JUNYI BAI 140157297
P1 PHOTO, SPACE AND TIME
CONTENTS Project Over View And Discription Scarborough History Site Analysis, Site Location, Site Photos, Site Section Scarborough Attractions Scarborough As A Photography Resort Site Plan 1:1000 Sounding And Accessibility
View Angle Change That Address Attraction Ramp Gallery Concept And Precedents Scarborough City Patterns And Characterist Gap Between Boxes Concept And Precedents Photography History Device Concept Precedent: Rainbow Panorama A Viewing Device:photographic Filter Programme For Visitors And Artists Programme Venue And Schedule Exhibitions Suitable For The Transparent Gallery Site Analysis And Strategies Design Process Landscape Strategies Glass Fin As A Characteristic Of The Facade
Ground Floor Plan First Floor Plan Second Floor Plan Construction Process Materiality Choices That Different From Surrounding Exterior Renderings Interior Renderings
Section Perspective Elevations Environmental Strategies 3d Detail Sections Study Assembly Drawings
Project Overview And Discription Site location: Scarborough, UK Type: Gallery Date: SEP2016-NOV2016 Tutor: Russell D Light The brief is to design a photography center in scarborough which is a tourist attraction near the sea in mid-yorkshire. After study the city patterns and the photography history in scarborough, the desigh is aimed to create a spatially continuous gallery space in the middle as a landmark and along with a lively community square. Other functioning spaces seperated in boxes that close to each other to remind people of the typology of scarborough street. The gallery space will be pure and simple, so the exhibitions and the bird eye view to the city will be the main focus in the gallery. The gallery will hold exhibitions for new media relating the theme of space and time.
Scarborough History After Scarborough found in 966AD, map of the bay has been changed massively. But Scarborough has always been a seaside tourist destination. It is a perfect site for the built of contemporary photography center.
1850
966AD SCARBOROUGH WAS FOUND
The town was reportedly founded around 966 AD as Skarðaborg by Thorgils Skarthi
1890
1155 SCARBOROUGH STONE CASTLE
Scarborough recovered under King Henry II, who built an Angevin stone castle on the headland and granted the town charters in 1155 and 1163, permitting a market on the sands and establishing rule by burgesses.
1253 SCARBOROUGH FAIR
In the Middle Ages Scarborough Fair, permitted in a royal charter of 1253, held a six-week trading festival attracting merchants from all over Europe. Are you going to Scarborough Fair? —parsley, sage, rosemary and thyme....
1910
1626 SCARBOROUGH SPA
In 1626, Elizabeth Farrow discovered a stream of acidic water running from one of the cliffs to the south of the town.[9] This gave birth to Scarborough Spa, and Dr Wittie's book about the spa waters published in 1660 attracted a flood of visitors to the town.
1950
1845 SCARBOROUGH RAILWAY
Scarborough–York railway in 1845 increased the tide of visitors
2010
1862
1867
SCARBOROUGH STMARTIN CHURCH
SCARBOROUGH GRAND HOTEL
The town has a fine Anglican church, St Martin-on-the-Hill, built in 1862–63 as the parish church of South Cliff.
When the Grand Hotel was completed in 1867 it was one of the largest hotels in the world and one of the first giant purpose-built hotels in Europe.
Site Analysis, Site Location, Site Photos, Site Section
Attractions Of Scarborough
SCARBOROUGH CASTLE
SCARBOROUGH ST MARY’S CHURCH CASTLE GATE
SCARBOROUGH LUNA PARK
LIGHT HOUSE
SCARBOROUGH SPA
SCARBOROUGH GRAND HOTEL
SCARBOROUGH SPA WEDDING VENUE
SCARBOROUGH TRAIN STATION
There are many attractions in Scarborough and most of them are along the coastline facing south. Commercial areas are also at the south part. Housing areas are around the north part.
Scarborough As A Photography Resort Postcards and old photos record the prosperous time of Scarborough. During the summer, people from all over the country will come to the beach and spa to relax. And now, many people choose Scarborough to be the place where their wedding photos are taken. There are many local photography studio and Scarborough has a rich history of photo.
THERE ARE QUITE A FEW PHOTOGRAPHY STUDIO BASED IN SCARBOROUGH AND THEY TAKE A LOT OF WEDING SHOTS AND PORTRAIT SHOTS. IT IS GOOD TO LOOK AT THEIR WEBSITE TO SEE THE SHOTING ANGLES AND SCENARY CREATED.
Site Plan 1:1000
SCARBOROUGH SOUTH-EAST SITE PLAN 1:1500
Sounding And Accessibility The site is a little set back from the main street, but still visible both from the street and off the bay. A series of photos shows the hierarchy of the inner land to the bay. The use of building also show a relationship of distance to the bay.
Walking Down To The Sea
CITY CENTER SHOPPING STREET
HOUSING NEIGHBOURHOOD
STAIRS ON SITE
FACING THE SANDSIDE ROAD
GAMING STORES ON SANDSIDE
SHIPS PARK ALONGSIDE THE BAY
FISHING SHIP SAILING
THE LIGHT HOUSE
Looking At The Site From Different Directions
Surrounding Elements
View Angle Change That Address Attraction The site is not fully exposed to the main street which provide it with a feeling of mystry. people walking on the main street have a chance to peek in the facade. That is why I design a different shape and materiality to the center compares to the surrounding. The diagram shows as people walking closer, the image of facade will become more complete.
Render view
The architects opened up walls to improve internal flow, linked the brick buildings, and revealed new and existing works to sunlight, views, nature and ventilation. The exterior introduces a casual and nonprecious detailing defined as “layers of light� with materials such as timber and glass over masonry. The glass screen facade sits between two historic rigid buildings.
Ramp Gallery Concept And Precedent Normally gallery spaces are square rooms and there are division of different parts of viewing. The design focus on photography, time and space. A continuous viewing route will allow visitors to experience the exhibition in a larger scale. Also special exhibitions will arrange for this kind of transparent gallery only.
Guggenheim Museum As A Precedent the museum space—a spiral-ramped building topped by a large skylight. The main rotunda is the heart of the Guggenheim Museum. It functions almost like a town plaza. A quarter-mile of concrete ramps climb the outer walls. Visitors on the ramps not only view the art, but are also aware of people in other areas of the museum. On a busy day, you’ll see a continuous flow of people moving along these ramps, viewing the exhibitions. Wright conceived of the museum as an airy, open place where visitors would not have to retrace their steps, instead entering the building on the ground level, taking an elevator to the top, and descending gradually, enjoying the art on display until returning to the entrance.
Gap Between Boxes Concept And Precedents
The 21st Century Museum of Contemporary Art The variously proportioned rooms placed inside the circular building - the model based on a chain of islands or an urban space - signify the centers that generate values originating in the maldistribution of decentrism and polycentrism, and in remote regions. The scattered location of the galleries provide transparency with views from the periphery into the center and vistas through the entire depth of the building. The transparent corridors encourage "coexistence" in which individuals remain autonomous while sharing personal space with others.
THIRD-- EQUIPMENTS TO TAKE FOR A PERSONAL SHOT
FOURTH-- EQUIPMENTS NEEDED TO SET UP YOUR PHOTOGRAPHY STUDIO
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Canon EOS 5D Mark II Canon EF 16-35mm f/2.8L USM Ultra Wide Angle Zoom Lens Canon EF 85mm f/1.2L II USM Manfrotto 055 Carbon Fibre 4-Section Tripod Macbook Air 13� Canon batteries and chargers Compact flash cards (16GB/8GB) Buffalo MiniStation 1TB Thunderbolt / USB 3.0 Portable Hard Drive LED Flashlight
Giottos AA1920 Rocket Air Blaster Small (in black) Tether Cord 10ft Kingston Card Reader Fujifilm X100S Retrosuperfuture Sunglasses Lucas Papaw Junior Geared Head Pocket Wizard Plus IIIs
Photography History
1.Color background 2.Tabletop, Cubelite & Tent Shooting 3.Posing Equipment 4.Lighting Cases, Carts & Handtrucks 5.Light Meters & Accessories 6.Rail Systems & Accessories 7.Background 8.Flashes & On Camera Lights 9. Strobe Lighting 10. Continuous Lighting
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11.Lighting Consoles & Controllers 12.Lighting Power & Cables 13.Light Modifiers 14.Lighting umbrella 15.Bulbs & Lamps 16.accessaries 17.Lighting stands 18.Color filter 19.Camera monitor
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People use photos to record things from a long time ago, with development of technology, the techniques of photography are more mature and people love to show their photos to others. The photography center aims at questioning what's the next generation of photography. Is it still on paper? Is it still just of one moment? Photo should record the time and space as well and when we viewing it, it tells a story of the whole memory.
Programme For Visitors And Artists A wide range of programmes are included in the design. It is an ideal space for visitors and photo lovers to spend a day off attending a photography workshop, viewing some lasest exhibition, have a look at Scarborough's old photos and postcards and make some friends at the cafe.
CONTEMPORARY PHOTOGRAPHY CENTER regular display
scarborough photograph & postcard
temporary exhibition
visiting artists: Andy Haslam
new tech try out virtual reality
workshop|16oct 1600-1800
develop your own film in dark room
lecture series|17oct 1600-1700
history of scarborough photograph
PUBLIC
something to buy retro camera
SCARBOROUGH SANDSIDEcontemporary Photography center
ARTISTS Contact address: 6 quay street, scarborough, yo11 1pl,uk tel: 07442910400
A brochure is designed for the photography center
STUDIO
LECTURE
BATH
CAFE
SEMINAR WORKSHOP EXHIBITION KITCHEN
FIELD TRIP
GALLERY
LECTURE
MEETING
KITCHEN&DINNING EXHIBITION SHOP
TOILET
Programme Venue And Schedule VISITING The photography center is a flexible space and it provides a weide range of programmes. Both tourists who visit Scarborough or photo lovers who come to learn something in porpuse can find something interesting. The building opens to public for specific times but the community space( public stairs and ramp) is opened 24/7.
COLLECTIONS
SHOOTING COMMUNICATING
PRACTICING
VIEWING
LEARNING
PRACTICING
SHOOTING
COLLECTIONS
VISITING
COMMUNICATING
VIEWING
LEARNING
Ground Floor
First Floor
First Floor
Gallery Space
Ground Floor, First Floor
Gallery Space
Ground Floor
Workshop Space
Photography Studio
Archive
Viewing Platform
Cafe
Exhibition
Lecture Hall
8am-8pm
8am-8pm
10am-6pm
8am-6pm
9am-6pm
8am-6pm
10am-4pm
Varied
Varied
Quite
Quite
Loud
Quite
Quite
School Tour, Family Tour, Tourists
Photo Lovers
Photo Lovers, Tourists
Students, Photo Lovers
Take Photos Of Scarborough From A Higher Perspective
Exchange Experience And Knowledge, Make Friends
Exhibitions About Time And Space
Students And Photo Lovers
Practice Shooting Together With Different Themes Every Week
Professions, Photograghers
Professional Shooting, Taking Orders
Researchers, Students, Photo Lovers
A Wide Range Of Old Scarborough Photo And Postcard Collections
A Series Of Photography Knowledge Lecture.
Device Concept Precedent: Rainbow Panorama STUDIO OLAFUR ELIASSON Imagine Your rainbow panorama as an instrument that tunes you – its user – so that your body is transformed into a colour resonator. Enveloped in the rainbow environment, you produce afterimages in hues complementary to the colours in the glass panes around you. If you look at the city through red glass, your eyes develop a green afterimage. If you maintain a quick pace, the colours remain vibrant. But if you pause in one colour zone, the hue around you grows pale while the colours in your peripheral vision, where the walkway curves, intensify. Colour intensities depend on your speed. Think of Your rainbow panorama as an expectation machine. Even before entering ARoS and ascending to the work, you may look upon the city as if through coloured glass. Your expected gaze. What you know from the street then emerges from above as strangely real, in a continuous interplay of colour saturation and desaturation. Suspended between the city and the sky, this viewing platform insists on your sensory engagement. You feel the view. Perhaps your memory of the art collections below, through which you just made your way, infiltrates your experience.
A Viewing Device: Photographic Filter For viewing device I use photographic filter as an experiemental tool to feel about city in a different way. I found that different color filters provide different atmosphere to the surroundings. That's the one feature I want to apply to my design. Filters modify the images recorded. Sometimes they are used to make only subtle changes to images; other times the image would simply not be possible without them. In monochrome photography coloured filters affect the relative brightness of different colours; red lipstick may be rendered as anything from almost white to almost black with different filters. Others change the colour balance of images, so that photographs under incandescent lighting show colours as they are perceived, rather than with a reddish tinge. There are filters that distort the image in a desired way, diffusing an otherwise sharp image, adding a starry effect, etc. Linear and circular polarising filters reduce oblique reflections from non-metallic surfaces.
SHOWER CURTAINS
Oscar Muñoz
Having achieved international renown as an exceptional draughtsman, in the 1980s Muñoz gradually abandoned paper as a support and experimented with new techniques of drawing and printmaking, using unconventional materials and supports such as acrylic applied to damp plastic and charcoal dust on water. This group includes the series Cortinas de Baño [Shower Curtains] (1985-1986), Tiznados [Tainted] (1990), Narcisos secos [Dry Narcissi] (1994-1995) and Simulacros [Simulacra] (1999). In Cortinas de baño Muñoz experimented for the first time with an unconventional support, in this case an everyday plastic shower curtain, in order to construct an image from a photograph transferred onto a silkscreen mesh. In the printing process, executed with an airbrush through previously prepared silkscreen, the image was transferred onto an unstable surface, with the artist preventing the pigment from being totally fixed by sprinkling water on it.
ISOTOPES
Takami Nakamoto
The idea of "ISOTOPES" is to generate a dematerialised space. The catalyst of the project have been post Fukushima's atmosphere. This tragedy that collided within our memories and childhood has led us to think about the brittleness of reality. This point of no return reflects the brutality of this evolving world that surrounds us, replacing any individual's existence into fiction. "Isotopes" is an open space which can also be perceived as a prison. At first, the slow and hypnotizing moving lights attracts the visitor into the heart of it. Then, the rhythm and the intensity become continually more aggressive until it generates immaterial barriers: it's easy to get in but neigh impossible to get out. This echoes the way humans approach nuclear power. First seduced, then addicted by its comfortable energy, humans have become trapped in an unstable situation. The rhythm of the lights and the sounds bring back the connection between the Japanese and their awareness of radioactive omnipresence. Sometimes you can forget it, like the glow of a night light, but sometimes the conscience gains the upper hand, and fear comes back with loss of ground reference. Through the metamorphoses of its appearance, this installation leaves the visitor between what once existed and what didn't, drawing them into the spectrum of their own volatile emotions.
SHADOW HOUSE
Olafur Eliasson
Olafur Eliasson is currently on show for the sixth time at Tanya Bonakdar Gallery, through March 20, in a spectacular exhibition that extends the artist’s study of modes of perception, specifically concerning one’s experience of space and time. In this instance Eliasson’s particular fascination is the phenomena of light, movement and color and the relationship between them. It is, however, the viewers themselves that become the key initiator of the experiment – their body becomes the central figure of the work. The work Multiple shadow house (2010) is a simple structure, purpose-built in the main gallery, consisting of multicolored lamps in rows shining onto several large projection screens. When a body enters the space and begins to interact with this light installation beautiful and subtle overlaid visions of their shadow fan across the screens – as they move around forward and backward the image is thus altered and can be manipulated. In this way the project is a creative collaboration between the artist, viewer, space and technology. Essentially the artwork is redundant without the presence of the figure – no only to enjoy it – but to articulate it’s potential effects.
LAYER PHOTOGRAPHY Nobuhiro Nakanishi Japanese artist Nobuhiro Nakanishi presents works from his iconic Layer Drawing and his Stripe Drawing series, exploring the inspiring effects of nature and our perception of it. Nakanishi seeks to uncover a raw beauty within our everyday experience by creating sculptural works that capture and preserve fleeting moments from the natural world. He renders tangible the intangible and seeks to recreate the tactile sensations produced by our surroundings. Suspending these moments in time – a view of a sunrise or a walk through a misty forest – Nakanishi activates our sensory experiences of them: the feel of sunlight on skin, or the smell of mist among the trees. It is this process of reproducing temporality as a three dimensional object that highlights the provocative contradiction between these solid sculptural objects and the transitory moments they represent. In Light of the Sunrise 2, Nakanishi photographs a sunrise from a fixed point of view, rendering the delicate dance between the rays of the sun and the steady movement of clouds through a series of transparent pictorial surfaces. Viewers are presented with morning’s luminous sky, as clouds float slowly across the consecutive plates, an aftereffect of the images and their movements traced on film. The phenomenological experience at the heart of Nakanishi’s work reveals an interesting tension between the continuity of time and its gaps. The former emerges through the incremental changes of the continual play of light and clouds; and the latter becomes apparent when the work is viewed from the side, laying bare the materiality of the work in the space between the successive slides.
Exhibitions Suitable For The Transparent Gallery The contemporary photography gallery is not design as the traditional gallery, it is designed for special exhibition for the concept of time and space. Some exhibitions require natural light and longer viewing route. These are some of the exhibitions suitable for this transparent ramp gallery which also showing a concept of space and time.
Site Analysis And Strategies The local building volumn is quite fragmentary, left a lot of small bolts and alleys which only allow one people go through. This is the specific city pattern for Scarborough. The site is set back from the main road and quite enclosure. A spiral ramp is created to strengthen the enclosure feeling.
contour lines main road narrow alley enter directions wind from the sea
Design Process The idea is to create a pure gallery space near the sea. A ramp is designed to meet the need of longer viewing route. Other functions are burried in boxes that close to each other to create narrow gap. A central courtyard is created to have a sense of community and also enlarge the event space.
The gallery space ramped up to create a continuous route of viewing. Glass wall allows the natural light and visitors' interaction with the surrounding and other people. Higher floor level also provide an amazing view to the bay and people can see some of the attractions like the Grand Hotel and Scarborough Spa.
Different functions burry in different boxes with different volumns and levels of solidity. So visitors can tell from the outside that how things arranged. Also this form gives an iconic skyline. Gaps between the boxes are narrow to imitate the feeling of narrow alleyway. But the entrances are all facing the main corridor.
Gallery ramp rises from the ground to provide public space for the community. Circle shape has this centrality to gather people in the courtyard. It is a best place to hold event and relax. People in different spaces can interact with each others.
Landscape Strategies and Sequence The theme of water is applied to the landscape design. On the slope level, the waterfall is create to bring life the the courtyard. Water also surrounding the building, so the building looks like floating on the water. Four ramp leading the route comming from different direction, so the gallery space has a centrality to bring people around. The ramps can also be the venue of outdoor exhibitions.
spiral gallery
interative
outdoor showcase
heterogeneity
outdoor exhibition
volumn
water seating
materiality
waterfall
stairside waterfall
fountain
LANDSCAPE SEQUENCE THE CUBES CONTAIN DIFFERENT FUNCTIONS SUCH AS WORKSHOP SPACE AND PRINGTING ROOM FOR ARTISTS AND VISITORS. DIFFERENT VOLUMNS OF CUBES SHOW THE HOMOGENEITY AND EXTEND THE CITY PATTERN. THE GAP BETWEEN CUBES STIMULATES PEOPLE’S FEELING OF THE ALLEYS IN TOWN. THE USE OF MATERIAL IS DIFFERENT FROM THE SURROUNDING RED BRICK WHICH SHOWS HETEROGENEITY. DRAWING PEOPLE ATTENTION FROM THE MAIN ROAD.
multifuntion venue
Glass Fin Facade Design A creative resolution of structure is to put the glass fins at the outside act not only as a structure system but also provide decoration on the facade. Abstacted from the sea waves the transparent glass fins provide a lively and iconic facade to the neighbourhood. When people walking by, the angle changes and the glass fin will gradually reveal the interior. This provide an unexpected experience to the visitors.
theater
toilet
staff room
workshop
printing room
gallery
reception
GROUND FLOOR PLAN 1:200 1.entrance hall 2.gallery
3.lecture hall 4.central lightwell
5.resting area 6.photography workshop
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7. storage
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8.printing room
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9.office
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10.resting area 11.indoor cafe area
12.courtyard and fountain 13.outdoor cafe area sea view
1mm
10m
20m
14.bar
toilet
printing room
1:200
15. gallery tunnel for lighting installation
archive
meeting room
studio
gallery
First Floor Plan
16. gallery space
17. corridor links between gallery and photography studio 18. archive
19.corridor cafe space
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20. photography studio
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21. dark room
22. meeting room
1mm
10m
20m
23. side entrance to the gallery
gallery
reception
24. gallery reception
cafe
shop
Second Floor Plan 1:200
25. shops 29
26. cafe area
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27. lift to the first and ground floor
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28. ramp connect to the side walk
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1mm
10m
20m
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29. landscape waterfall
Construction Process
DETAILED ON SITE CONSTRUCTION SEQUENCE
Concstuction on site include reform the slope, finish the landscape, set steel frame, finish flooring and assemble glass. Steel frame system and insitu concrete structure are designed seperatly to match the form of the building to achieve better and cheaper construction.
1. Defined the site and reform the slope
2. Build the load bearing beam columns
3. Put in the primary steel frame
4. Construct the floor finishes
5. Construct the ground floor
6. Construct the central light well strcture
7. Construct the first floor
8. Instal the glass facade and glass box
9. Instal the outer glass fin
Materiality Choices That Different From Surrounding To address people's attention, the materiality of the building is aimed to different from the surrounding. The site is near the sea and surrounding are fishermen's house and fast food restaurant. They use mostly red bricks and white plaster. In order to create a pure exhibition space and a feeling of contemporary center, concrete, glass and steel frame are used as the main material.
Although the architecture itself is pure and simple, decorations and exhibitions can add more experience to the space. Similar to the Rainbow Panorama, colors can be added to the window to create different feeling when viewing Scarborough.
Materiality In Scarborough
red brick
Glass
Precast concrete
In-situ concrete
Curtain
Glass is the main material used in the design. Glass allows natural light and a more visible public space.
The walls of the boxes are precast in the factory and assemble on the site to save energy.
In-situ concrete mainly used at the ramp part where the structure are made on site.
Transluscent curtains are used to provide indirect lighting to the exhibition space.
grey tiles
yellow brick
white plaster
red tiles
Standing from the main road looking at the main facade. A car park is turning to a gallery and community space.
Looking from the west of the site. This is the view from the fishermen's house. A boring car park becomes a vivid landscape architecture.
Looking from the top of the slope, from a perspective of housing. A stairscase is leading down the slope. Also the smooth gallery will not block the view to the sea, also act as a landmark like the Grand Hotel.
Looking from East of site, the permenade now can lead to the back of the gallery. The sloping meadow and the waterfall landscape blend together.
Exterior Renderings 1
Several exterior renderings showing the gallery space and how it combines the other structure. Giving a sense of pure and flexible space.
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Renderings
Glass fins create shadows.
Standing at the central courtyard, people can have view interaction with those walking in the gallery. A fountain in the middle introduce the seaside atmosphere.
A view looking from the west of site.
A section cuts through right side of the boxes, ground floor lecture room and first floor archive. Showing the translucent trasition between interior and exterior.
Bird eye view looking at the glass fins and how the boxes emerge from the roof.
To put the design collage with the site photos give a sense of real atmosphere to understand the relationship between the design and the site.
Looking from the main entrance, the space under the ramp are use as outdoor cafe and resting space.
Looking at the main entrance.
Gallery space atmosphere, also have an interaction with people on the public staircase.
The rendering showing the atmosphere of the gap between the stairs and the back of the gallery.
Section Perspective Section perspective is cutting through the middle of the building, showing a relation of outdoor and indoor, also the connection between two volumns(box and gallery ramp). The envelope is transparent so people's sight can reach different parts.
Elevation 1:200
CHOICE OF LIGHTING CHOICE OF LIGHTING ARCHVE STORAGE Archive space wont be used all the time so CHOICE OF LIGHTING controlable lighting ARCHVE should beSTORAGE applied. Archive space wont be used all the time so controlable lighting should be applied.
Environment Strategies
20:00
16:00
20:00
ARCHVE STORAGE Archive space wont be used all the time so controlable lighting should be applied.
12:00
16:00
20:00
16:00
12:00
12:00
10:00
10:00
8:00
ARCHVE STORAGE Presecends from the library archive the ARCHVE lighting often place on theSTORAGE top shelf to Presecends from lighting the library archive the have an overall effect. ARCHVE STORAGE lighting often place the archive top shelf Presecends from theon library the to havelighting an overall lighting effect. often place on the top shelf to
V
The site isR VIEW
part of the to The site isground on a slop thebuilding functio part of the need view ground to have the be the pri the functions burie diagram need view, in thats different p be the primary nee diagram showing t different parts in el
VIEW RANGE
have an overall lighting effect.
The site is on a slope so my idea is to let part of the building lift up from the ground to have the best view. Most of the functions buried in the boxes won’t need view, in that case the gallery will be the primary need of the view. The diagram showing the view range of different parts in elevations.
PHOTO STUDIO PHOTO STUDIOfor All kinds of lighting equipments PHOTO STUDIO All kinds of lighting equipments for studio. photography will be used in the All kinds of lighting equipments for be usedumbrella in the studio. This photography include thewill lighting and photography be used in theand studio. This include will the lighting umbrella lighting stand. lighting stand. This include the lighting umbrella and lighting stand.
temperature(’c)
gallery MEETING ROOM
Meeting room is aMEETING place full of ROOM creativeness. The design ensure more natural Meeting room is aMEETING place fullROOM of creativelight is using in this area. Also, indirect ness. Theroom design lighting will be Meeting is using. aensure place more full of natural creative-
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photo shooting studio
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meeting room
22
toilets
22
entrance hall
light is using in this area.more Also,natural indirect ness. The design ensure lighting will be using. light is using in this area. Also, indirect lighting will be using.
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archive
18
lecture room
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GALLERY Gallery should allow people’s view focus on the objects that exhibited. In this case the spot GALLERY light should be used. A range of spot light choice are GALLERY Gallery should allow people’s view provided.
natural ventilation
gallery blinds
gallery photo shooting studio20
22
photo shooting studio meeting room
22
no
blinds
50*100 high window
yes
blinds
60*120
yes
NA
30*90
meeting toiletsroom yes NA
22door 250*200 glass NA 22
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100*200 16 glass door
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18 20
20
NA
yes no
NA NA
no yes
blinds blinds blinds
automatic blinds
art blinds
Sound insulation cotton
Sound insulation board
The main part that my design needs to The main part that my design needs to be sound proofing is lecture room, be sound proofing is lecture room, meeting room and photography studio. meeting room and photography studio. I’m using usingthe thesound soundinsulation insulationcotton cottoninin I’m the wall and hanging decorative acousthe wall and hanging decorative acoustic board to absorb sound. tic board to absorb sound.
automatic blinds automatic blinds wooden horizontal
art blinds
blinds transluscentart blinds
blinds
Invisible material
Mineral board
High density material
tranluscent curtains
Invisible material Invisible material
Mineral board Mineral board
High density material High density material
maintain perfect dark environment nice environment with nice view
0.5
0.3
nice environment with nice view NA
0.3
0.2
NA 0.3
NA
30*90 space NA well preserved 250*200 glass door
NA 0.2 might be cold during winter
could250*200 enjoy view on side wall glass door
be0.4 cold
yesbe cold during winter might yes
NA
yesno nature ventilation NA
no
no
no
no
NA
NA blinds
blinds
NA
NA
might
NA 100*200 glass door
100*200 glass door
NA
during winter
no nature ventilation
no nature ventilation
a space that connects all functions
refleting curtain
white curtains white curtains
transparent colored wooden horizontal curtain wooden horizontal
blinds blinds
a space that connects all functions well preserved space
0.3
well preserved space could enjoy view on side wall
0.2
could enjoy view on side wall
0.4
Movable partition Movable partition wallwall
0.2 0.3 0.2 0.4
The analysis showing the day light factors of the design using Ecotect. Day light won’t change much because the main material is glass unless the curtain is used.
TEMPERATURE PROFILE TEMPERATURE PROFILE
DAY LIGHT ANALYSIS DAY LIGHT ANALYSIS
The diagram is calculated using Ecotect,
showing the solar gains, speed, The diagram is calculated usingwind Ecotect, outside andgains, insidewind temperature. showing the solar speed, outside and inside temperature.day light factor
DFave =
The analysis showing the day light factors
calculation
0.68 * (3.0m * 15m) * 45 150m * (1-0.5) 2
1377 75
2
of the designthe using Ecotect. Day light The analysis showing day light factors won’tusing change muchDay because of the design Ecotect. light the main material is glass unless the curtain is used. won’t change much because the main material is glass unless the curtain is used.
(%)
(%)
Main structure of my design is glass, so DFave = 21.36 (%) glazing is important in terms of thermal comfort and exhibition needs. According to different function the choice of glazing will be different. But mainly the translucent curtain will be using around the gallery space. Some of the art blinds horizontal blinds blinds canhorizontal be used as a exhibition methord. For Main structure of design my design is glass, concrete box the translucent blinds will Main structure of my is glass, so so Reverbration time calculation be used to provide a indirect natural glazing is important in terms of thermal glazing is important in terms of thermal 0.16V light for the area. comfort and exhibition needs. Accord-
transluscent blinds transluscent blinds
0.2
DAY LIGHT ANALYSIS
DFave =
Movable partition wall
Plasterboard
NA
yesNA
Wooden sound-absorbing Decorative acoustic board Sound-absorbing coating Light partition plate Wooden sound-absorbing board Decorative acoustic board Sound-absorbing coating Light partition plate board
Light wall
NA
0.5
CHOICE GLAZING CHOICE OFOF GLAZING
Sound insulation cotton Sound insulation cotton
white curtains
CHOICE OF OFSOUND SOUNDABABCHOICE SORBINGMATERIAL MATERIAL SORBING
50*100 high window 60*120
multi-use, nice view, no stairs maintain perfect dark environment 0.4
60*120 NA a space that30*90 connects all functions
horizontal blinds
CHOICE OF SOUND ABSORBING MATERIAL
Sound insulation felt
NA
CHOICE OF GLAZING
Sound insulation cotton
Wooden sound-absorbing Decorative acoustic board Sound-absorbing coating Light partition plate board Sound insulation felt Sound insulation cotton Sound insulation board
0.3
60*6050*100 on glass wallwindow too bright high NA for exhibition
The diagram is calculated using Ecotect, showing the solar gains, wind speed, outside and inside temperature.
won’t be needed.
Sound insulation board
nice environment with nice view
reverberation time(s)
successes reverberation time(s) multi-use, nice view, no stairs 0.4
blinds NA
Diagram shows the acoustic waves between in lecture room. The Diagram showschairs the acoustic waves material choice of the chairs between chairs in lecture room. Theis largely effecting result. material choicethe of the chairs is largely effecting the result.
Sound insulation cotton
0.5
yes
ACOUSTIC WAVES ACOUSTIC WAVES
Sound insulation felt
blinds
maintain perfect dark environment
TEMPERATURE PROFILE
Diagram shows the acoustic waves between chairs in lecture room. The material choice of the chairs is largely effecting the result.
COMMON ROOM COMMON ROOM Interesting lighting will be used in the entrance hall andwill public as a in decoraInteresting lighting be used the entrance hall and a decoration. Because the public space as is coverd by tion. space is coverd by glassBecause box so inthe normal case the lighting glass in normal case the lighting won’tbox beso needed.
22 22
toilets entrance no NA hall entrance hall no archiveblinds archive lecture room
successes
window sizes(cm)
yes
ACOUSTIC WAVES
entrance hall and public as a decoration. Because the space is coverd by glass box so in normal case the lighting won’t be needed.
temperanatural means of blind window potential potential problems successessizes(cm) reverberation time(s)problems ture(’c) ventilation temperanatural of blind multi-use, window sizes(cm) potential 60*60 on glass wall too bright formeans exhibition nice view, no stairs 0.4 problems yes blinds 60*60 on glass wall too bright for exhibition ture(’c) 20 ventilation
means of blind
lecture room
focus on the objects that exhibited. Gallery should allow people’s view In this case theobjects spot light should be used. focus on the that exhibited. In A range of spot this case the spotlight lightchoice should are be used. provided. COMMON A range of spot light choiceROOM are Interesting lighting will be used in the provided.
The main part that my design needs to be sound proofing is lecture room, meeting room and photography studio. I’m using the sound insulation cotton in the wall and hanging decorative acoustic board to absorb sound.
10:00
(s)needs. Accordcomfort andRT= exhibition A ing to different function choice ing to different function0.16*（15m*10m*3m） the the choice of of glazing will be different. But mainly RT=different. glazing will be But mainly the the (s) 15m*10m*0.4+10m*3m*0.5+15m*3m*0.2 translucent curtain will using be using around translucent curtain will be around the gallery space. Some of the art blinds RT= 0.42 Some (s) the gallery space. of the art blinds be used a exhibition methord. cancan be used as aas exhibition methord. For For concrete translucent blinds concrete boxbox the the translucent blinds will will be used to provide a indirect natural be used to provide a indirect natural for the area. lightlight for the area.
day light factor calculati day light factor calculation
DFave = DFave = DFave =
0.68 * (3.0m * 15m) * 45 DF = 0.68ave * (3.0m *150m 15m) ** (1-0.5) 45 2
150m * (1-0.5) 1377 DF ave = (%) 1377 75 (%) 75 DFave = 21.36 (%) 21.36 (%) 2
2
2
(%)
(%
Reverbration time calculation Reverbration time calculation 0.16V 0.16V (s) RT= RT= A(s) A
0.16*（15m*1 0.16*（15m*10m*3m RT= RT= 15m*10m*0.4+10m*3m* 15m*10m*0.4+10m*3m*0.5+15m
tranluscent curtains tranluscent curtains Light wall Light wall
Plasterboard Plasterboard
refleting curtain refleting curtain
transparent colored transparent colored curtain curtain
0.42 (s) RT= RT= 0.42 (s)
3d Detail Sections Study 3d modeling of some of the important sections of the building. The connections of glass walls and fins are the main construction issue of the design. The verticle glass fins will work as the structural glass as well as a decoration and the background for some lighting exhibitions. The structure aim is to show a pure and clean finish.
Junction detail for glass fins
Junction detail for glass fins
steel frame holding the ramp
STEEL COLUMNS 3D DETAIL
Steel column top detail
Steel columns foundation detail
Glass fin 3d detail
GLASS FIN CONNECTION DETAIL
Precedents on how to achieve a clean finish for glass junction.
CONNECTION HARDWARE
GLASS FIN
FLOOR SLAB
STEEL COLUMN
INNER GLASS
OUTER GLASS
STEEL FRAME
CEILING
The assembly drawing aimed to show some structure details within the envelope, and how the boxes overlap on each other.
Assembly Drawing
GROUND FLOOR
FIRST FLOOR
STAIRCASE
CENTRAL LIGHT WELL
ASSEMBLY DRAWING