances have to be covered in each level. With regards to wheelchair users, they must be able to accommodate their wheelchair throughout their journey.
Report - Passenger Lifts
The National Theatre's four storeys and a basement means there should be a method other than stairs to reach the upper and lower floors beyond ground level. They should be designed to accommodate wheelchairs and people who have impaired vision or hearing.
1800.0000
The theatre performs well in this section as corridors have been designed to meet regulations (refer overleaf). Open-plan areas have been designed well, no circulation route is less than 1200mm wide, the minimum recommended width. Furniture layout also helps to create an inferred circulation route, as it 'channels' people through a space. There were no changes in level in the ground floor which is where access to all the main amenities of the theatre can be found. Lifts were available to access all other levels. Surface finishes and lighting perform adequately.
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The building performs adequately in this section. There are six lifts. Four can carry 24 people which meets the needs of the theatre and serve all floors. They are identifiable from the main entrance through a step-free route. All lifts benefit from a clear and large enough landing area to accommodate any user. The lift control panels are adequately designed and placed. A light curtain is fitted to the doors to prevent them from closing if there is an obstruction in their path.
Door and width of Disabled W/C meet regulations at 1000mm and 1700mm respectively. Document M states a minimum of 1500mmx1500mm turning space and 1500mm W/C width.
3000.0000 1700.0000
1000.0000
1100.0000
The corridor was unobstructed.
Here the furniture divides the open-plan space so to create narrower spaces which allow for circulation.
No outward opening doors, only one double swing minor door which was slightly set back into the wall to reduce its impact on corridor width.
Illustrates the location of the main lifts in the forground with the main entrance directly behind them and clear of stairs. The landing areas meet the Document M regulations for a minimum of 1500mmx1500mm.
The floor, wall and ceiling surfaces contrast each other while still minimising light reflection. Illumination is adequate as shadows and glare are avoided, but without a regular layout.
Image of corridor.
1700.0000
There are passing and turning points at regular intervals such as at corners, with a minimum of 1700mmx17000mm for turnig points and 1800mmx1800mm for passing points as stated in Document M.
Bold patterns have been avoided in the floor surface and allows for minimal sound reverbaration. It is slip-resistant.
Clear signage throughout help to make navigation of spaces easier, clear indication for wheelchair accessible facilities.
The lift landing floor and wall surfaces contrast visually with the lift doors which are illuminated to facilitate recognition. The landing surface has similar slip-resistance to lift floor. Visual and audible indication of lift arrival and direction of travel is provided.
1600.0000
A corridor width of 1600mm allows for 2 attended wheelchairs or 1 wheelchair and possibly a person to fit comfortably (one wheelchair = 900mm min), as stated in Dcoument M.
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Though the call buttons do not contrast with the mounting plate, they are embossed and are fitted with a visual feedback when pressed. The mounting plate itself also contrasts visually with the wall.
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Lift Plan Scale 1:50
2300.0000
I believe that The National Theatre provides a high level of 'Access for All' considering the fact that the building is 40 years old. As I have shown in this report, out of the four chosen headings it performs 'well' in three (Websites, External Ramps and Horizontal Circulation) and 'adequately' in the other (Passenger Lifts).
-Lift car dimensions = 2300mmx1600mm -Document M = 1100mmx1400mm min.
1500.0000
My intention was to examine how easily it would be for a person with paraplegia to plan a visit and then execute their journey through the building as if they were attending a performance; I feel that a person operating a manual wheelchair independently would be able to do this with ease. With regards to other conditions and disabilities, I have often indicated where provisions have been made, showing how the design of the building has been developed with access to a broad range of visitors.
1600.0000
150.0000
-Lift Door = 1400mm -Document M = 800mm min.
1400.0000
Summary
Great improvement can be made in this section. There should be a floor number indication on the exterior of the lift as theatre locations can be confusing for first-time visitors. Audio feedback should be added whenever any call button is pressed. The doors should stay open for longer than the current 5s to allow slower moving passengers to enter. A handrail and mirror should be included to aid people with impaired mobility use the lift7.
Control buttons do not contrast mounting plate, but plate contrasts lift interior. Audible and visual indication of floor level reached.
Control buttons are embossed. There is visual feedback when pressed, but no audible feedback.
I attempted to find reasonable improvements in each section and as most of my suggestions do not involve structural changes or alter the appearance of the space radically, I feel that they could be implemented despite the Listed status of the theatre to further improve its 'Access for All'.
Emergency communication is easy to use through clear instruction. Push button activated. Intercom panel is used. No volume control.
Word Count (not including titles and annotations): 1245
2600.0000 -Distance from Corner for Internal Controls = 150mm -Document M = 400mm min. (non met)
-Wheelchair Turning Space = 1500mmx2600mm -Document M = 1500mmx1500mm min.
Lift Elevation Scale 1:50
Fig. 5
2500.0000
Digital example of an appropriate update for the lifts. A handrail and mirror is included while the control buttons have been moved to meet regulation distance from corners.
1100.0000 Lighting system within lift car provides good illumination with no glare or shadows cast.
Lift car floor is light in colour is a good level of slip-resistance. It has a similar resitance to lift landings.
-Control Button Height = 1100mm -Document M = 900mm-1100mm
No visual or tactile indication of floor level at landings, but this guide is included to the interior to aid passengers find their location within the building.
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Appendix A - Access Audit
Bibliography and References
8.10 - Handrail surface is contrasting to background, but somewhat reflective. N/A for ramps.
14.4 - There is provision on both sides for wheelchair users.
8.11 - N/A as ballustrades are not fitted to ramps.
14.5 - No quiet are or room nearby.
Overall Verdict - Performs well with regards to handrails fitted to stairs.
Handrails:
Bibliography:
Main Improvement - Include handrails and ballustrades to ramps in accordance to Document M Building Regulations.
1. Royal National Theatre / Wikipedia Page. -(en.wikipedia.org/wiki/Royal_National_Theatre)
2. Brutalist Buildings: National Theatre, London By Denys Lasdun / dezeen. -(www.dezeen.com/2014/10/06/brutalist-buildings-national-theatre-london-denys-lasdun/)
14.6 - Floor level is the same on both sides of desk. 14.7 - No ramped access is required. 14.8 - The desk is all at one same level, though at a height of 900mm approx. it is at a height to be used by wheelchairs (top of shoulder on a wheelchair = 990mm - 1035mm). People standing might have to bend over. 14.9 - Staff sit so no knee recess is required. On customer side, there is a knee recess.
3. National Theatre / Haworth Tompkins / archdaily.
Reception Desks:
-(www.archdaily.com/633112/national-theatre-haworth-tompkins)
14.10 - Desk depth is adequate at 750mm (600mm recommended minimum).
4. Royal National Theatre / Historic England.
14.11 - Desk width is adequate at 3800mm for 4 positions.
-(historicengland.org.uk/listing/the-list/list-entry/1272324)
14.12 - Edge of desk not designed to assist picking up papers and coins.
5. Paralysis / NHS. -(www.nhs.uk/conditions/Paralysis/Pages/Introduction.aspx)
14.13 - The wooden desk contrasts well with the concrete, metal and glass surrundings.
6. Access Audit Handbook, 2013 Edition / Grant, A. / 2013.
14.14 - Exposed edges and corners have not been rounded, they are quite sharp.
-(London: RIBA Publishing) / Referenced in pgs. 8-10, 12-16, 18-19.
7. Approved Document M, Vol. 2 / The Building Regulations 2010.
14.15 - N/A
-(www.gov.uk/government/publications/access-to-and-use-of-buildings-approved-document-m)
14.16 - N/A
8.1 - Handrail is provided with stairs only, not with ramps.
Illustrations: All illustrations and drawings are original works except where noted: Fig. 1 Wheelchair Symbol / pg. 4 -(commons.wikimedia.org/wiki/File:Wheelchair_symbol.svg)
Fig. 2 National Theatre Ground Floor Plan / pg. 7 -(www.archdaily.com/633112/national-theatre-haworth-tompkins)
Fig. 3 Map of Louvre Museum, Paris / pg. 9 -(www.travelfeeder.com/travel_tips/louvre-museum-visitors-guide-download)
Fig. 4 Photograph of External Ramp at RA, London / pg. 12 tonialb/)
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-(www.euansguide.com/reviews/england/london/london/royal-academy-of-arts/review-great-art-great-venue-an-
Fig. 5 Digital Model of Lift Interior / pg. 19 -(http://www.turbosquid.com/3d-models/lift-interior-3d-model/642627)
14.18 - N/A
8.3 - Handrails positioned at correct heights according to Document M. Above steps = 950mm (Document M = 900mm - 1000mm). At landings = 930mm (bottom) and 1100mm (top) (Document M = 900mm - 1100mm).
14.19 - The artificial lighting is well designed as it casts little shadows and is not glaring. Staff and customers are well illuminated.
8.4 - Continuous handrail for stairs. N/A for ramps.
14.20 - Staff are seated permanently, there are no seats for customers to use while at the desk.
8.5 - Extends by 260mm at top and bottom of stairs which is just short of the reccommended Document M length of 300mm. N/A for ramps.
Overall Verdict - Performs well as most criteria is met and withing suggested dimensions. Main Improvement - Edges and corners should be rounded off as these can be a hazard if someone were to collide into them.
8.6 - N/A as stairs handrail is free standing. Design minimises risk of clothing being caught as there are no sharp edges. N/A for ramps. 8.7 - Stairs handrail allows for a person to run their hand along its length. N/A for ramps. 8.8 - No additional rail for children or people of lower stature. N/A for ramps. 8.9 - Metal surface is strong but cold to the touch. N/A for ramps.
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14.17 - N/A
8.2 - Profile is easy to grip and comfortable to use. There is forearm support. Cross section dimensions comply with Document M (50mmx50mm circular diameter).
14.1 - Reception desk positioned directly after main entrance, away from bright sunlight. Screen located above desk make for clear identification. Location can get noisy. 14.2 - Direct access available to both sides of desk. 14.3 - Sufficient space to manoeuvre on both sides.
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Contents
Summary and Calculations
Pg. 3
Background Information
Pg. 6
Site Plan
Pg. 6
ARC2009 Architectural Technology- Coursework Submission Part 2B
Pg. 7
Building Section
Pg. 10
Elevations
Pg. 11
Model Information
Pg. 12
Strategy
Pg. 13
Strategy Amendments
Pg. 13
Strategy Amended Plans
Pg. 14
Means of Escape - Exploring Experience B4016558 (140165580)
Floor Plans
Summary and Calculations Minimum Stair Width for Each Stair
Minimum Width for Each Final Exit
Second Floor to Ground Floor Exit Stairs:
Number on Plan - 1
Second Floor to Ground Floor Final Exit: W = ((N/2.5)+(60S) 80 W = ((416/2.5)+(60x1.50) 80 W = (166.4+90) 80 W = (166.4+90) = 256.4 = 3.20m = 3200mm 80 80
Number on Plan - 1
Number on Plan - 2
Second Floor to First Floor Final Exit: W = ((N/2.5)+(60S) 80 W = ((291/2.5)+(60x1.10) 80 W = (116.4+66) 80 W = (116.4+66) = 182.4 = 2.28m = 2300mm 80 80
Number on Plan - 2
Number on Plan - 3
Ground Floor to Ground Floor Final Exit: W = ((N/2.5)+(60S) 80 W = ((125/2.5)+(60x1.10) 80 W = (50+66) 80 W = (50+66) = 116 = 1.45m = 1500mm 80 80
Number on Plan - 3
Maximum Occupancy Calculations
Summary My original response towards ‘Means of Escape’ was extremely limited. At present I only have one stairway throughout the entire building which although serves all storeys and is kept within a defined vertical channel, it is not protected. This therefore means that I have no protected corridors, lobbies or final exits. I do however meet all the regulations for internal minimum widths for escape routes leading to protected areas. In the case of the stand-alone External Experience Pods, my design meets regulations for the escape exit widths – escape routes do not apply here as each pod exit leads directly outside.
W = P+15N-15 150+50N W = 416+15(3)-15 150+50(3) W = 416+45-15 150+150 W = 446 = 1.486m = 1500mm 300
Type of Accommodation Area of Room- m2 Floor Space Factor- m2/person Max Occupancy (Area/Floor Space Factor) Ground Floor 73.83m2 Exhibition Space 1.5m2/person 73.83/1.5 = 49.22 = 50 people Internal Experience Pods 1.0m2/person 28.65/1.0 = 28.65 = 29 people 28.65m2 Concourse 19.78/0.7 = 28.26 = 29 people 0.7m2/person 19.78m2 2 2 Waiting Room 13.77/1.0 = 13.77 = 14 people 1.0m /person 13.77m Office 12.79/6.0 = 2.13 = 3 people 6.0m2/person 12.79m2 Maximum Occupancy for Ground Floor = 125
Second Floor to First Floor Exit Stairs: W = P+15N-15 150+50N W = 133+15(1)-15 150+50(1) W = 133+15-15 150+50 W = 133 = 0.665m = 1100mm 200
First Floor 86.37m2 1.0m2/person 86.37/1.0 = 86.37 = 87 people 0.7m2/person 44.81m2 44.81/0.7 = 64.01 = 65 people 7.0m2/person 38.95m2 38.95/7.0 = 5.56 = 6 people Maximum Occupancy for First Floor = 158 Second Floor
Restaurant Concourse Kitchen
Exhibition Space Internal Experience Pods Meeting Rooms Viewing Platform
102.97m2 102.97/1.5 = 68.64 = 69 people 1.5m2/person 28.65/1.0 = 28.65 = 29 people 1.0m2/person 28.65m2 20.54/1.0 = 20.54 = 21 people 1.0m2/person 20.54m2 9.57/0.7 = 13.67 = 14 people 0.7m2/person 9.57m2 Maximum Occupancy for Second Floor = 133 Maximum Occupancy for Entire Building = 416
Ground Floor to Ground Floor Exit Stairs: W = P+15N-15 150+50N W = 125+15(1)-15 150+50(1) W = 125+15-15 150+50 W = 125 = 0.625m = 1100mm 200
Exterior Experience Pods (x5) Gallery 9.55m2 5.0m2/person 9.55/5.0 = 1.91 = 2 people Maximum Occupancy for Each Exterior Experience Pods (each Pod is Stand-alone) = 2 (10 in total)
Minimum Widths of Escape Routes and Exits Floor
Document B Route Width Current Minimum Route Width Document B Exit Width Current Minimum Exit Width 1070mm No protected exit 1050mm minimum Ground 1050mm minimum 1150mm No protected exit 1050mm minimum 1050mm minimum First Second Ext. Pod
1050mm minimum 750mm minimum
1500mm 890mm
1050mm minimum 750mm minimum
W - Width of Final Exit (m) N - No. of People Served by Final Exit S - Stair Width (m)
Approved Document B, Vol. 2, Table 6, pg. 45 Approved Document B, Vol. 2, Table 7, pg. 46
Approved Document B, Vol. 2, 3.23, pg. 37
No protected exit 800mm
Top Table - Approved Document B, Volume 2, Table C1, pg. 135 Bottom Table - Approved Document B, Volume 2, Table 4, pg. 36
W - Width of Stair (m) P - No. of People that are Served n - No. of Storeys Served
NB. Values cannot be compared with original design as there are no exit stairs or final exits.
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Background Information Maximum Travel Distances for Escaping Storey Use of the Premises Max. Travel Distance In More Than One Direction- m Ground Assembly and Recreation, Elsewhere (5c) 45 First Assembly and Recreation, Elsewhere (5c) 45 Second Assembly and Recreation, Elsewhere (5c) 45 Approved Document B, Vol. 2, Table 2, pg. 33
NB. Values cannot be compared with original design as there are no designated escape routes.
Original Site Boundary -
Amendments
Altered Site Boundary -
I have amended my scheme to now offer two escape routes per storey which offer protected stairways, corridors, lobbies and final exits. I have tried to take advantage of the step up in my site which enables me to have final exits on both the Ground and First Floor in order to appropriately distribute and locate my two means of escape. I have added fire resistant glass to the atrium and surrounding the stairway to allow light to get through while removing the unprotected/open void that runs the entire height of my building.
Building Boundary NB. The site was extended to the rear as it was allowed by the design tutors in order to create a more well developed scheme.
Site Development Plan Scale 1:500
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2 First Floor Plan Scale 1:200
Second Floor Plan Scale 1:200
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Building Section Scale 1:100
Ground Floor Plan Scale 1:200
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Model Information Scale 1:100
Elevations Scale 1:200
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Strategy Amended Second Floor Plan Scale 1:200
Strategy Amendments In order to comply with the regulations set out in Approved Document B, Vol 2, I have now included 2 means of escape to the exterior of the building per storey. This has meant that 3 of the 5 Exterior Experience Pods, the Waiting Room on the Ground Floor and the Meeting Rooms on the Second Floor have been removed in order to create sufficient space for the means of escapes. However, this can be justified as they were not key spaces in my Schedule of Accommodation. I was able to reconfigure key spaces such as the Restaurant on the First Floor and the Exhibition Space on the Second Floor.
A
In terms of building requirements, as the spaces that were removed did not have a significant number of occupancy, this reduction in capacity per storey and overall capacity has had a negligible impact on the dimensions required for building approval. As a result, I have used the quoted dimensions/distances in Summary and Calculations on Pgs. 3-5.
(i) Travel Distance to Protected Stairway = 24.2m Travel Distance to Final Exit = 42.7m
Amended Minimum Widths of Escape Exits Document B Exit Width Original Minimum Exit Width Amended Minimum Exit Width 1100mm No protected exit Ground 1050mm minimum No protected exit 1100mm First 1050mm minimum No protected exit 1100mm 1050mm minimum Second 800mm 1100mm Ext. Pod 750mm minimum
(ii) Travel Distance to Protected Stairway = 21.5m Travel Distance to Final Exit = 40.0m
2
Floor
1
(ii) Travel Distance to Protected Stairway = 18.2m Travel Distance to Final Exit = 40.9m
(i) Travel Distance to Protected Stairway = 20.9m Travel Distance to Final Exit = 43.6m
Maximum Travel Distances for Escaping Storey Use of the Premises Max. Travel Distance In More Than One Direction- m Amended Max. Travel Distance- m 31.2 Ground Assembly and Recreation, Elsewhere (5c) 45 41.1 First Assembly and Recreation, Elsewhere (5c) 45 43.6 Second Assembly and Recreation, Elsewhere (5c) 45
A Key Changes: - New layout for Experience Pods - New entrance and resizing to Viewing Platform - Removal of Meeting Rooms - Inclusion of 2 Means of Escape
Top Table - Approved Document B, Volume 2, Table 4, pg. 36 Bottom Table - Approved Document B, Volume 2, Table 2, pg. 33
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1 Amended First Floor Plan Scale 1:200
Amended Ground Floor Plan Scale 1:200 A A
2
B 2
B
1
3
1
3
1
Key Changes: - Resizing of Restaurant - Resizing of Kitchen - Resizing of Concourse - Relocation and resizing of Boiler/Maintenance Room - Inclusion of 2 Means of Escape
A
Though the void still exists, it has not been outlined in red as it is now protected as mentioned in ‘Amendments’ on Pg. 5
A
NB. All distances comply with Approved Document B, Volume 2, Table 4, pg. 36
Key Changes: - Resizing of Concourse - Removal of Waiting Room - Removal of 3 Exterior Experience Pods - Inclusion of 2 Means of Escape
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ARC2010
Environmental Design and Services Coursework es of one
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U-Value Calculations Context The dwelling is a 2 person student rental flat located on the first floor of a three storey building, and as such only the external walls have been taken into consideration. I have chosen to evaluate this dwelling as it is the most common type found in my proposal.
Original
Updated Thickness of Insulation = 0.1m
140165580 ARC2010 Environmental Design and Services Studio E: Mixed Occupation 2.0 Site A: Shore Place Mixed Use Student Living 29-01-2016
Sum of R Values = 5.33m2K/W (inc. external+internal thermal resistance) Wall U-Value = 1/5.33 = 0.188 = 0.2W/m2K Double Glazing U-Value = 2.0W/m2K (reference: www.pilkington.com)
TER = 30.15 DER = 30.68 Improvement DER over TER = -2% Credits = 0 Energy Requirement = 1781.11kWhr/year Space Heating Cost = £64.96/year Water Heating Cost = £93.24/year Pump and Fan Cost = £15.60/year Energy for Lighting = £20.49/year Total Energy Cost = £194.29/year Total CO2 = 1165.92kgCO2/year
Sum of all R Values = 7.83m2K/W Wall U-Value = 1/7.83m2K/W = 0.128 = 0.1W/m2K Triple Glazing U-Value = 1.1W/m2K (reference: www.pilkington.co.uk)
DIALux Analysis
SAP Report Analysis Original
R Value = 5m2K/W
Improvements
Original
Updated
1. Removed the fireplace as it was not necessary. 2. Made modifications to glazing arrangement (explained on the next page). 3. Changed from double glazing to triple glazing. 4. Increased insulation thickness from 50mm to 100mm. 5. Increased the thickness of hot water insulation jacket from 30mm to 50mm. 6. Changed the boiler from an insulated primary pipework and no cylinder stat system, to a boiler with insulated primary pipework and cylinder stat.
Updated TER = 30.15 DER = 23.21 Improvement DER over TER = 30% (32% increase) Credits = 6 (6 credit increase) Energy Requirement = 936.36kWhr/year (844.75kWhr/year decrease) Space Heating Cost = £34.15/year (£30.81 decrease/year) Water Heating Cost = £79.39/year (£13.85 decrease/year) Pump and Fan Cost = £15.60/year (no change) Energy for Lighting = £20.82/year (£0.33/year increase) Total Energy Cost = £149.96/year (£44.33/year decrease)
I have analysed both the main living and bedroom space as the dwelling would be used by university students and as such I believe that adequate lighting is equally important in both spaces as they play a vital role in the way the dwelling is used by the typical student. Originally, as the false colour rendering shows, there was an extremely high concentration of daylight close to the windows, yet this was then not being distributed evenly throughout the entire dwelling. By changing the windows from double to triple glazing I have managed to reduce the light transmittance from 80% to 70% in order to reduce the high concentrations of blinding light (anything over 10% daylight factor) to an amount that should not impact any seating areas. By increasing the size in some of the bedroom windows I have managed to obtain a much more even distribution of light in that area. This has had the combined effect of maintaining the average daylight factor at 2.31% which is in the ideal range of 2%-5%.
SAP Rating for my dwelling (before/after): 85/88
The main issue is that the kitchen receives almost no daylight (most of it received less than 1% daylight factor), however, I believe this to not be as great an issue when the daily routine of a student is taken into consideration. If done, this means that on average, the kitchen area would only be used at times where artificial light would be necessary anyway as the students would be at university for most of the daylight hours.
Total CO2 = 882.0907kgCO2/year (283.8293kgCO2/year decrease)
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Energy Strategy With the improvements to my SAP report, I was able to reduce the energy for space heating heating fuel from 2095.42kWhr/year to 1101.6kWhr/year, meaning there was a reduction of 993.82kWhr/year. However, I was less successful in reducing the energy required for water heating as the the original and improved values were 3007.874kWhr/year and 2560.847kWhr/year respectively, meaning a reduction of 447.027kWhr/year. This means that I have focused on renewbale energy technologies that will help to reduce the energy required for water heating.
Solar Water Heating This system uses the energy from the sun to heat water most commonly used for hot water needs such as cooking and bathing. The system will use a heat collector mounted on the pitched roof in which a fluid is heated by the sun. The fluid is used to heat the water in a twin-coil hot water cylinder where the second coil would aid to heat the water only when strictly necessary from a boiler. This should help to reduce the energy required for water heating not only in this dwelling but also for all the other dwellings in my proposal. The collection cylinder can be stored in the roof space of the building. I would opt for twin-coil heat collectors as they yield higher energy than the other options within the same absorber area. High efficiencies are also possible when there are large temperature differences between the absorber and the surroundings which would be beneficial during the colder winter months. This system is appropriate for my design as face in which the system would be installed in is south facing, unobstrusted and is at a slope greater than 25 degrees in order for the system to work properly. Finally, the steel roof construction would be able to withstand the added load.
Details of heat pipe evactuated tube collectors
Photovoltaics To boost the impact of the solar water heating, I would also implement one of its allied technologies, mono-crystalline (highest efficiency variant at 20%) photovoltaic panels connected to an immersion heater. These could also be attached to one of southwest facing roof face, which is at an even steeper angle than the one used for the other system to maximise energy production and allow for self cleaning.
Diagram of System
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ARC2011
20th Century Architecture Coursework for this module comprises of two pieces: an essay undertaken in Semester 1 and a poster in Semester 2.
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Take two buildings built within 20 years of each other that contrast greatly in terms of design, but have very similar functions. Ensuring that you describe these contrasts carefully, give an account of why the two buildings are so different (perhaps this is to do with the design approaches and beliefs of the architects or their clients, the social, geographic or economic context and so on).
Having worked in a firm adjacent to the architect’s house he had designed himself, I began to have a great interest in homes designed by the people living in them. Here, I began to see more clearly how the private residence was an elegant patchwork of previous design features by the architect allowing me an understanding of what his ‘true’ style was. I describe it as ‘true’ because there wasn’t a separate client who's tastes and needs also needed to be taken into consideration; the architect had greater control and presumably the final say in every decision, thus, I believe that when an architect is able to create his own home there is an added degree of emotional connection to the project which emphasises its design. Similarly, Gennaro Postiglione believes when an architect is the author of their own space they begin to read “like autobiographies”. They are a “reflection of the needs and personalities of the individuals who created them”1. This emphasis will help distinguish the differences between the two houses that I have chosen: the 1996 home of John Pawson in Central London, an extensive refurbishment of a Victorian terraced house, to Günther Domenig’s 1986 home in Lake Ossiach, Austria, a dramatic new build with an equally dramatic setting. Factors behind the stylistic difference between the two include: the architect’s backgrounds and personal lives and how these may have influenced the design of their homes through their own architectural styles; any pre-existing limitations that they might have had to work with, and the houses’ intrinsic characteristics such as their size, spatial organisation and materiality.
Günther Domenig was born and raised in Austria and, much like Pawson, came from an affluent background. Once Domenig had finished his architectural education he worked for various architectural offices both in Austria and abroad before forming a working partnership with his friend Eilfried Huth. Their work would come to have a major impact on the evolution of postwar Austrian architecture 10 as both architects were amongst a group that was tasked of moving away from Nazi architecture in order to create a new cosmopolitan culture 11 that would later become symbolic of the ‘new’ Graz School style. This style was a form of avant-garde architecture with elements of Expressionist architecture; it is often characterised by a building with very Fig. 2 unusual massing which is sometimes inspired by natural biomorphic forms 12 . Domenig’s residence contains elements of Expressionism, taking inspiration from the dramatic mountain ranges of Lake Ossiach surrounding it to resemble a rock or crystal formation. “People are not rectangular. Neither do they think or feel along rectangular lines”13, Domenig has been quoted stating, suggesting Steinhaus is a perfect example of Deconstructivism which is distinguished by fragmentation and non-rectilinear shapes14. As Fig. 2 indicates, the house is filled with unpredictable shapes that create interesting yet somewhat awkward spaces that don't allow for a sense of predictability and free flowing movement throughout. Steinhaus, therefore lacks the very qualities that Pawson’s house embodies, and as such the atmosphere created here is one of chaotic visual assault. This is the result of how the architects’ different life experiences and their approaches to architecture have inevitably resulted in two very different approaches to designing a home.
Growing up, John Pawson’s family home was solid and dignified 2 . His affluent family background and relationships with other creatives such as Japanese designer Shiro Kuramata, known for his streamlined designs, helped to mould Pawson’s style to one that desires to eliminate all unnecessary ornamentation3. Fundamentally, Pawson implements the less is more4 approach to his designs to create a more ‘habitable’ form of minimalist style. Typically, minimalist design has been classified as a reaction against all kinds of clutter — from radiators and sockets on walls 5 to the very personal memorabilia found in houses that enables them to become homes 6 . Pawson does not reject any of this, he simply creates space for their exclusion when they are not required by implementing storage in such Fig. 1 a way that emulates a solid 7 wall with hidden hinges and the finish flush with the rest of the room (Fig. 1). It is these considered design choices that exclude everything that is not necessary 8 in a particular instance that has enabled Pawson to design his family home in a way that reflects how he wishes to feel in his private space. He has achieved this without sacrificing the practical aspects in order to achieve an atmosphere of calm, light and freedom9 which is in stark contrast to the immediate surroundings of the house — Central London, chaotic and cramped. This deliberate juxtaposition of atmospheres only helps to augment the serene quality to his home.
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Landscape and building are intertwined 15 . The situation of a building undoubtedly has a major impact on its design and can either be a source of inspiration or cause restrictions. Steinhaus is located on the land that Domenig inherited on the edge of Fig. 3 Lake Ossiach with its backdrop of the Austrian mountains, it is no surprise that the design of the house is both a reaction to the end of Nazi rule as much as a reaction to the landscape (Fig. 3). Most of his buildings look as if they are built from the inside out, the effect thus achieved is dramatic and expressive16, this helped to create his own little mountain range through the angled and unexpected geometry of the design. This notion that Domenig’s design is his own recreation of the mountains that surround his house can be further supported in the name and materiality; Steinhaus meaning ‘Stone House’ in German. The primary material used is fair-faced concrete whose qualities have a lot in common with rock17. In Pawson’s
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the laws of structure and is superficially a random amalgamation of shapes. The fact that it is still standing shows that the house has been meticulously thought through 27 . This, in conjunction with his design approach, has meant that the building’s inner and outer selves match each other perfectly 28 . The structure is so deeply rooted in the essence of the house’s architecture that instead of it being an intrusive element to the interior, it adorns it; it is what gives the house its character — it is how it is ‘furnished’, unlike the materiality and effects of light in Pawson’s home (Fig. 6). The literal journey through the houses also differs greatly, which in turn has had a Fig. 6 major impact on the designs. Pawson, had to take into consideration the individual lives of each member of the family29 for the present and future; contrastingly, Steinhaus was designed to serve only its creator. In the West London home, the spaces are arranged over four floors in which the two upper floors are devoted to the private quarters. The top floor is reserved for the children as the architect thought it best to give them more privacy as a provision for growing up, but by implementing a three storey high staircase he is able to still link all the areas of the home in order to prevent too much separation between family, as well as leading one’s eye through the long and narrow plot in a space efficient manner (Fig. 7). Steinhaus is a more self-centred affair and therefore a far less domestic environment as the five floors house his studio, communal, exhibition and work spaces for himself and students 30 all enveloped in a mixture of concrete, metal and glass which evoke a certain rigidity and cold energy to a space. Due to the changes in level within a storey there is no one singular staircase that allows access to every single possible horizontal plane, instead there is a series of smaller steps that break up the natural flow through the house to further define the boundary between humans and architecture (Fig. 8). Domenig’s private area, dubbed ‘hovering stone 3’31, adds a sense of detachment between dweller and dwelling unlike Pawson’s designs where there is a symbiotic relationship in which the design betters the lives of the dweller.
Fig. 8
To conclude, the reasons why these two architect’s homes differ greatly in terms of their design despite the fact that they are located within Europe and both were completed within a decade of each other can be summarised into one overarching point: how the internalised landscape32 of each architect differs. It is this landscape that provides the spatial, formal, rhythmic, material and colour contexts for buildings33 — in other words it is what makes them human beings and if there is one common quality that we share it is that we are all different. It is this innate uniqueness that when it is translated into the design of a building that allows them to be read as distinct works, by distinct authors. If these two buildings serve as metaphors for literary works and every work has its own message then it is feasible to imply that it is the design that acts as the vehicle for its delivery. Domenig’s Steinhaus was designed as a personal manifesto34 and its message is therefore one that expects itself to be viewed and analysed by students because it was conceived as the best example of his work and Deconstructionist architecture inhabited by its designer. Pawson’s work has an altogether different message, he wanted his space to be experienced and as such it cannot be simply observed and analysed as each experience is unique and dependent on who is experiencing it. Where one home expects you to recognise its architectural design merits, the other lets you discover them which is perhaps the driving force as to why these two differ so greatly in terms of their design.
Fig. 7
Place of Publication
(2012)
Understanding Architecture
London, UK
Phaidon Press Limited
(2004)
The Architect’s Home
Cologne, Germany
TASCHEN GmbH
Weston, R
(2011)
100 Ideas That Changed Architecture
London, UK
Laurence King Publishing Ltd
Wilhide, E
(2010)
How to Design a House
London, UK
Conran Octopus Ltd in association with The Design Museum
Year of Publication/Date Accessed
McCarter, R and Pallasmaa, J. Postiglione, G
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Domenig Stone House, Steindorf
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Deconstructivism
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en.wikipedia.org
10-02-2016
Expressionist Architecture
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Name
Author(s)/Website URL
Year of Publication/Date Accessed
Title
Front Cover Own sketches of buildings to emphasise the contrasting styles.
Own Image
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N/A
Fig. 1 Pawson House, seamless storage.
Richard Glover/VIEW
(2010)
How to Design a House
Fig. 2 Steinhaus, Domenig’s private quarters.
Margherita Spiluttini/ neocribs.blogspot.co.u k
10-02-2016
SteinhausStonehouse/Lake Ossiach, Austria/ Günther Domenig
Fig. 3 C.Cossa/ Steinhaus, Exterior shot commons.wikimedia.or showing it in context to g the landscape.
10-02-2016
Steinhaus - domenig c.cossa.jpg
(2010)
How to Design a House
Hisao Suzuki
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en.wikipedia.org
Fig. 4 Pawson House, Exterior facade.
The way in which the houses are experienced and lived in has resulted in their contrasting designs. In Pawson’s house, how it is experienced through its ‘furnishing’ — I am Fig. 4 regarding ‘furnishing’ as the finer, more calculated decisions that contribute to the experiential quality of a space — is the result of the less is more approach; as it causes the inhabitants’ awareness of the beauty of the material and surfaces22 to be heightened. Pawson was almost obsessive about the finer details, for example, he particularly chose Limestone flooring from Lecce23 in Italy as it has fossils and no two tiles are identical, creating a softer aspect to the interior of the house making it more inviting and domestic. His choice of colour, an off-white24, is reflective and makes the spaces seemingly larger while still making them feel warmer than if a pure white had been used (Fig.5). The design approach also emphasises any imperfections which would usually be detrimental to a space, but as these are intentional imperfections, each existing element assumes a much greater Fig. 5 importance through its physicality 25 towards the particular atmosphere; combined with how the light and shadow give 26 spaces and surfaces their evolving character dependent on the day, time and season helps to illustrate how Pawson has used materiality to furnish his home. One could argue that Steinhaus defies
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Title
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home, the site proved to be a limitation, the building is located in a conservation area of London which meant the original façade and structure remained creating the significantly smaller house of 150m2 18 compared to that of 670m2 19 . The fact that it forms part of a terrace meant that Pawson was also limited to just expanding the lower ground floor towards the back of the plot (Fig. 4). The house faces a communal garden towards the front and a small private garden towards the rear. This means that the key views out of all the windows are of tress and sky20 giving the illusion that the site and house are much larger than it actually is. In both cases the site has had an influence as to how both the exterior and interior spaces have been resolved but in Domenig’s case the site manifests as a free interpretation in its design while Pawson had to adapt21 his design to conform to his site.
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Name
Author(s)/Website URL
Year of Publication/Date Accessed
Title
Fig. 5 Pawson House, Children’s bedrooms showing materiality of flooring and colour of walls.
Richard Glover/VIEW
(2010)
How to Design a House
Fig. 6 Steinhaus, Interior showing the exposed structure.
photographyworks.com
10-02-2016
Stone House Domenig interior view ground floor
Fig. 7 Pawson House, Plans.
John Pawson
(2010)
How to Design a House
Fig. 8 Steinghaus, Longitudinal Section.
Günther Domenig Office
(2004)
The Architect’s Home
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On a Building Level A building should not seek to copy or imitate its environment as it can become kitsch and sentimental. Instead it should implement local characteristics and allow its surroundings to inform decisions.
6. The Visual Versus the Tactile The Issue
5. Culture Versus Nature
1- Culture and Civilization
Cultu
Frampton states how as civilisation grows and progresses, our unique cultures and attitudes are being lost to make way for buildings that fit a mould that facilitates manufacturing.
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Juan Lopez B4016558
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Kenneth Frampton (6) On a Personal Level The human body does more than just see a place; it feels it too. How a building stimulates the senses beyond sight creates a unique experience for each individual, making a building not only look of a place, but feel of a place.
4. The Resistance of the Place-Form
Towards a Critical Regionalism “To mediate the impact of universal civilisation with elements derived indirectly from the peculiarities of a particular place”.
This essay explores Frampton’s thoughts towards what he thinks is a better approach towards architecture. He takes the reader through a journey in which each chapter delves into more detail until one is effectively at the same level of with Frampton in terms of understanding and opinion.
(3) On a Socio-Political Level
2. The Rise and Fall of the Avant-Garde
Kenneth Frampton Towards a Critical Architecture
Architecture must assume an arriere-garde position “equally distanced from the myth of progress and the impulse to return to preindustrial past forms”. Only this can create an identity-giving culture while at the same time “having discreet recourse to universal technique”.
The hexagon represents his 6 main topics. The relief increases until it matches the central part of the poster to symbolise the increase in knowledge and the closer the reader is to frampton.The poster attempts to visualise his mind and thoughts - like a psychological imagining brought to life.
Culture
1983 essay published in the book:
1983, essay published in the book: The Anti-Aesthetic: Essays on Postmodern Culture.
On a City level Architecture needs to become a resistance to Megalopolis - the purveyor of placelessness. Heidegger argues that place happens when there is a unique boundary in which something “begins its presencing”. This is something we are losing by city master-planning where a continuum of arbitrarily allocated spaces and uses appear evenly.
‘World Culture’
?
tradition
progression
Post-Modern Avant-Garde
The Context
The Anti-Aesthetic: Essays on Postmodern Culture.
With the industrial revolution and the continuing rise of capitalism, the avant-garde movement began to lose popularity until it was killed off by postmodernism; he argues that “as soon as the material production is relying solely on technology it constricts a culture”.
Bibliography: The Anti-Aesthetic: Essays on Postmodern Culture. (1983), Hal Foster / Bay Press, Seattle Basic Writings (Building, Dwelling, Thinking). (1954), Martin Heidegger / Routledge, London The Eyes of the Skin. (2012), Juhani Pallasmaa / John Wiley & Sons Ltd, Chichester
3. Critical Regionalism and World Culture
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ARC2023
The Place of Houses Coursework es of one
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The Place of Houses - ARC2023 Juan Lopez B4016558 Word Count - 1,498
Discuss how direct user involvement in the process of producing housing impacts on the relationship between the dweller and the dwelling. What does user involvement for the role of the architect?
What makes a dwelling? What makes a house? What makes a home?
What happens when there is user involvement? (Darwin Martin House)
Christian Norberg-Schulz states, "dwelling demands something from us, as well as from our places"(2). This best illustrates the intrinsic qualities required to make a dwelling a house and a house a home. In "Understanding Architecture", Robert McCarter and Juhani Pallasmaa explain that the dwelling is "naturally a shelter against unfavourable climates"; simply a "device to enable the practical acts of daily life"(2). I understand a dwelling to be something loose and rudimentary in design much like the spaces that primitive beings constructed out of necessity. It is only when an architect is involved that these dwellings become houses. A house, in my opinion, is a more solid and defined structure that has a conscious effort that signifies architecture being created; Louis Khan defines architecture as "the thoughtful making of space"(1). However, it is only when direct user involvement is present that a house becomes a home. This brings us back to the initial quote: dwellings need an external input, as for without it, the relationship between the dweller and the dwelling, the role of the architect and the final result will be greatly impaired. To show this, I will be looking at the American public housing systems in New York City at the turn of the 20th Century and the Darwin Martin House in Buffalo, New York built in 1903-1907. I feel that these are the most appropriate examples as they are not only contemporaries of one another but both are located within the same region and thus, remove other external factors that could influence the success or failures of these dwellings. To fully understand how these places treat the relationships between the dweller and the dwelling which inevitably impact on the role of the architect, it is necessary to examine the contrasting user-client-architect relationship these two examples possess. Both will highlight the necessity for direct user involvement in the process of producing housing in order to have a positive dynamic between the dweller and the dwelling so as to meet John Turner's first rule of housing: when dwellers control the major decisions and are free to make their own contribution to design, construction or management, the process and environment produced stimulate individual and social well-being.
Fig 2 Hand-drawn plan of a 19th century tenement
What happens when there is no user involvement? (New York City Tenements)
Fig 1 Diagram showing NYC and Buffalo in respect with each other
Fig 3 Typical interior of 19th century tenement lodgings
Looking at the most common type of public housing systems in New York City, the tenement, we rapidly learn that the client was different from the user. The city experienced a rapid growth in the 1850s as a result of the large population of immigrants requiring housing (3). Landlords realised the opportunity for huge profits in building cheap housing. This led to some of the worst housing that the United States has ever witnessed. It was the publication of a piece of photojournalism by Jacob Riis in 1890 entitled "How the Other Half Lives" that clearly showcases the extent that excluding the direct user in the process of producing housing creates the worst possible relationship between the dweller and the dwelling. Riis describes the system of tenement housing as failing, "due to greed and neglect from the wealthier people" who had funded these buildings, in other words, the clients. He claims a correlation between "the high crime rate, drunkenness and reckless behaviour of the poor to the lack of a proper home"(4). This degree of separation between architect and user reduces the emotional input and attachment there is to a project so creates a more generic output that merely has to function as a structure -- it takes no heed of the requirements needed for it to become a home. As such the end product is based more on proven, generic methods of design and construction because of the intermediary client with their own objectives which places the users wants or needs below their own. This is clearly showcased when looking at the very first examples of tenement building which had windowless rooms, no running water and limited to no electricity (6). In this situation, the role and importance of the architect is greatly diminished due to there being so little user involvement. This often leads to the architect "constrained to things against reason in order to obey the will of the lord who ordered the building to be built" (5) as Philibert de l'Orme states.
Contrastingly, the Darwin Martin House in Buffalo, New York designed by Frank Lloyd Wright built between 1903-1907 is a perfect example where direct user involvement during the process leads to a much more effective relationship between dweller and dwelling. The Martin House was built, on request, for the family of the president of the Larkin Soap Company, for whom Wright also designed the company headquarters in Buffalo. Once again, in "Understanding Architecture", McCarter and Pallasmaa suggest that the "residential masterpieces" are often a result of an "intimate friendship and close collaboration between the architect and their client" (2). I firmly believe that in the Martin House, this was the case. The architect had already designed previously for the client (meaning there was already a pre-existing relationship), but this time the architect and client would be working together to create a home for the family. Key aspects of the design were the interconnecting, openplan structures of all the dwellings that allowed for a freedom of movement and inhabitation. This meant that the horizontal definition -- where one room ends and another begins -- (2) was determined by how the users inhabited the space. This means that how the space was experienced made for a much richer and complex environment that allowed the users to adapt and tailor the spaces created by Wright to suit their needs. This was put into practise as several of the now existing structure such as the gardener's cottage were added after the main house was completed. This exemplifies how the user was able to further personalise the dwelling after the main dwelling had been completed. Finally, as a result of direct user involvement at every stage the dwelling, which had become a house by the simple virtue of its meticulous design, was able to become a home. If we are to listen to McCarter and Pallasmaa the "conception of home consists of three types of mental or symbolic elements" (2) which I believe the home of Martin possesses. The first is that certain elements, such as the comforting fireplace located in the centre of the main house and the protective shadow of the roof canopy help create a sense of security and foundation; that on a subconscious level ground the inhabitants as the focal point of their lives. The second being that the entire house and its surroundings is adorned by elements related to the inhabitant's life: other family members, personal objects and memorabilia or the vast amount of built-in furniture that could only have defined and possibly catered for the lifestyle of the user. Finally, Martin's home is an extension of his life and what he has achieved. He's had a successful career, and is the boss of his company so it is only right that his home should reflect this with its size and being at the epicentre of all the surrounding structures. In this situation we see when looking at the role of the architect when it comes to user involvement, because there is such a massive amount of user involvement it is the task of the architect to appropriately and logically meet the user's demands to produce a house that will enable them to inhabit in such a way that it becomes their home. This leaves no doubt that the role and importance of the architect is far greater when there is user involvement.
Fig 4 Sketch of the exterior of Martin House Bibliography: 1. Frederick, M/2007/101 Things I Learnt in Architecture School/ MIT Press. 2. McCarter, R and Pallasmaa, J/2012/Understanding Architecture/Phaidon Press Limited. 3. www.tenement.org/encyclopedia/housing_tenements.htm. 4. Riis, J/2004/How the Other Half Lives: Studies among the Tenements of New York/Kessinger Publishing. 5. Dushkes, L.S/2012/The Architect Says/Princeton Architectural Press. 6. Plunz, R/1992/A History of Housing in New York City/Columbia University Press. Images: Fig 1. Own Image Fig 2. Own Image
Fig 7 Reception room with fireplace and custom furniture
Fig 3. en.wikipedia.org/wiki/Public_housing_in_the_United_States Fig 4. Own Image Fig 5. Understanding Architecture (2)/Pg 237 Fig 6. www.nyfolklore.org/pubs/ voicjl/brdhouse.html Fig 7. en.wikipedia.org/wiki/Darwin_D._Martin_House
Fig 5 Scanned plan of Ground Floor of the Martin House Fig 6 19th century tenement building exterior
''dwelling demands something from us''
What IS the impact of direct user involvement on the dwelling and the role of the architect?
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To conclude, I feel that it is evident to see that the greater amount of direct user involvement in the process of producing housing the greater positive impact it will have on the relationship between the dweller and the dwelling. The examples above have proven Turner's First Law of Housing. In the case of the New York City tenements where the user had no say, it made for an uneasy relationship between the two but as soon as the user is consulted and involved, as it is with the Martin house, it immediately encourages an environment that enables the user to make the house a home. This leads on to help us understand what user involvement means for the role of the architect. As I have stated previously, the role of the architect is to produce a house, but more importantly, the architect's role is to facilitate the transition from house to home for the user. By involving the user in the process, the architect is able to gain insight and perspective relevant only to the user and what to achieve. Seeing the architect tailor his architectural style to meet the needs of the user, so that the user can achieve a home which is unique and ideal for them. With these examples it easy to appreciate the positive impact that user involvement has on both the relationship between the dweller and the dwelling and the role of the architect in the process.
ARC2020
Dissertation Studies and Research Methods Coursework es of one
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for piece
this module comprisundertaken in Semester 2.
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AP 5
Process + Reflect The longest running element of Stage 2. It consists of handcrafted and digital means as well as tutor feedback from key moments in my design work.
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2015-2016
Design Thinking Design Doing Design Feedback Sheets This section was quite literally a learning process which taught me to both appraise and criticse myself.
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Design Thinking
The learning journal is divided into two complementary parts. The first half is a collation of all the sketchbook and loose files that have been presented in Appendix 1 and 2 for the corresponding semesters. The second half consists of the more polished and completed work with reflections included in a blog customised by myself on Tumblr.
To explore the blog visit: juanlopez96lop100.tumblr.com
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D.D. - Drawing
Throughout the year I have experimented with drawing media, techniques and styles in order to find the best one that expresses what I want to show or say through the drawing. Taking on board what was said in the Crafting Architecture lecture, I always endeavoured to follow the process suggested to us by testing out ideas in my sketchbook and then layout or tracing paper (analogue terms); moving onto computer software to accurately and quickly draw up base plans (digital terms) before finally re-introducing a hand drawn aspect (a composite between the analogue and the digital). Examples include the atmospheric for the Virtual Reality Restaurant from Exploring Experience (shown above, left) and the whole building section from Dwelling Plus. Another suggestion carried forward from the lecture was to occassionally omit certain elements from drawings in order to draw particular attention to a specific element or idea. Whenever this was done I was careful to not sacrfice the overall understanding of the image by removing too much. In order to avoid this I have limited this process to diagramatic or analytical drawings. Shown above are the best images where I have applied this technique; for example, the Spatial Organisation, Accessibility and Energy Strategies Diagram from Exploring Experience where any indication of floor plans was omitted to highlight the vertical continuity of the strategies implemented in the design. Moving forward into Third Year beginning to exclude certain elements in measured drawings themeselves is an area that could be explored in a more subtle manner by simply focusing on one specific part of the the drawing. -174-
D.D.- Modelling
Stage 2 enabled me to explore a range of aspects concerning modelling highlighted in Crafting Architecture. Primarily, these included experimenting with model-making materials; adapting the scales at which models were built; being selective in which elements of the designs were modelled and finally how these models were photogrpahed. By using paper, such as in the Dwelling Plus Massing Model, I was able to utilise paper’s malleable quality to create seamless folds that enabled me to effectively photograph the angular nature of the design. The fixed volume that individual and grouped Lego pieces posses was the ideal material to explore the intentionally boxy shape that was unique to my Exploring Experience Astral Projection Pods; furthermore its pure white colour was representative of the finish I was intending for the pods at the time. This year the scales of my models range from the smallest at 1:200 to the biggest at 1:20. By altering the scales I was able to show certain qualities about my designs be they fenestration and human scale (these have been mainly my final models for Dwelling Plus and Exploring Experience at 1:100) or constructional detail and inhabitation which was my 1:20 model for the Astral Projection Pods from Exploring Experience. To further suggest inhabitation through modelling, at 1:20 it was large enough for the camera to be postioned at a ‘human level’ that allowed me to give a realistic view of the space In order to be time efficient and not sacrifice the quality of the model I began to select specific areas that were modelled to highlight certain intentions or ideas instrumental to my design. The best example is the model for the updating of the arch threshold between the existing and the extension areas for Exploring Experience. -175-
D.D. - Expressing
Following the Verbal Presentation Seminar I began to take greater care in how I expressed myself in final reviews in order to better present my work and convey my ideas. Personally, I believe that this is often overlooked as being a vital part of architecture as it is just as important to create work of a high quilty than it is to do it justice by explaining it through verbal means to allow tutors to understand your concepts and desicions that have lead to the final works. By using some of the confidence and relaxing techniques before final crits I was able to present in a more relaxed and natural manner which meant I was able to focus on using the presentation notes which had been written prior to the review as a way ensuring every critical aspect of a project was mentioned. Whenever possible I also rehearsed what was intended to be said to avoid reading from the notes and be able to have eye contact with the group. It was this open atmosphere I attempted to create that would hopefully establish a discussion between myself and the tutors about my work as opposed to a rigid ‘present’ and ‘feedback’ structure. I shifted away from the traditional method of relying on pinned up work towards predominantly using the digital screens. This meant having a clear structure to my presentation which enabled me to have a logical progression through the project while also being able to show videos of any digital models created as well as work at a larger scale for easier understanding.
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Design Feedback Sheets
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