Technology Report

THA1240 ASSIGNMENT ONE:

U1261273 KATE GLYNN:

INTRO: This report focuses on the analysis on many aspects of building design, from the fabric of the building to the way it is constructed. Through the use of case studies this report aims to analysis six key areas: materials, environmental design, building skins, construction, structure and building services.

The material that is studied in this report is zinc, contemplating how the material is mined and the problems the trade is encountering, as well as discussing the use of the material in the Stonehenge Visitor centre where a special brand of zinc is used to clad the underside of the roof in order to reflect the light. The end of zinc and its ability to be recycled and reused in other buildings is also studied.

When analysing environmental design this report focuses on a development that strives on creating sustainable building and using sustainable building material, Centre for Alternative Technologies (CAT) and more specifically the Sheppard Lecture Hall in the CAT development. This building incorporates rammed earth and other sustainable materials in the design.

MATERIALS:

FIG 1:

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30 St Mary’s Axe also known as the Gherkin is the case study for building skins. With its double skin façade, the twisting diamond structure with the moveable glazing allows a higher rate of air movement round the building.

This in turn with the interior layout allows air to circulate in the social spaces of the building.

To analysis how buildings are constructed the Museum of European and Mediterranean Civilisations (MUCEM) is used to analysis a unique material of ultrahigh reinforced concrete which has been used to create a filigree concrete effect that covers the building. Through this section of the report analysis how the building is put together and how the different elements are all constructed.

London’s Aquatic Centre is used to analysis the structure by using a solid concrete structure as a bases, that encases the major amenities of the design as well as a steel frame structure for the room that symbolises the fluid movement of water. This design is also flexible by being able to remove the extra seating needed for the Olympic Games and then down scale the seating to accommodate everyday life.

For building servicesthe MMU Student Union is a great example of how a building can have many different functionalities and hoe it is these function that define the building services. In order to create comfortable space no matter the activity a controlled and sustainable design must be implemented.

As you read this report you will see the variety of case studies for sky scrapers to swimming pool the different functionalities and design concepts of these building have been dictated by the technology the architects have uses, through extensive research and by using the technology to serve the conceptual design all these buildings are amazing in their own right.

ZINC

ZINC THE BIGINNINGS:

FIG 6: (Find My Mine, 2015)

FIG 1: (Orbital, 2008)

Zinc is a chemical element; it is used mostly to create other alloys – such as brass. Other uses of zinc include a componentin batteries, for medicinal purposes and in some skincare products (Want to know it, 2011). As a building material onehalf of the zinc that is produced is used in ‘zinc galvanizing,which is the process of adding zinc to iron or steel to prevent rust’ (Kropschot, 2011). Zinc is now being explored and not just as an add on to improve other materials failings, it being built into design to create sleek and elegant shapes in a range of colours companies such as VMZINC are exploring it’s possibilities and have been doing it since 1978 (VMZINC,2011).

Zinc production in recent years has taken a turn for the better in thinking about how to ‘restor[e] the ecological, economic and social balance between generations and regions’ – to promote sustainable development of the zinc industry (VMZINC, 2013). This is due to the Independent Mine Monitor’s report confirming fears that heavy metal mining was contaminating edible fish species, in places such as the Northern Territory Gulf Region, with the pollution coming from McArthur River Zinc Mine (Hageman, 2014).

The main countries where zinc ore is mined are: 1. Asia and Australia: 44% 2. America: 43% 3. Europe: 10% 4 Africa: 3% (VMZINC, 2013).

FIG 12: (Chemistry for Everyone, 2013)

The environmental footprint of zinc involves the understanding of the resource requirements and the environmental releases associated with the metal production, however it also involves taking into consideration the benefits of using zinc at other stages in the product life (Zinc.org, 2015). In order to take both of these elements into consideration the ‘IZA launched the Zinc for Life program’ this resulted in the first global life cycle assessment (LAC) for high grade zinc (Zinc.org, 2015).

FIG 10: (Nappper, 2014)

FIG 13: (LME, 2015)

FIG 11: (Wikipedia, 2009)

With the largest zinc mine is Rampura Agucha mine, India which in this year alone has produced 640,845 million metrictons (McLeod, 2015).

Zinc prices fluctuate regularly this is based on many factors such as, the fact that zinc prices are closely linked with the economy, during the recession between 2008 and 2010 zinc prices hit an all-time low (Adeyanju, 2014). More recently the LME (London Metal Exchange) have shown high stock levels in zinc this is turn drives the price of zinc down dramatically (Adeyanju, 2014). As a direct result of this continuation of high stock levels the price of zinc has fallen to a 5 year low companies such as Glencore have said that they would ‘slash its zinc output by over a third’ (Els, 2015). China as with many industry metals is the top consumer for zinc, this will therefore have an effect on the price for zinc and the demand goes up so will the price in order to capitalise of the high demand (Adeyanju, 2014).

FIG 14: (VMZINC, 2014)

FIG 18: (VMZINC, 2015)

FIG 19: (VMZINC, 2014)

VMZINC: Zinc in its basic form as a building material corrodes to form a thin film over its surface called a patina, this light grey patina can take between six months to two years to form depending of the clime and the exposure of the site, and this ‘protects the zinc completely and slows down its irrigation with oxygen’ (VMZIC, 2010). With this protection even a thin rolled zinc can achieve up to 100 years life depending on the environment (Nicely, 2015). Due to this patina zinc is a low maintenance material, it will self-repair imperfection and scratches as the patina continues to develop over its life span (VMZIC, 2010). As previously discussed zinc is becoming a more environmentally friendly product and the mining stage due to new regulations and developments within the industry (Zinc.org, 2015), also as a finished product zinc is durable and also easily recyclable in fact ‘in the building industry zinc is 100% recyclable’, putting it well ahead of many other materials that are only initially taking the steps to become recyclable (VMZIC, 2010).

VMZINC produces different form of zinc to fit all of their client’s needs, they provide the freedom to craft elegant shapes due to the malleability and construction capacity thatVMZINC provide (VMZIC, 2010). VMZINC are constantly experimenting with their product, striving to expand the knowledge and uses of zinc, recently they created a new surface finish AZENGAR – this new surface finish is the ‘first engraved zinc giving a product with a matt, heterogeneous and light aspect’ (VMZINC, 2014). VMINC’s more sort after finish is their PIGMENTO fiishes it offers a range of colours that they believe will enhance any building. This colorization of the zinc is achieved with a special pigment layer, ‘PIGMENTO provides a special resilience in a marine environment’, and PIGMENTO is available in four standard colours: blue, green, brown, and red. (VMZINC, 2014).

In an interview with Archdaily VMZINC explain the process on how they create intricate shapes with zinc specific to their client’s needs. They customized the bent panels to meet the client’s needs and specifications (Galloway, 2014). VMZINC are considerate to the environment, they are matriculate when it comes to ordering the materials needed they try to avoid wastage for both the ‘environmental impact as well as for keeping the product affordable for our clients’ (Galloway, 2014).

To create this seamless constriction VMZINC use the panels to hide the cladding rails and fixings, with many different ways of interlocking and attaching the panels, depending on if you are using the zinc panels as interior cladding, exterior facades or as roof cladding (VMZINC, 2015).

FIG 20: (VMZINC, 2014) FIG 9: (VMZINC, 2014)

FIG 21: (VMZINC, 2014)

FIG 22: (VMZINC, 2014) FIG 15: (VMZINC, 2014)

FIG 16: (VMZINC, 2014)

FIG 23: (VMZINC, 2014)

FIG 24: (VMZINC, 2014)

FIG 2: (VMZINC, 2014)

FIG 17: (VMZINC, 2014)

On the facades the different interlocking systems, create different affect depending on how the client envisions their project.

FIG 25: (Denton Corker Marshall Architects, 2013)

STONEHENGE VISITOR CENTRE:

FIG 28: (Denton Corker Marshall Architects, 2013)

FIG 3: (Denton Corker Marshall Architects, 2013)

FIG 7: (Denton Corker Marshall Architects, 2013)

The Stonehenge visitor centre is a recent project finished in 2013 by architects Denton Corker Marshall, they won the competition to design the visitor centre after plans for the first scheme fell through 20 years previously (Waite, 2012).

The Stonehenge visitors centre ‘is finally leaving its understated mark on the Wiltshire countryside’ (Cook, 2014). There are three pods underneath the curved steel roof structure that was developed to represent the rolling hills of the Wiltshire countryside, (Denton Corker Marshall Architects, 2013). This roof with the underside being clad in zinc composite panels made by VMZINC is punctured with a complex geometry that creates a blurred transition from the surrounding landscape to the interior of the building.

Supporting this steel frame roof are ‘211 irregularly places sloping columns’ (Archdaily, 2013). These columns are used as an abstracted representation of the surrounding woods that will grow over time (Denton Corker Marshall Architects, 2013).

The three pods are finished in different materials to indicate the function of the accommodation inside (Denton Corker Marshall Architects, 2013). The largest which is clad in ‘sweet chestnut timber’ (Archdaily, 2013), houses the museum and the service facilities located to the south of the structure. The glass pod located to the north of the structure houses the ‘educational base, a stylish café and retail facilities’ (Archdaily, 2013). The smallest located between the two is clad in zinc which provides the ‘ticketing and guidance facilities’ (Archdaily, 2013).

FIG 27: (Denton Corker Marshall Architects, 2013)

FIG 29: (Archdaily, 2013)

FIG 26: (Archdaily, 2013)

FIG 4: (VMZINC, 2012)

FIG 30: (VMZINC, 2012)

The zinc used in the underlining of the roof, highlights the other materials of the three pods, it heightens their ‘their natural aspect’ allowing the free standing pods to sit beautifully, naturally and seamlessly beneath its canopy (Galloway, 2014). The punctured holes in the zinc paneling are cantilevered over the supporting columns this replicates the casting of shadows created by foliage it also creates a natural sun shade (Denton Corker Marshall Architects, 2013).

The zinc composite panels made by VMZINC, constructed using a cassette system wall panel as the cladding is used on the underside of the roof (VMZINC, 2012). As previously stated the zinc composite panels require little to no maintenance over its life span, which could span up to 70 years. Even though one of the requirements of the brief was to ensure the building could be taken down easily and efficiently if required (Archdaily, 2013). Unlike the natural zinc the panels that VMZINC make, the PIGMENTO brown panels are coated in a self- protective patina that prevents scratches and imperfections on the surface (Galloway, 2014).

These PIGMENTO Brown panels reflect the materials beautifully allowing an elegant design that incorporates the reflection of light, as shown in the image to the right. Zinc is a durable and cost affective material in comparison to other materials. It is malleable, flexible and suitable for roof cladding for all roof pitches above 5% (Galloway, 2014). This promotes ‘natural ventilation and reduces the need for cooling in the pods’, although more technical solutions are also used in the building, such as ‘heat pumps and high efficiency insulation’ (Archdaily, 2013).

VMZ CompositeCassette System: Sections VMZ Composite Vertical Cassette Vertical aluminium secondary framework Bracket Slider Spacer to break thermal continuity VMZ Composite roof parapet coping Ventilated base trim in zinc Perforated profile

FIG 8: (Recinal, 2015)

ZINC BACK TO THE BIGINNINGS: While zinc ore in its beginnings of being mined is currently on the road to successfully become more sustainable, to protect the surrounding environment and its inhabitant.

Zinc as and end product is highly recyclable, ‘Few materials are as dynamically useful as zinc’ (Purity Zinc Metals, 2012). ‘Today, more than 95% of the zinc products used in buildings are collected at end-of-life’ (Zinc.org, 2015). It is estimated that zinc comprises of 0.006% of the Earth’s crust (Amercan Galvanizers Association, 2014), because of the non-renewable nature of exiting zinc ore, it is vital that zinc will continue to be used. Zinc is a sustainable material due to the fact that 40% of the zinc used worldwide comes from recycled sources (Purity Zinc Metals, 2012).

FIG 7: (Denton Corker Marshall Architects, 2013)

FIG 14: (VMZINC, 2014) FIG 31: (Recycling and Roheisen, 2015)

Zinc is arguably a renewable material, although the mining of the material is obviously not renewable the ability to recycle that material when a building has reached its end makes is somewhat renewable. The progress made with the different finished of zinc through companies such as VMZINC means that the material is constantly changing, pushing people’s perception of the uses of it in building design. I feel that this material could be used the emphasis the degrading of a building, to represent the ever changing landscape in the patina of the zinc as using it to show that building do infect change over time and we should be embracing these changes as architects.

FIG 32: (Zinc.org, 2014)

However due to zincs durability it is slow to enter the recycling system, the life of zinc containing products varies, it can range from ‘10-15 in cars and household appliances’ to over ‘100 years for zinc panels and sheets used on roofs.’ The products that zinc protect tend to be replaced due to undesirability, not because the zinc has ceased to protect the product (Zinc.org, 2013).

The recycling process for galvanized (rust protected steel) is complex, the most widely applied zinc recycling of galvanized steel is Electric Arc Furnace (EAF) heating.

The steel is heated until the zinc volatizes, becoming a gas and separating from the steel, this gas is then treated in a Wealz kiln turning the zinc gas into a dust an eventually it goes back to its original state as a raw material (Purity Zinc Metals, 2012).

ZINC TO CONCLUDE:

FIG 1: (Orbital, 2008)

FIG 33: (Akamasdiver, 2013)

ENVIRONMENTAL DESIGN:

FIG 33:

FIG 34:

FIG 35:

SHEPPARD LECTURE HALL - CAT CAT – Centre for Alternative Technology – located Mid Wales (CAT, 2012), CAT is an “education and visitor centre demonstrating practical solutions for sustainability” (CAT, 2011). Since 1973 CAT has strived to create a project that would show the nature of problems exiting in our society in relation to sustainability and create new and experimental ways of moving forwards, when it first started on the Llwyngwern slate quarry it was a group of people dedicated to “eco-friendly principles and a ‘test bed’ for new ideas and technologies” (CAT, 2009).

It has become over recent years a teaching grounds, a living laboratory and a valuable particle demonstration centre on how in modern day society we can implement sustainable practice in everyday life. They have an enormous range of examples that they use on site of sustainable solutions, these include:

FIG 36:

FIG 37:

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FIG 41:

SHEPPARD LECTURE HALL CAT, WALES

FIG 42: (Gwynfan Bungalow, 2015)

Photovoltaics

Solar thermal

A micro-grid

Off-grid and grid-connected systems

Biomass combined heat and power (CHP) Hydro

Air source heat pumps

A community heat main

A range of small to medium wind turbines (CAT, 2009).

FIG 43: (CAT, 2011)

FIG 44: (CAT, 2010) FIG 38: (Soar, 2011)

RAMMED EARTH: FIG 34: (Soar, 2011)

FIG 40: (CAT, 2010)

CAT is such a huge site and has many remarkable examples on how the building materials and basic structure of a building can have a major impact on the environmental design. For this section of my illustrated report I am going to use the WISE Building completed in 2010 by Architect Pat Borer and David Lea, but more specifically the Sheppard Lecture Hall (Griffiths, 2010).

WISE - the Wales Institute for Sustainable Education allows thousands of people to enter its doors with the opportunity to learn about “green architecture, renewable energy and other environmental technologies” (CAT, 2010).

The Sheppard Lecture Hall is a circular building located to the south of the Wise building and is the centre piece to the entire building. It is a stunning circular space, consisting of a 7 metre high wall made of rammed earth that encompasses the main lecture hall. In this lecture hall up to 180 people can be accommodated on three tiers of fixed and moveableseating. The full height sliding door opens onto a southern glazed annular sun space. Natural light for the lecture hall when the sliding door is shut, comes in from a central skylight which can be covered using the mechanical moon disc (CAT, 2011).

The circular interior walls of the Sheppard Theatre are the highest rammed earth walls in the UK, standing at 7.2 meters tall (CAT, 2010).Traditionally rammed earth walls and buildings are built with the soil upon which they stand, and this in most cases still remains the preferred solution, the material could be improved if the soil is insufficient through the addition of substances such as: clay, sand or stones (Rammed Earth Construction, 2015). In the case of the Sheppard Theatre, Llynclys Quarry near Oswestry – located around 35miles away from CAT was identified as source of suitable material for the lecture hall (CAT, 2010).

The reason the architect used rammed earth was due to the fact that earth is often a waste product in most building projects. This loose, moist subsoil in the compacted in thin layers between the formwork, a “circular shuttering system with an adjustable radius” was used. The earth was added in 150mm layers that were then compacted using a pneumatic ram, many of the people that work at CAT were involved in the build of the walls. The walls were built in 4 sections with 2 full height gaps for the doors. The rammed earth walls are “500mm thick, incorporating 320 tonnes of earth” (CAT, 2010).

The rammed earth walls provide structural support for the roof, while still being the internal walls, this is so that the external walls largely made of timber and glazing mainly on the southern walls so that the solar energy travels through the glazing and is then absorbed by the earth walls. The thermal mass of the earth walls means that this solar gain is stored and then released into the building when it cools keeping it at a stable temperature. This is a very efficient way of keeping a comfortable temperature without the need of mechanical heating (CAT, 2011).

FIG 45: (CAT, 2010)

FIG 35: (Borer, Lea, 2010)

FIG 39: (CAT, 2010)

FIG 47: (CAT, 2010)

THE MOONDISK:

FIG 46: (Colorcoat, 2011)

The Sheppard lecture theatre has as previously mentioned full height glazing to the south that allow the corridor around the rammed earth walls to heat up through solar gain, which in turn is absorbed through the rammed earth walls. The second opening directing in the center of the lecture theater is affectionately called the Moondisk at CAT, this opening can be mechanically closed so that the light doesn’t interfere with presentations. The moon disk illuminates the whole theatre, with its raised up position above the ceiling it allows the light to reflect off the white surface to decrease the amount of glare in the space (CAT, 2010). The amount of light that is able to be put into the space reduces energy used in artificial lights during the day allows nature to fully encompass the space Through the use of a combination of cross ventilation, warmer air rising and wind passing over the opening causing the suction effect, passive stack ventilation is the most effective natural ventilation (Passivent, 2015). In the Sheppard Theatre a solid timber shutter with external louvres, covered with a fly screen creates the opening in the roof of the theatre, above the Moondisk that due to the positioning of this vent it allows a “draught from one side of a room to the other, to create an up-draught of warm air”.

This allows the heat gained from the rammed earth and the thermal mass, to regulate through the Passive stack effect (CAT, 2010).

FIG 36: (Soar, 2011)

SUSTAINABLE INSULATION: The external walls of the Sheppard theatre, to the west of the building are insulated using Hempcrete which consists of a 500mm hemp-lime mix that is then stabilized by 15% concrete – this concrete is used to help increase the plasticity of the mix when it is applied. The hempcrete is applied by spraying the material against “temporary shuttering, fully enclosing the timber frame of the building.

This process providing a huge degree of “air tightness, while still remaining breathable” meaning that the risk of heat loss is low limiting the chance of thermal bridging. In the Sheppard Lecture Theatre the hempcrete was sprayed into the shuttering at a thickness of 500mm, this completely encompasses the timber frame which the WISE complex is built out of, this was then finished with lime render. “These walls therefore have a u value of ~0.14W/m2/K” (CAT, 2011).

FIG 48: (CAT, 2010)

FIG 49: (CAT, 2010)

The roof of the theatre was insulated using cellulose which is recycled paper insulation, it is ideal for a project such as this which is keen to use sustainable and environmentally friendly products. Cellulose insulation is up to 85% recycled paper and due to this when added into buildings as insulation it traps carbon by products for years effectively lowering a buildings carbon foot print (CIMA, 2012).

Cork insulation was also used in other areas of the WISE Building – it was used to avoid any cold bridging, also due to it being water proof in some instances where other natural insulation material cannot be used in potentially damp areas cork is a good solution to this problem (CAT, 2011).

FIG 50: (Design Blendz, 2009)

FIG 40: (CAT, 2010)

BUILDING SKINS: FIG 39: (CAT, 2010)

FIG 45: (CAT, 2010)

SHEPPARD LECTURE HALL TO CONCLUDE: The CAT prides itself on its sustainability project and the Sheppard Lecture Hall is fine example of that. The functionality and concept of the building as well as this drive in the environmental design of the building led to the use of rammed earth within this building. Using the earth to insulate and prevent noise pollution passing through the thick wall. This along with elements such as the moon disk, a way of preventing or allowing light into the space is also driven from the concept of the building. This way of using the technology and the environmental strategies to orientate and aid in the function of the building is something that has inspired me from researching this project, it is this was of thinking that I wish to implement into my design.

FIG 51:

FIG 52:

FIG 53:

FIG 54:

FIG 55:

FIG 56:

FIG 57:

FIG 58:

FIG 59:

30 ST. MARY AXE

FIG 59: (Foster + Partner, 2004)

30 ST MARY AXE:

FIG 60: (Foster + Partner, 2004)

FIG 58: (Foster + Partner, 2004)

The building set in the narrow medieval streets, began the debate for the need for more high rise buildings in the city centre, the Gherkin became an inspiration for the development of the city’s skyline, and in recent years has become an icon of London (A View on Cities, 2010). The building was featured in many advertisements for the London 2012 Olympics showing its iconic status within the city. Its “unusual yet centrally symmetrical form” creates a silhouette that can be seen and recognized across the city. It has been reproduced in many films, drawings and advisements as previously mentioned and become an urban icon inn its own right through the use of this transition of public space at the base the Gherkin has become a l andmark, a place to meet and above all as mentioned an icon (Massey, 2013).

FIG 52: (My Decorative, 2014)

The Gherkin as it is affectionately known is a 41 story skyscraper standing at 180m built in 2004, and designed by architectural firm Foster and Partners. It was commissioned by “Swiss Re, a reinsurance company” which wanted Foster & Partners to design their office space of around 46,600 meters squared and therefore was originally called the Swiss Re Building however, after the company sold the building in 2007 the building has reverted its name to the street address upon which it stands on – 30 St. Mary Axe. Upon the original site of 30 St. Mary Axe was the “Baltic Exchange Building which was severely damaged by a terrorist attack in 1992” (A View on Cities, 2010).

The Gherkin is London’s first “ecological tall building” it has become an instant landmark in London’s historic skyline (Lomholt, 2012). The tower was generated through the constraints that the site of 30 St Mary Axe provided, this formed the base of the circular plan, allowing the building to appear more slender than many of the other blocky London towers. The slimming of the base of the tower maximizes the public realm allowing the building to have affective circulation and movement patterns at street level, this allows interaction between the uses of the building providing the base with a more commercial and public domain rather than the privateoffice space above (Foster & Partner, 2004).

FIG 51: (Archinet, 2013)

FIG 54: (Foster + Partner, 2004)

FIG 57: (Foster + Partner, 2004)

FIG 56: (Foster + Partner, 2004)

THE ‘LUNGS’, ATRIUMS: The nature of the towers diagonally braced structure allows for column free floor space. The circular plan with radiating fingers off each floor and radial geometry, link the floors through a series of atriums. These atriums create a social aspect between the breaks of the floor plan. Creating an informal breakout space, a natural social focus – places for refreshment points and meeting areas, which spirals up the building.

These atriums also have a very important environmental #aspect, distributing fresh air and in the same instance drawing out the warm stale air. Through the use of the open panels in the façade fresh air is drawn into the atriums which then function as the buildings ‘lungs’ distributing fresh air up space and along the floors. The fact that these atriums travel up several floors means that the stack effect would occur, as the stale and warm air rises it is drawn upwards by the current of air at the top of the atrium and is then directed through a MVPR system to circulate the warms from the air. These systems reduce the building’s #reliance on air conditioning and together with other sustainable measures, means that it uses only half the energy consumed by a conventionally air-conditioned office tower (Foster + Partners, 2004).

FIG 61: (VOGT, 2006)

FIG 55: (Foster + Partner, 2004)

FIG 53: (Foster + Partner, 2004)

THE DOUBLE SKIN FACADE: The façade on 30 St Mary Axe is a two-part system with a double-glazed, circular outer envelope which incorporates a diagrid structural system as well as the opening elements within the facade, and a single-glazed inner envelope, this is a double skinned facade (Moussavi, 2004). The double screen that sandwich a central ventilated cavity contain solar-control blinds. These cavities act as buffer zones to reduce the need for mechanical heating and cooling and are ventilated by exhaust air drawn from the offices.

The opening panels that provide the fresh air into the atrium spaces are controlled based off the climatic readings from the outside, the façade only opens what the external temperature is between 20 degrees Celsius and 26 with the wind speed being below 10mph, in accordance with the existing safety regulations within the building. (Architecture Week, 2005).

FIG 62: (Foster + Partner, 2004)

FIG 55: (Foster + Partner, 2004)

CONSTRUCTION:

30 ST MARY’S AXE TO CONCLUDE: FIG 57: (Foster + Partner, 2004)

To conclude 30 St Mary’s Axe is a landmark of London it signifies the regeneration that the city has undergone to become a beacon to the world, through its innovative design it is able to create air movement both internally and externally. This internal arrangement of space followed by the placement of the moveable façade aids in drawing out the warm air through MVHR keeping the heat in the building while provide fresh air. The moveable façade as well as the structure that allows it is something that I would use in my design the simplicity of it in such a complex building structural is something that creates an elegance to the architecture. This is the reason as to why this building I such a landmark of the city.

FIG 63:

FIG 64:

FIG 65:

FIG 66:

FIG 67:

FIG 68:

FIG 69:

FIG 70:

FIG 71:

FIG 52: (My Decorative, 2014)

MUCEM

FIG 64: (Ricciotti, 2002).

FIG 72: (Massart, 2002).

FIG 74: (Ricciotti, 2002).

MATERIALS “FILIGREE CONCRETE”: The Museum of European and Mediterranean Civilisations (MuCEM) is designed by the Algerian-born French architect Rudy Ricciotti, it is the main project of Marseille’s on-going architectural and cultural renaissance.

The museum is located on Marseille’s seafront next to a seventeenth century stronghold, Fort St Jean (Lomholt, 2014). The concept behind the design is to incorporate: views, sea, sun, a mineral quality, all integrated around the cultural significance of the building as well its site. This all must be orchestrated by a program that is a cognitive experience (Archdaily, 2013).

FIG 67: (Ricciotti, 2002).

FIG 73: (Ricciotti, 2002).

The most striking element of the MuCEM is the pioneering exterior skin which is made up of a delicate filigreed concrete (Webster, 2015). Filigree is a term used to express ornamental and intricate designs usually associated with wire and jewelry (Design Boom, 2013). The concrete outer skin is technological brilliance and the filigree effect is achieved through fiber-reinforced ultra high performance concrete which combines and strenghthens the structural integrity of the concrete with the intricate delicacy, creating a practical solution to solar gains it also creates the fanning of shadows throughout the interior, thus creating an almost godly atmosphere within the museum (Archdaily, 2013).

This fiber-reinforced ultra high performance concrete consists of aggregates, fibers and a binder. Its composition gives it three essential qualities: a compressive strength 6 to 8 times superior to conventional concrete, a perfect seal, and a capacity to mould the most diverse casts, henser the filigree effect. As its name indicates, it contains metallic and or synthetic fibers thinner than a strand of hair that also provide excellent performance under traction (Arcspace, 2014).

CONCRETE “TREES”:

FIG 71: (Ricciotti, 2002).

The building overall is a perfect square, 72 m per side, within this square, another of 52 m per side, comprising of the exhibition and conference halls can be identified as the heart of the museum (Archdaily, 2013). The concrete outer layer covers the outer 72-meter square with the concrete also being used to create 308 tree-shaped pillars that stand at over 8 metres high and form the vertical structure of the inner square. These pillars were constructed through a layering system much like how a 3D Printer works, each type of pillar is coded and the layers of concrete are added to create the unique shapes of the vertical structure (Lomholt, 2014).

The connection of the columns to each other, to the foundation slab and to the edge beams of the floors is done with the use of post-tensioning that increases also the tensile resistance. The post-tensioning with sheathed greased strands starts from the bottom of each tree-column.

Going upwards, the strands follow the multiple branches. In order to make the building earthquake resistant, dilatation joints were suppressed, edge beams for the floors have been post-tensioned to counter temperature effects, elements of the precast columns were pinned at the top and bottom by Freyssinet hinges, as the post-tensioning can pass through, and most of the wind bracing was taken up by the central core (SCIA, 2013).

Given its marine environment, the deck is highly exposed to weathering from the sun, rain and sea spray so through the use of UHPC with “closed pores”, it is air and watertight - it is as suitable material for the project design as for a maritime context (Arcspace, 2014). However, with the colour of the concrete staying in the dust colour to represent the rocks of the sea and deteriorate of the surface will increase the linkage between the ocean and the museum (Archdaily, 2013).

FIG 66: (Lafarge, 2002).

FIG 75: (Ricciotti, 2002).

FIG 78: (Archello, 2013).

JOINTS AND JUNCTIONS: “ZIGGURAT RAMPS”

FIG 76: (Ricciotti, 2002).

FIG 65: (Sale, 2014).

Between the two square are openings that entirely bypass the central square and form interconnected spaces, through the vertical and external awareness that is created in both the plan and through the use of materials. This use of the filigree concrete creates views of the fort, the sea or the port, and culturally overwhelmed visitor within these spaces. The two interlacing ramps span the exterior the inner square, this peripheral loop around the building and up to the ramp towards the fort will be enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations (Archdaily, 2013).

FIG 77: (Ricciotti, 2002).

Stepping onto these ziggurat ramps, you enter a quite extraordinary space, “bristling with stainless-steel tie and suspension rods whose pins-and-needles ballet” which is flecked with shade from the larger square covered by the filigree concrete (Ayers, 2013). These ties are bolted onto the filigree concrete with the suspension rods spanning the width of the space that houses the ziggurat ramps, these rods are in tension in order to support the filigree concrete structure tying it back to the more solid concrete column structure that surrounds the inner square and heart off the building (Archello, 2013).

FIG 79: (Voinot, 2014).

FIG 69: (Ricciotti, 2002).

STRUCTURAL DETAIL:

FIG 68: (Ricciotti, 2010).

ST- JEAN ACCESS:

FIG 80: (Ricciotti, 2002).

The promenade of ramps the thread around the building then continue towards the roof terrace which is bound to the idyllic Fort St-Jean with a 115m long slender pathway and an 820 meter suspended walkway that cut through the structure and is itself a successful exercise in material experimentation, sporting an elegant and effective slenderness (Design Boom, 2012). Once on the Fort St-Jean, you enjoy sweeping views of the museum in its wider setting, a charcoal-grey shadow to the fort, its concrete shawl reflects ripples on a sandy seabed (Lomholt, 2014).

FIG 81: (Archello, 2013).

FIG 70: (Massart, 2002).

FIG 63: (Voinot, 2013).

GLAZING: FIG 82: (Voinot, 2013).

ROOF TERRACE: The concrete pergola on the roof is supported above it through a clever system of stainless steel cables that attach to 15 meter wide cantilever beams that sit on top of the main vertical pillars of the building. The intricate filigree concrete surrounding the entire building is supported through the same concrete cantilever beams, the filigree concrete screening also shades areas of the terrace, stainless steel cables have also been fixed from the wooden deck to the cantilever beams which overhang above the terrace by 4 metres to stabilise the whole canopy structure above the terrace. On the outside of the building the cantilever beams carry the weight of the external ramps that lead up to the terrace through long stainless steel braces that span the whole height of the building (Lomholt, 2014).

FIG 83: (Archello, 2013).

FIG 84: (Ricciotti, 2002).

The main glazing is situated in the smaller inner square of the building with the northern and eastern edges of the building being exposed to large exposes of glazing. The other sides being covered by the filigree concrete creating shading and preventing solar gains (Archdaily, 2013). The main exhibition spaces benefit between this contrast of materials allowing filtered light into the spaces and creating obscured views of the landscape linking it directly with the sea and the functionality of European and Mediterranean Civilisation Museum (Lonholt, 2014).

FIG 85: (Archello, 2013).

FIG 71: (Ricciotti, 2002).

FOUNDATIONS DETAIL:

FIG 8: (Archello, 2013).

FIG 63: (Voinot, 2013).

MUCEM TO CONCLUDE: The MUCEM is a prime example of an architect pushing the boundaries of architecture, by using concrete a material that signifies an almost brutal and solid nature and instead using it in such an intricate way. This style of construction and how the structure of the building by using this ultrahigh performance concrete has shaped and developed the design into these amazing exhibition spaces. I fell that this type of material and intricate thinking of the placement of the structure has allowed the architect to ground the building to its concept in a way that previously hadn’t been thought about. This could be used in future projects as a way of combining the structure and concept of my designs, creating a more fluid and coherent design.

FIG 70: (Massart, 2002).

FIG 91: (Hufton + Crow, 2013).

STRUCTURE:

FIG 87:

FIG 88:

LONDON AQUATICS CENTRE: FIG 89: FIG 92: (Hufton + Crow, 2013).

FIG 90:

FIG 91:

The concept for the London Aquatic Centre – designed

by Zaha Hadid Architects, I inspired by the fluid nature of water in motion, by creating spaces that reflect the moving river landscape of the Olympic Park. The undulating roof sweeps up from the ground as a wave - enclosing the pools of the Centre with a unifying gesture of fluidity (Archdaily, 2011). Another concept for the design was to accommodate the large crowds that the Olympics brings to a venue such as this as well as leave the city of London the legacy of these games by the pool being able to function after the games (Domus, 2011).

FIG 92:

FIG 88: (Hufton + Crow, 2013).

FIG 93:

FIG 94:

FIG 95:

LONDON AQUATICS CENTRE

The Aquatics Centre is set on the south eastern edge of the 2012 Olympic Park. Pedestrian access to the Aquatics Centre from the Olympic Park is via the east-west bridge (called the Stratford City Bridge) which passes directly over the Centre, this creates the primary gateway to the Olympic Park. This bridge in turn create one of the fundamental features of the design (Zaha Hadid Architects, 2011).

FIG 96: (Zaha Hadid Architects, 2011).

FIG 87: (Huftom + Crow, 2013).

CONCRETE PODIUM:

FIG 90: (Helene Binet, 2013).

This site was exceptionally complex, with many different elements restricting and coordinating the design. The concept as it has already been mention is the movement of water and so it was imperative that the design was as close to the river as possible, however the main pedestrian access route via the Stratford City Bridge, is at a higher level that the river, so the solution was to have a cast in-situ concrete podium. The concrete podium would then encase the main pool hall which was situated on a perpendicular axis to the bridge allowing the entrance to descend into the main pool hall. This concrete podium also allowed the training pools to be slotted in underneath the bridge. Creating an out od site out of and mentality allowing the main pool hall the take centre stage (RIBA, 2011).

FIG 97: (Zaha Hadid Architects, 2011).

FIG 95: (Helene Binet, 2013).

FIG 93: (Hugo Sanchez, 2011).

FIG 89: (Inhabitat, 2012).

FIG 98: (Helene Binet, 2009).

FIG 94: (Helene Binet, 2009).

ROOF OLYMPIC MODE:

FIG 99: (Zaha Hadid Architects, 2011).

ROOFLEGACY MODE

FIG 101: (Architectural Records, 2016).

FIG 100: (Zaha Hadid Architects, 2011).

FIG 102: (Zaha Hadid Architects, 2011).

This continuation of the concept for the fluid motion of water is also expressed in the wide spanning steel roof, the double curvature geometry has been used to create a structure of parabolic arches that define this conceptual form (RIBA, 2011). The roof undulates to differentiate the volumes of the space for the competition and diving halls, it is clad in timber on underbelly of the undulating surfaces and the top is clad in aluminium panels. As well as the concept for the fluid motion there is also the flexibility needed to transform the venue into a smaller and more manageable form of itself after the games. The roof structure plays a vital role in being able to make these changes. It is grounded at three points two at the north west end of the building and one at the south east end this structural frame ensures that the extra seating could be slotted in for the duration of the games and then replaced with glazing once the seating was removed (Domus, 2011).

FIG 94: (Helene Binet, 2009).

LONDON AQUATIC CENTRE TO CONCLUDE: This site was exceptionally complex, with many different elements restricting and coordinating the design. The concept as it has already been mention is the movement of water and so it was imperative that the design was as close to the river as possible, however the main pedestrian access route via the Stratford City Bridge, is at a higher level that the river, so the solution was to have a cast in-situ concrete podium. The concrete podium would then encase the main pool hall which was situated on a perpendicular axis to the bridge allowing the entrance to descend into the main pool hall. This concrete podium also allowed the training pools to be slotted in underneath the bridge. Creating an out od site out of and mentality allowing the main pool hall the take centre stage (RIBA, 2011).

BUILDING SERVICES: FIG 90: (Helene Binet, 2013).

FIG 103:

FIG 104:

FIG 105:

FIG 106:

FIG 107:

FIG 108:

FIG 109:

FIG 110:

FIG 111:

FIG 89: (Inhabitat, 2012).

FIG 91: (Hufton + Crow, 2013).

MANCHESTER METROPOLITAN UNIVERSITY STUDENT UNION

FIG 103: (Hufton + Crow, 2014).

FIG 112: (Hufton + Crow, 2014).

MMU STUDENT UNION: FIG 111: (Hufton + Crow, 2014).

PLANT:

The Manchester Metropolitan University Student Union Building designed by Feilden Clegg Bradley Studios is a design that needed to be tough and flexible to reflect the down time of students at university, it must be able to cater to their needs of stability as well as place for encouragement and fun. By using this as a concept as well as paying homage to neighbouring Victorian features in other buildings (RIBA, 2015).

The internal space are open and flexible to represent the ever changing student life. It features an expose concrete structure with pre-cast concrete walls that signifies the concrete of a stable and safe environment where student can get help with anything relating to student life. This combine with the exposed building services creates a no-nonsense and informal atmosphere. The buildings vast functionality with all the different areas of the student union such as: table tennis, pool tables, meeting areas, office spaces, coffee shops for the daytime, bars and sound systems for the night time. All these different activities need different plant and building services in order to make them comfortable for the users of the building (Feilden Clegg Bradley Studios, 2014).

FIG 107: (Hufton + Crow, 2014).

The design requires mechanical, electrical and public health engineering services associated with this multiuse building which incorporates many different areas. As will all non-residential building this building requires a plant room in order to store the equipment need to keep this building comfortable (Feilden Clegg Bradley Studios, 2014). The design of the services needed to reflect the varying ways each space would be used across the daytime and them the night, whilst be taking full engineering account of the building’s city centre location and the specific acoustic requirements of such a specialist use building (Waterman, 2014). Taking into account the central city location as well as the many different function that this student union has, the plant room is therefore located on the roof. This provide the more space internally as well as when equipment need to replaced or repaired it can be simply craned off and a new piece of equipment installed quickly and efficiently (Feilden Clegg Bradley Studios, 2014).

FIG 109: (Hufton + Crow, 2014).

FIG 113: (Feilden Clegg Bradley Studios, 2014).

FIG 115: (Feilden Clegg Bradley Studios, 2014).

FIG 105: (Hufton + Crow, 2014).

MVHR UNIT: FIG 104: (Hufton + Crow, 2014).

FIG 114: (Hufton + Crow, 2014).

The design provides a highly flexible, modern and highly energy efficient services installation to suit the University’s requirements and ensure that the building is operated a low carbon emissions in line with the MMU carbon reduction and monitoring requirements. One of the ways that this design meets that requirement is by having a MVHR unit located on the roof. This unit through a series of ducts allows the warmth of the air to be recirculated while providing fresh cooler air. Also the warm and stale air meats the MVHR unit the warms is extracted and passed through to fresh air that then get re distributed throughout the space.

The functionality of rooms changed deepening on the time of day, for instance the pool room at night changed into a nightclub, therefore the air changed per minute need to be controlled in order to allow more air changes during the times where the activities are more strenuous. This controlled environment also applies to the rest of the building certain spaces such as the offices will have different environmental requirements that those of the storage areas.

The system in place at the MMU Student Union allows those who work there to have control of their own environment allowing the computer to set the changed as it dictates (Waterman, 2014).

FIG 116: (Feilden Clegg Bradley Studios, 2014).

FIG 106: (Hufton + Crow, 2014).

TO CONCLUDE:

As you can see this report has focused on analysing different aspects of building design, this has been achieved through the use of various case studies ranging in function. It has explained six key areas: materials, environmental design, building skins, construction, structure and building services. These areas are all part of building design, and I shall strive to implement the positive aspects of all these case studies into my designs.

MMU STUDENT UNION TO CONCLUDE:

Zinc, has been argued as a sustainable material, although the minding of many material is not sustainable due to the fact that zinc can be recycled after its first use makes it a somewhat reusable material.

This material is forever changing and creating new uses, however he Stonehenge Visitor Centre shows how this material has been used as roof cladding to aid in the architectural element of the floating roof.

FIG 110: (Hufton + Crow, 2014).

When analysing environmental design this report has focused on the Centre for Alternative Technologies (CAT) a place dedicated to sustainable development. The building specifically in the CAT development is the Sheppard Lecture Hall. This building incorporates rammed earth and other sustainable materials in the design, thinking of new ways to create modern and effect sustainable design.

30 St Mary’s Axe has a double skin façade. This façade with the twisting diamond structure and moveable glazing allows a higher rate of air movement round the building. Creating a building skin that works for the building in creating a comfortable atmosphere within the internal spaces.

In conclusion this building is able to function with a high efficiency because of the work of the building services.

With the plant room being located at roof level it has allowed to use the maximum space at the lower levels. Each space is ventilated and serviced to suit its functionality, and this is something that I have carried on into my Vietnam Project allowing the functionality of the space to dictate the plant required.

FIG 108: (Feilden Clegg Bradley Studios, 2014).

The case study that have been used to analysis how buildings are constructed is the Museum of European and Mediterranean Civilisations (MUCEM). This building has been used to examination a unique material of ultrahigh reinforced concrete which has been used to create a filigree concrete effect that covers the building.

Through this section of the report the analysis of how this building has been put together, through the use of this unique material to create both a decorative and structural element.

London’s Aquatic Centre is used to analysis structure, this building by using its contexts allows the structure to create a concept for the design, by using a solid concrete structure as a bases, which encases the major amenities of the design. As well as a steel frame structure for the roof that symbolises the fluid movement of water.

This design is also flexible by being able to remove the extra seating needed for the Olympic Games and then down scale the seating to accommodate everyday life.

For building services the MMU Student Union is a great example of how a building can have many different functionalities and hoe it is these function that define the building services. In order to create comfortable space no matter the activity a controlled and sustainable design must be implemented.

This report has signified the reasons as to why the technology help aid and create amazing architecture. You experience architecture not on paper but in the spaces that the architect creates and in order for these spaces to work the architecture needs to be somewhat dictated by the technology extensive research and by using the technology to serve the conceptual design all these buildings are amazing in their own right

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Retrieved 1st April 2016 from, http://www.archdaily.com/400727/mucem-rudy-ricciotti Fig 73: Ricciotti, R. (2002). The Sun Setting on the MuCEM. [Digital Image] Retrieved 1st April 2016 from, http://rudyricciotti.com/projet/musee-des-civilisations-deurope-et-de-mediterranee#!/rudyricciotti.com/wp Fig 74: Ricciotti, R. (2002). Concrete Tree Detail. [CAD Drawing]. Retrieved 1st April 2016 from, http://www.archdaily.com/400727/mucem-rudy-ricciotti Fig 75: Ricciotti, R. (2002). Section. [CAD Drawing]. Retrieved 1st April 2016 from, http://www.archdaily.com/400727/mucem-rudy-ricciotti Fig 76: Ricciotti, R. (2002). Concrete Tree Assemble. [CAD Drawing]. Retrieved 1st April 2016 from, http://www.archdaily.com/400727/mucem-rudy-ricciotti Fig 77: Ricciotti, R. (2002). Concrete Tree Elevation. [CAD Drawing]. Retrieved 1st April 2016 from, http://www.archdaily.com/400727/mucem-rudy-ricciotti Fig 78: Archello. (2013). Section of Ramps. [CAD Drawing}. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterranean-civilisations-marseilles Fig 79: Voinot, G. (2013). Suspension Rods. {Digital Image]. Retrieved 5th April 2016 from, http://www.e-architect.co.uk/marseille/mucem-museum-marseille Fig 80: Ricciotti, R. (2002). Ramp to MuCEM. [Digital Image] Retrieved 1st April 2016 from, http://rudyricciotti.com/projet/musee-des-civilisations-deurope-et-de-mediterranee#!/rudyricciotti.com/wp Fig 81: Archello. (2013). Site Plan. [CAD Drawing]. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterranean-civilisations-marseilles Fig 82: Voinot, G. (2013). Roof Terrace Shading. {Digital Image]. Retrieved 5th April 2016 from, http://www.e-architect.co.uk/marseille/mucem-museum-marseille Fig 83: Archello. (2013). Structure. [CAD Render]. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterranean-civilisations-marseilles Fig 84: Ricciotti, R. (2002). Glazing. [Digital Image] Retrieved 1st April 2016 from, http://rudyricciotti.com/projet/musee-des-civilisations-deurope-et-de-mediterranee#!/rudyricciotti.com/wp Fig 85: Archello. (2013). Glazing Detail. [CAD Drawing]. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterranean-civilisations-marseilles Fig 86: Archello. (2013). Foundation Detail. [CAD Drawing]. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterranean-civilisations-marseilles Fig 87: Hufton + Crow. (2013). Concrete Podium. [Digital Image]. Retrieved 20th April 2016 from http://www.domusweb.it/en/architecture/2014/02/27/london_ aquatics_centre.html

Fig 88: Hufton + Crow. (2013). Olympic Mode - Main Pool Hall. [Digital Image]. Retrieved 20th April 2016 from, https://www.architecture.com/StirlingPrize/ Awards2014/London/LondonAqauticsCentre.aspx Fig 89: Inhabitat. (2012). London’s 2012 Olympic Park Opens. [Digital Image]. Retrieved 20th April 2016 from http://inhabitat.com/londons-2012-olympic-parkopens-to-the-public-this-week-after-years-of-preparation/london-aquatics-center-3/ Fig 90: Helene Binet. (2013). Legacy Mode - Main Pool Hall. [Digital Image]. Retrieved 20th April 2016 from, http://www.archdaily.com/161116/london-aquaticscentre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 91: Hufton + Crow. (2013). Night View of the London Aquatics Centre. [Digital Image]. Retrieved 20th April 2016 from, http://www.zaha-hadid.com/architecture/london-aquatics-centre/ Fig 92: Hufton + Crow. (2013). Exterior View. [Digital Image]. Retrieved 20th April 2016 from, http://www.zaha-hadid.com/architecture/london-aquatics-centre/ Fig 93: Hugo Sanchez. (2011). Swim Complex a Fitting First Sight. [Multimedia Renders]. Retrieved 20th April from, http://visual.ly/london-2012-olympic-venuespart-2-aquatics-center Fig 94: Helene Binet. (2009). Undulating Steel Roof Frame System. [Digital Image]. Retrieved 20th April 2016 from, http://www.archdaily.com/161116/londonaquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 95: Helene Binet. (2013). Concrete Interior. [Digital Image]. Retrieved 20th April 2016 from, http://www.archdaily.com/161116/london-aquatics-centre-for2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 96: Zaha Hadid Architects. (2011). First Floor Plan – Olympic Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/londonaquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 97: Zaha Hadid Architects. (2011). Ground Floor Plan – Olympic Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/londonaquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 98: Helene Binet. (2009). Steel Roof Frame System. [Digital Image]. Retrieved 20th April 2016 from, http://www.archdaily.com/161116/london-aquatics-centrefor-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 99: Zaha Hadid Architects. (2011). Roof Overhang – Legacy Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 100: Zaha Hadid Architects. (2011). Roof Detail – Legacy Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 101: Architectural Record. (2016). Zaha Hadid’s Amazing Legacy. [Digital Image]. Retrieved 20th April 2016 from, http://www.architecturalrecord.com/ Fig 102: Zaha Hadid Architects. (2011). Section – Olympic Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/london-aquaticscentre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photo Fig 103: Hufton + Crow. (2014). Exterior View of the MMU Student Union. [Digital Image] Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropolitan-university-student-union Fig 104: Hufton + Crow. (2014). Pool Hall. [Digital Image]. Retrieved 20th April 2016 from, https://www.architecture.com/StirlingPrize/Awards2015/NationalWinners/ManchesterMetropolitanUniversityStudentUnion.aspx Fig 105: Hufton + Crow. (2014). Interior Gathering Space. [Digital Image] Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropolitan-university-student-union Fig 106: Hufton + Crow. (2014). Exterior Reflection off the Black Bricks. 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Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropolitan-university-student-union Fig 112: Hufton + Crow. (2014). Cafe. [Digital Image]. Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropolitan-university-student-union Fig 113: Feilden Clegg Bradley Studios. (2014). Section. [CAD Drawing]. Retrieved 20th April 2016 from http://fcbstudios.com/work/view/manchester-metropolitan-university-student-union Fig 114: Hufton + Crow. (2014). Pool Hall. [Digital Image]. Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropolitan-university-student-union Fig 115: Feilden Clegg Bradley Studios. (2014). Ground Floor Plan. [CAD Drawing]. Retrieved 20th April 2016 from http://fcbstudios.com/work/view/manchester-metropolitan-university-student-union Fig116: Feilden Clegg Bradley Studios. (2014). 1st Floor Plan. [CAD Drawing]. 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