kiran basi BA Architecture Newcastle University 2017 - 18
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contents
c Charrette Week 6 p Primer 10 f Field trip 46
graduation project s Staging 56 ttm Thinking through Making 84 r Realisation 86 Refinement 102
tectonic integration 01
Case study 142
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Materiality, Atmosphere and Experience
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Additional work
Submitted as part of ARC3013: Architectural Technology module
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learning summary After enjoying second year a lot more than my first, I arrived into third year with a mixture of eager anticipation and nerves over the year ahead. I was excited to further enrich my architectural skillset but did not feel at all prepared for a dissertation or final graduation project. My dissertation examined the experience of British crematoria with particular focus to how the psychology of spaces, memory and the bereavement process could be used to create more emotionally engaging spaces for the bereaved. I thoroughly enjoyed researching into such a sensitive topic but decided I wanted to explore a more light-hearted avenue in the design module, whilst maintaining a heavy focus on maximising the user experience of the building. The Culture and Legacy studio was ideal in providing the basis to achieving these aims, with the brief ensuring a design which was based around events, culture and community. Our research into previous Cities of Culture, Stoke and Sunderland during primer allowed us to approach our designs, for the first time, with consideration to their impact at a cityscale, as well as part of a wider City of Culture scheme. Although seeming slightly detached from design at the time, retrospectively I can see the importance of our contraption boxes as conceptual representations of culture in both cities. My building can be seen as an abstraction of my box as a celebration of industrial history, making my building more rooted within its historical, cultural and social context than anything I have ever designed.
This year, I particularly enjoyed situating the studio and my individual project within a wider architectural context, reading more and seeing my own principles develop. Having never thought of myself as a particularly daring designer, I surprised myself by the bold nature of my design and how closely my architectural vision aligned with firms including RSH + Partners and Bernard Tschumi Architects. I have developed my own architectural opinions, with a firm belief that architectural value can be measured by its social impact, agreeing with Rogers that buildings should above all, be ‘places for people’. Overall, architecture has been a challenging experience – extremely stressful at times but incredibly enjoyable. I’d like to thank my course mates for providing the most supportive environment in which to grow, and my tutors, Mags and Cara, for their guidance over the year and ensuring the ‘joy’ never left my project for long. Although immensely proud of my graduation project, I am proud of making it to the end of third year – a milestone I almost did not see possible in first year. Despite being sad that my part one architecture journey is coming to an end, I am looking forward to experience life in practice and continuing to develop my own architectural style, principles and representation techniques. For now however, please enjoy my portfolio.
After our site visits to Stoke and Sunderland, I knew I wanted my graduation project to have a positive social impact on the local community and improve the daily lives of people. I felt both cities needed a landmark building; an attraction for visitors and residents during the City of Culture as well as after 2021. I found the ideal site in Sunderland, which although offered challenges, gave me countless opportunities to create the most interesting, multi-dimensional design of my architectural career thus far. Having always found technology the most difficult aspect of the course, I found the integrated technology coursework deeply rewarding in enriching my design with practicality and buildability. The feasibility project completed early in the design process enlightened me to the advantages of integrated design which became a significant feature of my project and is an aspect of architecture I’m interested in pursuing.
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charrette
Earl Grey’s Monument constructed from everyday objects
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Lightning striking the monument
The year began with Charrette, a one week group project including all students in the School of Architecture and Urban Planning. My Charrette group was instructed to create a 2-5 minute video, illustrating a myth, legend or story associated with a specific location in Newcastle, using a selection of everyday objects. Our chosen story was about Grey’s Monument and the Great Storm of 1941. According to local legend, lightning struck the head of the Earl Grey which fell off, hit a passing tram and rolled down Grey Street and into a shop.
The head falling off the Monument
Our interpretation uses tea as a recurring motif, playing on the association between Grey’s Monument and Earl Grey tea. Earl Grey’s “head” rolling down Grey street
The exercise introduced the relationship between place and cultural narratives, which were later explored in primer.
Extracts from the video
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culture & legacy
stoke-on-trent vs. sunderland
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studio outline Our studio, Culture and Legacy, is based in two rival cities for the City of Culture 2021 bid; Stoke-on-Trent and Sunderland. The UK City of Culture is awarded to a city, every 4 years to stimulate similar economic and cultural growth experienced by Liverpool during it’s year as European City of Culture 2008. The awarded city hosts a range of cultural events for a period of a year. Our studio-specific themes are focused on designing for change and interaction, as well as giving particular consideration to the legacy of the buildings, spaces and infrastructure we design.
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primer
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p mapping We began primer by conducting research into Stoke and Sunderland, mapping both physical and cultural aspects of the two cities. We compared historic with current maps and overlaid different maps to gain a better understanding of why the cities are built as they are, how people interact with the city and how it will change in the future. We exhibited our maps at the primer show by printing them on tracing paper and using a lightbox to enhance clarity when overlaying maps.
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physical infrastructure When researching physical infrastructure, we discussed transport systems alongside natural features of both cities. The exercise particularly emphasised the influence of the waterways on other tangible infrastructures.
waterways
flooding
rail
greenery 12
cycle routes
road
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greenery
waterways
flooding
historic rail
rail
cycle routes
road 13
mapping culture: tangible
Pubs / Bars Clubs
tourism
retail
monuments/ memorials
food
political
community centres
pubs/ clubs
theatres
TURNSTALL
BURSLEM
HANLEY
STOKE FENTON
LONGTON PUBLIC LIBRARY UNIVERSITY LIBRARY ARNOLD BENNETT’S FIVE TOWNS AND THE FORGOTTEN TOWN
education 14
sport
libraries
galleries
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Pubs / Bars Clubs
tourism
retail
monuments/ memorials
food
political
pubs/ clubs
community centres
theatres
PUBLIC LIBRARY UNIVERSITY LIBRARY BOOK CLUBS MEETING POINT
education
sport
libraries
galleries
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mapping culture: intangible Whilst mapping aspects of tangible culture, we understood the location and concentrations of cultural elements in different parts of the two cities. In comparison, the intangible side to culture gave us an insight into the feel of the cities and their community values.
tourism
monuments/ memorials
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retail
food
political
pubs/ clubs
community centres
theatres
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tourism
retail
political
pubs/ clubs
monuments/ memorials
food
community centres
theatres
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Pubs / Bars Clubs
By looking at concentrations of retail and bars/ clubs, we can clearly recognise the five towns of Stoke, as well as the city centre of Sunderland.
Pubs / Bars Clubs
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deconstruct: film camera
In the second stage of primer, we dismantled an analogue object, between the size of a suitcase and the palm of our hand. The aim of the exercise was to understand the object as a series of moving parts which work together to create an output. This can be compared to the intricacies of a city, as well as introducing us to mechanisms and the next stage of primer.
front elevation
plan view
The close study of an analogue object enabled us to analyse the ergonomics of the objects and the user experience, two concepts integral to architecture and the themes of our studio. I chose to dismantle a broken film camera, recording the process via a timelapse video.
side elevation
back of the camera, behind the plastic casing
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mid-way through the disassembly process
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Timelapse video recording the deconstruciton process
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The process of dismantling involved a variety of tools including a set of jewellers screwdrivers, pliers, a drill and (in desperation) a hammer.
The camera was incredibly complex, with approximately
535 components working together to enable the camera to function.
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contraption boxes
As part of our research into Stoke and Sunderland, we looked into myths, legends and stories of both cities which became the subjects of our individual contraption boxes. The boxes had to convey the key themes of the story while having an element of movement and interaction. The task was interesting in developing thought into conceptual design, ergonomics and user interaction. As a collection, the story boxes are an abstraction of culture in both places.
A selection of our studio’s contraption logos
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My contraption box
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stoke-on-trent
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sunderland
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interaction
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As a studio, we decided to colour the interactive element of each box in red. This created a sense of consistency between boxes, emphasised the interactive theme of our studio and made the contraptions more user-friendly.
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‘shift in focus’
My contraption is an abstraction of the design intent behind Sunderland’s Stadium of Light as a celebration of the city’s industrial heritage. Built on the former site of the Monkwearmouth Colliery, the largest and most important coal mine in the North-East, the stadium was named in tribute to the region’s mineworkers and the many Sunderland fans who emerged from the darkness of the mines each day and into the light. The design of the stadium further reflects the city’s industrial heritage by taking inspiration from the glass-making and shipbuilding industries as well as coal-mining. On a secondary level, the contraption comments on the shift from the importance of industry and the masses to football and the individual.
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My individual contraption - ‘Shift in Focus’
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design intent
The five faces of the pentagon represent different aspects of Sunderland’s industrial history; the workers, coal-mines, ship-building yards, roads/Nissan factory and the Stadium of Light whilst the acrylic map of Sunderland is a metaphor for the glass making industry. The user interacts with the contraption by rotating the pentagon and following the chronological history through the changing lights on the map. The pinnacle of the device is a focused spotlight on the Stadium of Light, symbolising the collective memory of the people of Sunderland concentrated at this location.
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p stages of the contraption
workers
mines
shipyards
roads/ Nissan factory
Stadium of Light
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sketch models
Initial model, exploring the potential of light in conveying the main themes of the story
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Model developing the mechanisms behind the rotating pentagon
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primer exhibition
Construction of our 600mm 3 contraption boxes
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Setting up the exhibition
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Pre-exhibition studio photo
Our models were lit to emphasise shadows, creating a sense of intrigue, mystery and discovery in our exhibition space. We felt these themes were particularly relevant to myths, legends and storytelling.
We split our exhibition space in half, with boxes arranged according to city
Outside our exhibition pod, we showcased examples of our de-constructed objects, along with a video documenting our process
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pavilion design In the final week of primer, we further explored the temporary and interactive themes of the studio through the design of a pavilion, suitable for installation in both Stoke and Sunderland. The pavilion had to form part of the City of Culture’s year of activities and support an event in both the day and night. My design was inspired by the Magic Fountain in Barcelona, a major tourist attraction which creates an enchanting experience using moving water, coloured lights and music. The pavilion is designed to advertise Lumiere 2021, the UK’s largest light festival which has previously been held in Durham, London and Londonderry, 2013’s City of Culture. The pavilion will be insitu for a week, one month before the festival to act as a interactive ‘teaser’ while celebrating up-andcoming local musicians in Stoke and Sunderland. It is designed to hold a maximum of 30 people. The main use of the pavilion would be in the evening, when the lighting is most effective. The space will host six nights of live music with electronically synchronised lighting inside the tubes enclosing the pavilion. The lights will ‘dance’ during the performances similar to the water in Barcelona’s Magic Fountain. The audience can participate in the light show by activating circular floor sensors on the floor of the pavilion. The more sensors that are stepped on, the more colours will appear in the light tubes.
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Steel frame
Plan: Day
Acrylic LED tubes
Floor sensors affect the colour of the lights when stepped on
Seating hung from timber sections Coffee tables to be used in the day
Stage for live music in the evenings
Plan: Night Diagram shows the bar, stage and three entrances to the pavilion.
During the day, the pavilion will act as a cafe with tea, coffee and baked goods being served from the bar in the centre of the installation. The tubes will be lit with white light, although when sensors are activated, different colours will appear for 10 seconds in random tubes. The pavilion is open to the elements with the acrylic light tubes being supported by a steel frame. The entire structure will have been constructed from recycled materials and will be easily de-constructed to allow for further re-use.
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field trip
Enjoying the auditorium at the Kunsthal, designed by OMA
Culture and Legacy’s field trip went to Hull, UK City of Culture 2017; Rotterdam, European Capital of Culture 2001 and Delft.
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f hull
In Hull, we saw some interesting precedents which later informed my design project, including The Deep aquarium. As City of Culture 2017, we were able to get an insight into the temporary and permanent infrastructure built for the year and types of events happening.
The Deep aquarium
Pop-up exhibition
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rotterdam
Named as a ‘world-class destination for architectural innovation’ and Europe’s 2001 Capital of Culture, Rotterdam was full of inspiring precedents of cultural buildings. As a port city, parallels were retrospectively found between Rotterdam and Sunderland.
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delft
We visited Delft as our Dutch equivalent to Stoke. Delft Library was particularly interesting due to it’s unusual sculptural form whilst TU Delft Architecture School was inspiring in its interior finishes and community atmosphere.
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Delft Library
TU Architecture School
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f details
One of the main things I took away from the field-trip was a newly found appreciation for architectural detailing and an eye for noticing the junctions between materials.
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vaux + graduation project
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brief narrative The starting point behind the design was to create ‘a place for all people, all ages, all creeds, the rich and the poor.’ - the opening words behind the competition entry for the world famous cultural centre, the Centre Pompidou. Designed as an events venue for the 2021 City of Culture, my intervention responds to the physical, historical and social aspects of Sunderland and the immediate site. This roots the building into its cultural context, aiming to create a sense of pride in residents and attract visitors. Sitting on the former Vaux Brewery site, the name ‘Vaux +’, references the former use of the site with the ‘+’ indicating that the project is much more than a brewery. The programme consists of a combination of event and community spaces to encourage interaction between different people - the residents and office workers introduced as part of the redevelopment plan for the site and visitors to Sunderland during/ after the City of Culture.
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staging The ‘Staging’ phase of third year began with visits to Stoke and Sunderland to choose our site and gain a better understanding of the two cities. The Culture and Legacy studio brief was to design a 1500m 2 cultural building within Stoke or Sunderland. The building had to incorporate permanent and temporary spaces, which change between day-to-night, seasonally and/ or annually. The projects should be designed with interaction and legacy in mind.
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sunderland Having chosen to base my project in Sunderland following site visits, I explored the context of the city at different scales.
North Tyneside Newcastle
South Tyneside Gateshead
Sunderland
UK
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1
tyne and wear
s city of sunderland
National Glass Centre
Sunderland port + docks 2
City centre
site
Stadium of Light 59
community centres
The map of community centres shows a gap in community centres around my site
As an events venue as well as community centre, the building is unique from other centres around Sunderland.
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religion sports community support arts community halls *community support: disability care, education/learning, healthcare, volunteering.
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industrial history
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As explored in primer, Sunderland had an international reputation for shipbuilding with several famous ship-yards being located along the Wear.
Photographs of ship-building on the Wear
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site-specific history
Lambton drops (1920)
Vaux Brewery
Nearby ship-building yards
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The site itself is rich in industrial history and this formed the basis behind my design concepts for the building. It was home to the Lambton Drops (riverside coal staithes) before the Vaux brewery and is close to former ship building yards. As a landmark and community centre, the incorporation of historical references is appropriate as it roots the building into the collective identity of the area and it’s people, making it specific to Sunderland.
Photograph of the Lambton Drops
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the vaux brewery The Vaux Brewery was a large brewery in Sunderland and a major employer. It was closed in 1999, following 200 years of brewing due to the financiers advice to concentrate the company’s efforts on their hotels and pubs. This resulted in the loss of 700 jobs and an end of an era in Sunderland.
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Photographs of the Vaux Brewery
“There’s a large hole in the centre of Sunderland, that’s a grim reminder of corporate greed and vandalism” - Morning Advertiser 2014
The empty former site of the Vaux Brewery now has a redevelopment plan which aims to fill the ‘hole’ described in the quote above. The problem however, is that the masterplan does not do anything to appeal to the cultural identity lost by the demolition of the brewery. My intervention aims to fit positively within the existing masterplan to provide references to the rich industrial heritage of Sunderland and the site, restoring a sense of pride in the former landmark site in time for the 2021 City of Culture. A modern, landmark brewery pays homage to the former much-loved use of the site and establishes the building as an attraction for visitors as well as locals.
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vaux + as a community ‘melting pot’
The site is ideal for a landmark community and events venue as it is located in the city centre close to the high street, newly emerging cultural hub, Keel Square and is a 7min walk from Sunderland rail station. Combined with the new redevelopment, these features ensure a variety of people could regularly visit the site.
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site analysis Midday in mid-summer
The major challenge of the site is the orientation of the cliff-face which causes shading to the lower level.
Longest day - 17hr 21m Shortest day - 7hr 11m
This can be overcome by careful zoning of programmatic elements.
Sunrise in winter
E City centre
Road access from A1018
View of city centre Cultural quarter
Sunset in winter
Keel sq Noise
View of bridges
site Pedestrian access
Vaux phase 1 office building
Metro from Newcastle View onto river
View of stadium
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Road access from A1231 Car park WSW prevailing wind
Cliff face
W River Wear
Pedestrian access
Riverside park
s the vaux masterplan
The Vaux redevelopment plan for the upper level of the site proposes the building of 19 blocks including residential, leisure and retail space as well as open spaces and a connection to Riverside Park.
Proposal 1: Original masterplan minus residential buildings 9-11 8
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Proposal 2: Original masterplan minus office buildings 13 + 16
When thinking about the location of my building within the masterplan, I chose proposal 2 as the building would be less shaded and have a direct visual link with Keel Square. The impact on the rest of the masterplan is also lower than proposal 1 which would involve the exclusion of three residential buildings.
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site plan
intervention: Vaux +
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s features of the site
the site
River Wear
Keel Line
Vaux masterplan
Road access
Riverside Park
Metro from Newcastle
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views from the site Situated on a cliff, the site benefits from expansive views over the Stadium of Light, River Wear and Wearmouth bridge. The building would be seen from Keel Square and the metro towards Newcastle. As a result, the exterior of the building should be striking to establish the building as a monument. The interior spaces should be arranged to maximise views in key spaces.
Views of the Stadium of Light
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Views of the Wearmouth and metro Bridge
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volumetric studies After assessing the feasibility of different massing arrangements, I decided to build on both the upper and lower levels of the site. This would provide a link between the levels, improve access to Riverside Park and increase footfall through the community centre.
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• No connection between upper and lower levels • Tower arrangement reduces footprint, allowing more of the masterplan to be realised • Each floor receives south light and views over the river and city
• Difficult access • Shaded
• Building height in context with surrounding buildings • Orientation protects from prevailing winds • Shaded courtyard space not ideal
• Maximised views • No connection between levels
• Link between upper and lower levels • Lower level receives no south light
s site strategy The building spans the two levels of the site to connect the upper level with riverside park on the lower level which at the moment is underused and associated with anti-social behaviour. This proposal has little physical impact on the existing Vaux masterplan. The design sits in the centre of the masterplan,
Riverside Park
connecting the residential and office wings and creating a space for interaction between residents, workers and visitors. The building sits at the end of the Keel Line which runs from Keel Square to the river.
lower level/ River Wear
residential quarter
office
upper level/ Keel Square
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programmatic analysis Key programmatic spaces began as a large, flexible events space, for temporary events such as markets, concerts, rollerskating and film festivals; two smaller spaces accommodating regular community activities, a large foyer and a brewery/ bar. With ideas of legacy in mind, the interior spaces were designed with maximum flexibility to allow for intense use during and after 2021.
planning of key spaces: brewery/ bar
All key spaces receive southern light
Views of the river from circulation but not key spaces
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Minimal disruption to footpath
Lower levels have no real function except as a route
Bar/ brewery on the upper level to improve access
Views from all key spaces
Lower bar/ brewery does not receive south light but attracts visitors to Riverside Park
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Mapping technical requirements and spatial connections
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initial massing Reception
2
Foyer
1 Main events space
G Multi-use community space
-1 -2
Microbrewery
LG Bar/ cafe
Retail
events space
meeting
multi-use space
WCs
Shop
Views Visual link Circulation
Office Gallery
foyer t retail
den indepen
growing space
Meeting room shop gallery
Plant room
open office wery
obre
micr bar/
cafe
om
plant ro
WCs
Growing space
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s the brewing process
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Initial research into the brewing process, with particular focus on vertical, gravity-driven schemes.
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energy and environmental feasibility analysis As a new landmark for Sunderland and integrated within the Vaux masterplan (in which Building 1 achieved an excellent BREEAM rating), sustainability and energy efficiency are crucial to the success of the design. Funded through the City of Culture fund, a carbon-neutral building would be an example of Sunderland’s values, promoting it as a modern, forward-thinking city. The site has an abundance of opportunities for renewable energy generation which would be designed to generate enough renewable energy to offset the energy usage of the building and brewing process.
Possibilities for energy conservation Air-tight Solar shading in summer
Deciduous trees let in winter sun
Stack effect Highly insulated roof
Cross ventilation
Built-in power and data cabling
North facing lower, argon-filled triple glazing
South-facing double-skin facade Landscaping to block prevailing wind Pre-heating/cooling air using the ground
Operable windows Chilled beam with displacement ventilation Laminar flow ventilation in the microbrewery
Well insulated walls built into cliff face
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Energy delivery analysis Mixture of solar thermal and photovoltaic panels
Air to air heat recovery
South tilted roof
Grid balanced supply and demand
Heat recovery from filtration process
Connection to water mains Treated brewery waste water can be used for flushing toilets
Tidal stream turbine
Ground source heat pump (in Riverside Park)
Although the brewing process has a reputation for producing large amounts of waste, useful applications for these products could be viable and incorporated into the building to help the community.
Waste products of brewing and their potential useful applications:
Spent grains - used to make bread, granola bars, dog treats
200 litres of waste water per litre of brewed beer - recycled or used to make energy (microbes eat organic material and produce a small amount of water)
Dregs - (mostly yeast) used to make Marmite Alternatively, the beer could be brewed from filtered grey water from the building and the surrounding area.
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thinking through making During Thinking through Making week, we took a different approach to design by making a detail model between 1:1 and 1:10 in scale reflecting themes explored in design. I produced a 1:10 model showing how some of the main concepts behind my design interact. Visitors would be able to view the cliff-face and the process of brewing from the vertical circulation, emphasising the dramatic change in level. The brewing process would be connected to the handrail, enabling users to really ‘get a feel’ for the process.
I decided to cast the staircase to provide a further contrast between the roughness of the natural cliff-face and the metallic brewing process. Whilst other parts of the building are more flexible, the plaster represents the solidity of the vertical circulation as a permanent part of the design in providing a connection between the upper and lower levels of the site.
Plaster-casting
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ttm
Final 1:10 detail model
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realisation During the realisation phase, we developed our initial concepts, research and site analysis into fully realised design proposals.
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Concept sketch summarising the design intent behind the building
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development: form Knowing I wanted my building to span the upper and lower levels of the cliff, Atelie Wals beer factory became an influential precedent in the development of my form.
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During staging, the section of my building resembled ‘stacked boxes’, lacking interest and the boldness that I felt a modern landmark required. Taking inspiration from the Brazilian brewery centre, I incorporated a ‘sculptural ribbon’ into my section to resemble the building as a route.
In further iterations, the ribbon created a separation between more public and private circulation. I also decided to move the brewing process from the cliff-face in order to display the process outwards, rather than hiding it in the centre of the building.
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Sectional iteration: brewing process exhibited on the north facade.
1:500 development models
‘A moving drawing’ - small paper ‘beads’ can be moved through the building emphasising the circulation route.
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development: form Although the sculptural ribbon added interest, the form did not seem specific enough to Sunderland considering the building’s purpose as a community centre. During research into the site and Sunderland’s industrial heritage, it seemed natural that the building should conceptually represent the form of a ship. The site is close to former ship building yards and the upper ground entrance sits at the end of the Keel Line - a strip of paving listing over 8,100 ships launched on the Wear. The upper events space resembles a ship so when viewed from the upper level, the building would look as though it is ‘floating’ on the Wear. The lower levels are more industrial in atmosphere and materiality, contrasting with the main community spaces and referencing the Lambton Drops.
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Precedents of forms resembling a ship: The Deep, Hull The Eye, Amsterdam
Sketches showing development in the form of the community events space.
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development: orientation on site
I used 1:500 sketch models to explore variations of the building mass on site. The building had been designed to be perpendicular to the cliff but when placed on a site model, it seemed logical to place the building in a nook in the cliff. This reduced the impact of the intervention on the lower level and allowed the continued use of the footpath.
initial positioning
unviable due to the location of masterplan buildings
entrance is at the end of the Keel Line 1:500 model investigating the relationship between circulation and the cliff-face
brewing process can be seen from the metro bridge
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1:500 concept model
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development: section The section developed from one large ‘ship’ form to two smaller events pods. This made the two rooms read as separate spaces and within the same language as the smaller, gallery pod. The two forms also made the ‘ship’ look less literal, making it a more conceptual representation which is stronger at certain languages. This adds interest to circulating around the building and feeds into the studio themes of change. In addition, splitting the pod into two reduced the impression of bulk which may have been overwhelming at the upper level. Final sectional iterations involved reducing the gallery pod to one floor instead of two, introducing the opportunity for an outdoor terrace on level -2.
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development: pod A challenge in the final stages of the design process was the elevational form of the smaller ‘gallery’ pod. To rationalise it, iterations were made using angles from the two upper events pods. The final form came from merging the two upper pods and then slightly changing the angles to be parallel with those above.
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The structure of the gallery ‘pod’ is used in creating the experience of the bar.
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3D View 1 97
accessibility study As a community centre, it is integral that the building is completely accessible to all members of the public. Consideration towards this can be seen in a detailed study of the upper ground floor.
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r structural strategy
Te r t i ar y s t r uc t ure : t i m be r c l addi ng
Tertia ry stru ctu re: ro o fin g
Primary s t r u c t u re : c o n c re t e columns
L a tera l sta b ility a ch ieved th ro u g h cro ss b ra cin g a n d steel co res
Pr i m ar y s t r uc t ure : l oad-be ar i ng c onc re t e w al l s
P r i m a r y s t r u c t u re : steel frame
S eco n d a ry stru ctu re: co n crete co mp o site flo o rin g
Te r t i ar y s t r uc t ure : m ul l i ons and t r ans om s f or c ur t ai n w al l i ng
S e c o n d a r y s t r u c t u re : secondary beams
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sustainable brewing Energy systems in place to offset the energy consumption of the brewing process include solar panels on the roof, a micro-tidal turbine in the river, a ground source heat pump in the riverside park and the extraction of heat and water from the brewing process to be used around the building - e.g to heat the restaurant. Waste products from the process will be manufactured into products including soap, granola bars and dog treats and would be available for visitors to purchase in the brewery shop.
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photovoltaic solar panels
H VA C u n i t w i t h air to air heat exchange
s outh l ight
e l e c t ri c a l mai ns an d w ater de l i v e ry
h ea t reco very fro m th e b rewin g p ro cess - re-u sed in b rewin g a n d to h ea t th e p u b lic a rea s o f th e b u ild in g e.g . resta u ra n t
h o t a i r f ro m t h e b re wi n g p ro c e s s u s e d t o p re v e n t condensation on the glass close to the cliff-face
a n a e ro b i c d i g e stio n o f b re wi n g w a s t e wa t e r p rod u c e s me t h a n e - r i c h b i o g a s wh i c h c a n b e s e n t t o g e n e ra t o r s t o p ro v i d e heat and electricity
tid a l strea m tu rb in e in th e River Wea r
P L A NT ROOM service riser and lift shaft w ast e w a t e r f ro m the bre w in g p rocess can b e t re a t e d and used f o r f l u s hing toilets e t c .
electrical e n e rg y s t o re f o r surplus re n e w a b l e e n e rg y
g ro u n d s o u rce h ea t p um p u tilisi ng th e la rg e o pen sp a ce i n Riversid e P a rk
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refinement The last phase of the year involved iterating our designs into final proposals and representing them through a range of drawings and techniques.
east facade
west facade
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The facade panels on the multi-purpose events space open on the west facade, allowing views and lighting to be specific to the event taking place.
Entrance from Riverside Park
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Upper ground entrance, resembling a ‘floating ship’
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Roof-plan, showing location of solar panels
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View of the building from across the River Wear
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1:200 perspective section To show the interior of all spaces, the drawing is not a true section, but an elevation with the north facade of the top two events spaces and basement cut through.
‘Community pods’ are clad in timber, creating a more embracing and warm vibe to the more metallic, high-tech brewing spaces.
The north facade is heavily glazed, allowing the process to be seen across the river and from the bridges, emphasising the building as an attraction and celebrating the history of brewing in Sunderland. The process would be lit at night as an art installation.
The brewing process runs vertically down the building, reflecting the verticality of the site and allowing people to see the process of brewing as they make their way around the building.
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+1: events floor (1:200) 1 multi-purpose events space 2 temporary stage 3 storage 4 external fire escape 5 storage 6 accessible, gender neutral WCs 7 auditorium
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The events venue is on a split level between the foyer and auditorium and would host events including beer festivals, intimate music concerts, dance and theatre shows during 2021 and more regular community activities afterwards, including book clubs, parent and baby groups and yoga classes.
The auditorium hosts lectures and film festivals throughout the City of Culture year which would continue afterwards as a legacy of the year.
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upper ground: (1:200) 8 entrance fom city centre 9 reception 10 passenger lifta 11 restaurant 12 storage 13 kitchen 14 cafe 15 hot liquor tanks 16 accessible, gender neutral WCs
The upper ground floor level has a foyer, cafe and restaurant with views out onto the river, stadium and bridges. The cafe sits around a void where the brewing process begins, allowing visitors to see the production of beer at different levels and people circulating up and down the building while they drink their coffee.
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-1: (1:200) 17 permanent gallery 18 brewery shop 19 storage 20 co-working space 21 grist hopper mash tun lauter tun
The community spaces on this level include a gallery which would host temporary exhibitions during the City of Culture and more permanent exhibitions on Sunderland’s industrial heritage/ the evolution of brewing after 2021.
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The open plan shop sells waste products of the brewing process including soap, granola bars and dog treats as well as novelty beer bottles, and Sunderland merchandise.
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-2: temporary (1:200) 22 outdoor terrace 23 temporary space, e.g sushi bar 24 kettle whirlpool heat exchanger
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This level is designed to consistently change to keep the building exciting for residents and frequent visitors to Sunderland. It could provide extra gallery space, house art installations, games or different food stalls - as seen in plan. The voids continue allowing the addition of hops to be experienced in sight and aroma from the different half levels of the stairs.
The floor can be described in Tschumi’s words as an ‘event structure’ - a ‘loose container in which the function of the architecture [is] to act as a catalyst for events’.
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-3: bar (1:200) 25 bar 26 fermenting tuns 27 entrance from Riverside Park 28 passenger lift 29 kitchen
The bar sits beneath the structure of the community pod and is where people can interact with the final product of the brewing process.
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The lower ground level can be accessed by lift or via grand entrance steps towards Riverside Park, allowing the extension of community activities outside of the building.
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lower ground: (1:200) 30 entrance 31 reception + waiting area 32 office 33 meeting room 34 packaging station 35 bottling, capping and labelling station 36 brewing lift with operable window 37 protected fire escape
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The lower ground level houses admin for the brewery and would be the location for brewing tours and workshops. The floor has a small scale bottling, capping and labelling operation which can be viewed through a void from the two floors above. The transportation of barrels from the basement can also be viewed from the half levels and when walking past the building. A large window on the north facade can act as door, allowing for the transportation and distribution No. of finished products as well as the collection of waste products to be taken to be manufactured into goods.
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2 3 1: roof construction 25mm larch planking on battens 1.5mm neoprene sealing layer 300mm sheep wool insulation 175mm deep steel I beam
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2: glass curtain wall 7mm low-E, argon-filled triple glazing steel transom and mullion 305x305x97mm universal steel column
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3: glass ceiling 4: intermediate composite floor 10mm floor finish 160mm raised floor void, with space for services 150mm concrete composite floor 406x140x46mm steel universal beam 5mm steel rod to support lighting fixtures
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5: timber clad wall
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20mm interior vertical timber cladding 50x50mm counter battens 305x305x97 universal steel column 35/180/1.25mm trapezoidal section sheet steel 2mm vapour barrier 100mm sheep wool thermal insulation 50x50mm counter battens 25mm larch boarding 8
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The large floor to ceiling heights and over-engineered floors allow for flexibility ensuring the building can adapt to the community needs in the future.
6: glass floor 25mm toughened safety glass 7: timber clad floor 25mm larch boarding on timber supporting structure 100mm mineral wool insulation damp proof membrane universal steel I beam with thermal break 150mm concrete composite floor 360mm raised floor void with space for services 10mm floor finish
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8: concrete to steel column 305x305mm universal steel I column steel stiffener steel base plate with anchorage bars in-situ reinforced concrete floor 400x400mm reinforced concrete column
*originally drawn at 1:20 Drawn at an earlier stage in the design process, the community pod in this detail still has two floors. The detailing for one floor would be identical - without the intermediate floor.
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90mm wire mesh reinforced screed 100mm thermal insulation reinforced concrete structural floor capillary break reinforced concrete slab reinforced concrete pile cap
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Interior render of cafe
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interaction: brewing The brewing process has been designed and located to maximise interaction with the community - allowing people to understand the process of brewing as they make their way through and around the building. Visitors have the opportunity of a multi-sensory interactive experience, being able to see, hear, smell and taste the process. Brewery workshops and tours take place at regular intervals, offering a more in-depth explanation of the process.
Brewing equipment Addition of hops
Addition of hops to the kettle
Beer
Verbal explanation of the process during brewery tours and workshops
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Voids showing the process of brewing on different levels 130
the brewing process:
hot liquor tank water preheated for mashing
grist hopper grain crushed to extract sugars (=grist) mash tun (+ hot water) grist broken down into sugars lauter tun grain husk + sweet liquid (wort)separated purchase bottled beer and waste products sold in the brewing shop kettle wort heated (+ hops added for flavour/ aroma) whirlpool solid particles removed heat exchanger wort cooled and energy recovered
fermentation tuns (+ yeast) sugars fermented into alcohol consumption beer consumed in the bar
bottling small scale bottling, capping and labelling of beer for sale in the brewery shop distribution waste collected and made into useful products e.g. soap, dog treats
conditioning flavour development and natural carbonation
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1:200 concept model showing inhabitation around the brewing process
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beer bottle design
Branding for vaux + pale ale and lager
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Novelty bottles for sale in the brewery shop
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change/ flexibility: day/ night
Programmatic flexibility from day to night
Night render: upper ground entrance
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Night render: highlighting the brewing process
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list of figures 1 https://www.tes.com/teaching-resource/label-the-uk-and-outlinemaps-11054605 2 https://earth.google.com/web/ 3 https://www.readytogo.net/smb/threads/shipbuilding-on-thewear.792611/ 4 https://www.flickr.com/photos/twm_news/19693845050 5 https://www.flickr.com/photos/beamishmuseum/4898354879 6 http://www.thenorthernecho.co.uk/business/15829334.Carillion__ Work_halted_on_Sunderland_Vaux_Breweries_development/ 7 http://www.thenorthernecho.co.uk/business/15829334.Carillion__ Work_halted_on_Sunderland_Vaux_Breweries_development/ 8 http://urbed.coop/projects/vaux-brewery-sunderland 9 http://urbed.coop/projects/vaux-brewery-sunderland 10 http://www.zerodegrees.co.uk/brewery/ 11 https://www.archdaily.com/882187/atelie-wals-gustavo-pennaarquiteto-e-associados 12 http://www.searlecanada.org/sunderland/sunderland151.html
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tectonic integration
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01 part one: case study
ARC3001 TECTONIC INTEGRATION PART 1
1
CASE STUDY REPORT:
PATHE CINEMA SCHOUWENBURGPLEIN
KIRAN BASI
o ther gr o up me mbe rs :
POLINA MOROVA FREYA EMERSON HARRY TINDALE AZELIA YUE
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overview
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A: OVERVIEW 2
Pathe Cinema – by Koen van Velsen Architects (1992-1996)
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Schouwburgplein – by landscape architects, West 8 (1990-1997) The Pathe cinema is a purpose built 7-screen multiplex, located in the city centre of Rotterdam. The building sits above an existing two-storey parking garage on Schouwburgplein, Rotterdam’s ‘theatre square’, an interactive public space designed to act as the ‘city’s stage’ to accommodate events and installations. The building was opened on 27th March 1996 and is one of the venues for the annual Rotterdam Film Festival. The auditoria capacity across the 7 screens ranges from 200 to 762 seats.
940,000 people visit per year
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Showing 325 movies per year
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Aerial view of central Rotterdam
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A: OVERVIEW
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Cross section (N-S)
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Interior photographs of the foyer
Cross section (E-W)
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design intent and experience
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B: DESIGN INTENT AND EXPERIENCE Freya Emerson The Architects, Koen Van Velsen, intention was to create a multiplex cinema in a central location, such as the Schouwburgplein, in Rotterdam. The hope was to create a meaning for the city, making the concept of going out festive and enjoyable. Three of the large cinemas are lifted above the foyer by means of columns in order to present a continuation of the Schouwburgplein into the foyer. The seven cinemas, three above and four below can be reached from the foyer, the heart of the building and an extension of the square. It is also the start of all routes to the cinema, providing a spatial experience with views to the halls and all over the city.
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The foyer as an extension to the square
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01 site appraisal A R C 3 0 0 1 : Tectonic Integration Part 1
Case study report: P A T H E C I N E M A S C H O U W B U R G P L E I N
Kiran Basi
C: SITE APPRAISAL Azelia Yue
Background of site: Schouwburgplein is located in the post-war centre of Rotterdam, minutes from Europe’s largest port. The site was formally a dead urban space with both the Pathe Cinema and the Theatre Square built under a reconstruction programme for the area. The square is built upon an existing two-storey parking garage. Access to site: As the site is a large open space, it is accessible in any direction. The Pathe cinema is accessed through two entrances, located on the north and south of the building.
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Building and site relationship: The Schouwburgplein Theatre Square is surrounded by the Concert Centre De Doelen (music hall) and the City Theatre Rotterdam. With the addition of the cinema, such arrangement has allowed the site to provide a strong cultural sense of theatrical environment, which is reinforced by the site being raised 35cm above street level. The new “city’s stage” was created for festivals and installations, framed by the city skyline and an “audience” of inhabitants. This space is flexible and changes throughout the day and with the seasons. Landscape architects, West 8, took particular consideration to the site context when designing the square. The materiality of the site, including hard landscaping in linear bands of wood, perforated steel panels and epoxy resin coated concrete, reflect traditional Dutch field patterns. In addition, the street furniture and the quartet of hydraulic lighting masts on the east of the square are inspired by the cranes on the docks of Rotterdam.
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D: ATMOSPHERE AND MATERIALITY Freya Emerson Exterior The main design and material feature of the cinema is its corrugated plastic cladding. This material has diverse effects of the internal quality and external quality of the building from day to night. During the daytime, on the outside the plastic covering appears bland and non-descript with the dirt and grime from time and wear. Yet on the inside the plastic portrays glowing light. However, at night the atmosphere and material effect of the plastic is completely changed as it is illuminated by the internal lights and glows like a beacon in the square. The plastic, windowless façade also functions as a giant billboard with film posters and advertising brands hung along this façade creating a commercial frontage and enticing the public to what the cinema has to offer. The other external materials of the building coincide with the internal materials. Glass connected to a steel frame covers large sections of the ground floor perimeter and steel grating can be noticed in the floor outside as method of ventilation for the car park below. The atmosphere of the square itself presents itself as a form of relief from the dense surrounding infrastructure. The square has recently undergone refurbishment and includes astro-turf with printed games for the public to interact with.
The facade is covered with posters and advertisement banners
The facades create a glowing effect from the lights inside the cinema
Spotlight cranes are interactive and moved by the public
The cinema is a form of open relief from the density of the surrounding infrastructure
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Transparency of the facade allows for a dynamic transition from day to night, especially appropriate when considering it’s context on ‘theatre square’.
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D: ATMOSPHERE AND MATERIALITY Freya Emerson
Interior atmosphere 14 Translucent exterior brings in light but loses the connection to the exterior
Suspended ceilings create dynamic views
Interior of an auditorium
Poor disabled access with some theatres being accessed by stair only
The key moments of experience and atmosphere within the building are within the foyer, as this is the main public realm between the cinemas. The suspended cinemas above create varying ceiling heights which create dramatic moments and views of triple height spaces which are immediately contrasted with lower height, slightly darker spaces. The line of the suspended ceiling almost frames the view of the open space beyond. The aim of the design was to evoke the feeling of the square outside within the foyer. The motif of the steel columns which both appear externally and internally as well as the open plan layout help to reproduce the feeling of exploring the square. The reflective floor creates shadows and atmosphere as well as resembling the paving of a square.
Large columns create a majestic quality to the internal space
The reflective floor creates shadows and atmospheres 15
The foyer feels like a public square, despite being closed off
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D: ATMOSPHERE AND MATERIALITY Freya Emerson
Materiality
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The corrugated plastic façade lets through a vast amount of light into the internal foyer space. However, although this material choice is dramatic in its lighting effects, it loses all connection to the outdoors, which diminished the desired effect of the foyer space feeling like an extension of the square outdoors. There is a prominent use of glass within the interior. All the stairs and mezzanine floors are bordered by double glazed glass hand-rails to continue the ‘open square’ aspect of the foyer. The reflective metal floor as well the internal steel columns follow the general interior colour pallet of white, grey and silver. The reflective quality of the metal floor also creates the illusion of greater space. The steel rising from the metal floor creates a material relationship between the horizontal and vertical space. The corrugated metal plastic follows a grid format which is repeated in ground floor facade as well as the metal floor tiles in the foyer. This geometric motif is accentuated in the pattern of linear squares that run along the section of each floor level.
Rainwater remains in concave element of the facade
Sunlight evaporates the water, leaving a grey residue
The choice of horizontal rather than vertical cladding enables water and dust to remain in the concave elements, leaving a residue when the water evaporates. Clean cladding on completion of the building
This makes the façade look ‘dirty’, increasing maintenance costs due to frequent cleaning and reducing the solar gain to interior spaces.
Kiran Basi
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Case study report: P A T H E C I N E M A S C H O U W B U R G P L E I N
Kiran Basi
E: STRUCTURAL STRATEGY Harry Tindale The building is comprised of a two layered car parks below ground; followed by a series of heavy steel columns (Steel profiles of 150x100mm, 3mm thick) which support the weight of the cinemas. Steel was selected due to its ability of taking loads on a minimal footprint. The large auditorium on the front is lifted by these columns, creating the effect of the square naturally flowing into the foyer and trying to reduce the impression of a bulky building. Additional, horizontal steel purlins are deployed to help counter wind forces. The foyer located on the first floor leads visitors to either the three cinemas below or the four on the upper floors. The internal space is probably the most striking aspect of the building but is hidden from the exterior by two layers of polycarbonate cladding. The theatres are fully separated from the facades to allow for sound insulation, as shown by the separate diagram top left. These theatres are made up of a lightweight steel structure to reduce the load on the underground car park and improve the ventilation and lighting within the cinema spaces.
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E: STRUCTURAL STRATEGY
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The construction consists of two sets of beams and columns. A grid structure of concrete columns is dedicated to carry the weight of the cinema halls.
The facade is a thin skin wrapped around the foyer and circulation spaces. The corrugated sheets do not perfectly follow the shape of the building, resulting in gaps and openings.
Polina Morova
The Pathe cinema design shares many characteristics with the Pathe arena in the south east of Amsterdam, a large cube with extensive perforated stainless steel panel cladding and glass that wraps around the faรงade. Although the Schouburgplein has a polycarbonate facade, they offer similar effects of allowing light through and creating a glowing effect.
Harry Tindale
The main structural difference of the two buildings is that the steel construction of the main auditorium in Amsterdam has enabled a structure without pillars, creating a more dynamic and flowing feel to the foyer underneath. Similarly, to the Pathe of Rotterdam it has an underground car park that has allowed the Amsterdam cinema to be made up of 80% concrete. An office floor is suspended on the top level allowing the pillars in the light court of this part to act as points of suspension for the main auditorium. On reflection, the Amsterdam cinema has used the structure to benefit the users for a specific purpose of creating a lively eventful foyer, where as the Rotterdam cinema was less fluid.
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Case study report: P A T H E C I N E M A S C H O U W B U R G P L E I N
Kiran Basi
E: ENERGY AND ENVIRONMENTAL STRATEGIES
Kiran Basi
The cinema is split into different zones, with movie theatres separated from the facades to allow for acoustic separation and environmental efficiency. However, whilst the theatres are well insulated and carefully designed to achieve a high level of thermal comfort, climatic issues arise within the foyer and circulation spaces. Although the form of the Pathe gives it a high volume to surface area ratio, aimed at minimising heat loss and gain, the cladding system has no insulation and acts as a cold bridge. This leads to externally generated heat being lost quickly in winter and overheating in summer, increasing the respective heating and cooling demands.
High volume to surface area ratio Separation of the movie theatres from the facade and circulation areas
Winter
Summer
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Heat Loss
Heating
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Heating
Mechanical ventilation
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Heat gain Heat loss
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Heating demand Cold bridging
Entrance
Heat flows through the facade show the effect of the lack of insulation.
Entrance
Diagram illustrating the seasonal heating and cooling demands and energy flows.
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E: ENERGY AND ENVIRONMENTAL STRATEGIES Kiran Basi
The orientation of the entrances accentuates this problem, with the prevailing wind being driven into the foyer. In contrast, the seasonal trend in occupation works in favour of the environmental strategy, with more visitors in winter generating heat when it is most needed.
Southern prevailing wind and orientation of entrances increase climatic issues
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The faรงades of the building are clad with translucent, corrugated polycarbonate panels, allowing diffuse natural daylight into the interior spaces. While the cinema spaces do not need natural daylight, the lack of transparent glazing results in dark areas in parts of the foyer and creates reliance on artificial lighting.
Seasonal trends in the number of visitors match heating demand
Office windows are too small to provide sufficient sunlight or ventilation
Interior cinema spaces do not require natural lighting, justifying the lack of windows.
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E: ENERGY AND ENVIRONMENTAL STRATEGIES Kiran Basi
Due to the lack of consideration in climatic control, the building also relies heavily on artificial heating and mechanical ventilation, with staff reporting constant maintenance due to their heavy usage.
Exterior lighting
Ventilation towers in the square
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Three 15m high ventilation towers do, however, provide natural ventilation to the underground garages under the square. The building does not generate any renewable energy or utilise any energy recovery systems.
Artificial lighting
Convection heaters
Echo the nautical imagery of Rotterdam Subtle uplighting
Light-weight steel structures
Display municipal information and advertising while built-in LEDs display the time Ventilation shafts Main climate system
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Case study report: P A T H E C I N E M A S C H O U W B U R G P L E I N
Kiran Basi
G: KEY DETAILS/ MOMENTS Polina Morova
One of the key moments of the building is it’s complicated geometry. Instead of using the simple grid the architect approaches the design from an abstract perspective. The movie theatres are floating in origami-like volumes connected by multiple levels and stairs. The circulation system is a reminder of a live organism where all parts are very dynamic and constantly interact with each other. Even an office space that is not a part of the cinema, allows one to peak into the inside and outside of the building. The next significant aspect is, as already been mentioned, the contrast between the light, open square and more intimate and subtle interior of the building. Perspective views along the building journey add to the dynamics of the design. The following details illustrate a structural component of the facade in a greater depth. Although we have recognised the original intention of it, it is essential to highlight the lack of maintenance and thought being taken in terms of it’s environmental performance.
Ground floor office space
Theatre square is a fairly minimal but beautiful space that hosts large scale public events, such as markets, festive and fairs. The long benches on the side of the square provide people with the opportunity to just sit and watch what is happening on the platform. Electrical connections and mechanical anchoring points are embedded in the platform, which provide users with the ability to adjust lighting to their needs and have been used to illuminate the space in the desired way.
Variety of stair detailing adds interest
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Views from the foyer
Diffuse lighting through the facade creates an interesting ambiance in the foyer space
Perspective views at varying levels
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G: KEY DETAILS/ MOMENTS Polina Morova
Facade details
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G: KEY DETAILS/ MOMENTS Polina Morova
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Case study report: P A T H E C I N E M A S C H O U W B U R G P L E I N
Kiran Basi
REFERENCES + SCHEDULE OF CHANGES References Koen van Velsen architecten, Multiplex Bioscoop [n.d.] <http://www.koenvanvelsen.com/nl/ projects/274> [accessed 10 December 2017]
1-2, 4-7, 11-16
Koen van Velsen architecten, Film Festival [n.d.] <http://www.koenvanvelsen.com/nl/projects/extra> [accessed 10 December 2017]
3, 8-10, 21
van Dongen-Koschuch, Pathe-area multiplex cinema, Amsterdam Zuidoost [n.d.] <https://vd-k.eu/ megabioscoop-pathe-arena-amsterdam-zuidoost/> [accessed 3 January 2018] 17-18
Delft Seminars, DSBT‐51‐Pathe Schouwburgplein Facade, 2013 <https://www.youtube.com/watch?v=-ylHVw4mRN8> [accessed 12 December 2017]
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LiveMosaic Projected Building, [2005] <http://freshdeuce.org/livemosaic/illustrations/index.html> [accessed 11 January 2017]
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Schedule of changes Additional diagram: an aerial view of central Rotterdam, placing the building in it’s wider context.
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Additional images: photographs of the interior and section drawings.
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Additional text: information on the relationship of the building with surrounding buildings and the influence of Rotterdam and Dutch design on the landscaping of the square.
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Additional diagrams, images and text: a structural comparison of the Pathe Schouwburgplein and the Pathe Arena in Amsterdam.
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p a r t t w o : m a t e r i a l i t y, a t m o s p h e r e a n d e x p e r i e n c e
Community pods are clad in timber for itâ&#x20AC;&#x2122;s warm and embracing qualities
Metallic brewing process and extensive glazing makes the rest of the building more industrial in nature which links back to the Lambton Drops - vertical structures which were formerly on the site North glazing with a high u-value allows for plenty of light within the interior spaces, without concerns about overheating or extensive heat loss
Section emphasising materiality, user experience and atmosphere
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p h o t o vo l t a i c s o l a r p a n el s
HVA C unit with air to air heat exchange
so u t h light
electrical mains and water delivery
h e a t re c o v e r y fro m th e b re win g p ro c e s s - re - u s e d in b re win g a n d to h e a t th e p u b lic a re a s o f th e b u ild in g e .g . re s ta u r a n t
h o t a i r f ro m t h e b re w i n g p ro cess u s e d t o p reven t c o n d e n sa t i o n o n t h e g l a s s cl o se t o t h e c l i f f- f a ce
a n a e ro b i c d i g est i o n o f b rew i n g w a s t e w a t e r p rod u c e s m e t h a n e- ri ch b i o g a s w hi ch ca n b e s e n t t o g en era t o r s t o p ro vi d e h e a t a n d e l ect ri ci t y
tid a l s tre a m tu r b in e in th e R iv e r We a r
P LAN T ROOM service riser and lift shaft w a s t e w a t e r f ro m t h e b re w i n g p roc e s s c a n b e t re a t e d a n d u s e d f o r f l u s hing toilets etc.
electrical energy store for surplus renewable energy
ground source heat pump utilising the large open space in R iverside P ark
Section focusing on energy strategy
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Exposed steel structure
Timber clad â&#x20AC;&#x2DC;podâ&#x20AC;&#x2122;
Metal grating floor
Copper brewing elements
Industrial staircase
Copper finishes tables, lampshades
Wooden barrels
Glass balustrade
Concrete flooring
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1:50 detail showing the material difference between the timber pods and industrial main building
1: roof construction 25mm larch planking on battens 1.5mm neoprene sealing layer 300mm sheep wool insulation 175mm deep steel I beam 4 2: glass curtain wall 7mm low-E, argon-filled triple glazing steel transom and mullion 305x305x97mm universal steel column 5
3: glass ceiling 4: intermediate composite floor 10mm floor finish 160mm raised floor void, with space for services 150mm concrete composite floor 406x140x46mm steel universal beam 5mm steel rod to support lighting fixtures 6
5: timber clad wall 20mm interior vertical timber cladding 50x50mm counter battens 305x305x97 universal steel column 35/180/1.25mm trapezoidal section sheet steel 2mm vapour barrier 100mm sheep wool thermal insulation 50x50mm counter battens 25mm larch boarding
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8: concrete to steel column 305x305mm universal steel I column steel stiffener steel base plate with anchorage bars in-situ reinforced concrete floor 400x400mm reinforced concrete column 9: basement floor 90mm wire mesh reinforced screed 100mm thermal insulation reinforced concrete structural floor capillary break reinforced concrete slab reinforced concrete pile cap
10: basement retaining wall granular back fill with 4â&#x20AC;? perforated drainage pipe 100mm sheep wool insulation vapour layer concrete structural wall 2mm wall finish 11: concrete pile foundation
6: glass floor 8
25mm toughened safety glass 7: timber clad floor
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25mm larch boarding on timber supporting structure 100mm mineral wool insulation damp proof membrane universal steel I beam with thermal break 150mm concrete composite floor 360mm raised floor void with space for services 10mm floor finish
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thank you
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