To Care: A Hospice

TO CARE: A HOSPICE | LAURA SATTERTHWAITE

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 2

| CONTENTS 01 02 03 04

Introduction Site Analysis Design Strategy Technical Strategy

Appendix A Technical Strategy Sketches B Models C References

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1 | INTRODUCTION 1.1 1.2 1.3 1.4 1.5

Executive Summary Defining the Hospice Brief Manifesto National Guidance

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MAGGIE'S CENTRE, LANARKSHIRE:

MAGGIE'S CENTRE, GARTNAVEL

MAGGIE'S CENTRE, INVERNESS

Architect: Reiach & Hall Concept: A linear plan reading the building all the way through to the brick wall boundary at the rear of the external garden. Timber partition walls are cleverly detailed within the plan to allow private spaces and rooms that can either open up into large social spaces or close down into divided private rooms.

Architect: OMA Concept: A series of glazed walls containing an internal landscaped courtard, with as much corridor space having glazed walls to the external surrounding trees. There is an appeal to having floor-to-ceiling curtain walling after seeing the effectiveness of transparent and translucent glass within this scheme.

Architect: Page\Park Concept: Three cell shaped mounds following the theme of cell subdivision and the representation of healthy cells

The light internal features compliment the wooden floor, resulting in a muted colour palette.

A couple of key features that I took from this scheme include the large sliding doors into private rooms creating social open-able spaces when required, and the thick storage walls to give an easy solution to lack of storage within the hospice.

On arrival, there is a simple seating area that allows a patient or visitor to take in and understand the building before progressing further towards the kitchen table / social space.

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The industrial concrete floor also contrasts warmly with the timber features to create a natural material palette.

The symbolism of the cells and the interconnecting landscaping and built form create an effective and meaningful design. The two mounds of land obscure the third mound of the building form from the noisy road, something which may apply to the sites. The colours used externally include warm timber tones as well as green bands of copper which again link the architecture to the green of the landscape.

Internally, there is a homely feel with the warm tones of timber and exposed structure running through the hospice, something that this scheme will aspire to.

1 | INTRODUCTION

14th Century

The term 'hospice' was used when Christian orders welcomed travellers, the sick, and those in many kinds of need.

1879

Irish Sisters of Charity opened Our Lady's Hospice in Dublin.

1905

St Joseph's Hospice in London, Hackney was opened.

"Architecture should defend man at his weakest." - Alvar Aalto.

"It is not length of life, but depth of life." -

1.1

Executive Summary

1.2 Defining the Hospice

1.1.1

Purpose of this Statement

This Design and Access Statement has been prepared to provide a concise record of the decisions made during the development of the design proposal, leading to the finalised Hospice scheme.

1.1.2

The Design and Access Statement will follow the process of defining the site in Govan, the development process of producing a design strategy, and defining a technical strategy throughout the scheme,

1950s

The foundational principles by which modern hospice services operate were pioneered by Dame Cicely Saunders.

Within this decade, 11 Marie Curie Homes were also developed.

1970s

Sue Ryder Homes emerged.

During the early 1970s,the National Society for Cancer Relief (now known as Macmillan Cancer Relief) began a programme whereby capital grants were given to units built within NHS hospital grounds.

Document Structure

1967

Dame Cicely Saunders founded Saint Christopher's Hospice in Sydenham in south east London. The hospice was inspired due to experiences she had whilst volunteering at St Luke's Hospital in 1947.

An early patient of Dame Cicely Saunders inspired her to open the hospice, donating ÂŁ5,000 towards the project.

1982

Farleigh Hospice was opened and was based upon the principles set by Dame Cicely Saunders

Ralph Waldo Emerson

1.2.1

Definition of a Hospice

From the Latin word hospitum meaning "guest house, hospitality", a hospice is defined as "a program of medical and emotional care for the terminally ill". A hospice is a type and a philosophy of care that focuses on the palliation of a terminally ill patient's symptoms. Whilst a hospice's primary function is to care for people who are dying, through the hospice movement it can also be a place that takes care of the sick.

1.2.2

History of the Hospice Movement

The hospice movement is one of the United Kingdom's greatest success stories, which has been rapidly advancing worldwide since 1967.

The idea of a hospice was originally established in the early 14th century by order of the Knights Hospitaller of St John of Jerusalem. The main functions were to provide refuge for traveller's and care for those who were ill and dying.

Dame Cicely Saunders pioneered the fundamental principles by which all modern hospices operate in the 1950s. Her work with the terminally ill begun in 1948, where Dame Cicely became driven to provide compassionate care and palliative comfort for the patients. The aim of work was to establish a place dedicated solely to research and patients - now known as the key components that make the modern hospice movement differ from others.

As a result of her passion and research, Dame Cicely Saunders created the first modern hospice, St Christopher's Hospice, in the Sydenham area of South East London in 1967.

Due to this moment, there are now over 220 similar hospice units set up throughout the UK to care for people with life-limiting illnesses and to simultaneously provide support for the families and friends.

21st Century

Since the opening of Saint Christopher’s more than 220 similar units have been set up throughout the United Kingdom.

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1 | INTRODUCTION 1.3 Brief 1.3.1

Background Information

The brief for this project is centred on designing a Young Adults Hospice for 16-25 year old young adults in the Govan area to the west of the City of Glasgow.

The centre will provide respite facilities for children with life-threatening illnesses that extend beyond children services to meet the individual needs of the people.

There is currently a gap for young adults who have their own needs which cannot be met by a children's hospice, and for whom are not suitable for an adult hospice. Therefore the requirement for a facility supporting young people with palliative care needs is essential within the 16-25 year old age gap between children and adult services.

A focus on the patient as opposed to the care needs to be inherent within the scheme, as opposed to a hospital design. The hospice will be centred on three main characteristics; privacy, dignity, and independence.

The centre will offer respite visits booked in to suit the individual's needs, which will encourage terminally-ill young adults to meet new people, relax and take part in activities as well as having the emergency support they require. This will not only connect people within the hospice, but it will also supply a central hub for connecting with the city, eliminating the sense of being alone.

Our role within the scheme is to set the scene for the user's and their family with the architecture, providing a building that feels safe and welcoming for the young person to read themselves and come to terms with their diagnosis. In creating a domestic scale building the hospice will create a home from home for the terminally ill patient, giving them hope and the ability to cope.

1.3.2

Outline Requirements

The design proposal is to be approximately 1,200-1,500m2 and is based on the following Schedule of Accommodation: - Entrance (20m2) - Small Cloakroom (10m2) - Relaxation Lounge (20m2) - Office Spaces (40m2), with Storage (20m2), and Printer Room (10m2) - Multi-Disciplinary Space (30m2) - Staff Changing Facilities (40m2) - Kitchen & Dining Space (50m2) - Multi-Purpose Room (40m2), and Storage (10m2) - Therapy Room (15m2) - Snoezelen (25m2) - 3 x Counselling Rooms (12m2 each) - 2 x Consulting Rooms (12m2 each) - 4 x Accessible WCs - 8 x Respite and 2 x Emergency Bedrooms (25m2 each), with en-suite facilities (8m2) - Family Suite (100m2) - Sanctuary (30m2) - Viewing Room with Lounge (25m2) - Hydrotherapy Pool with Changing Facilities (100m2 ) - Plant Area (120m2) - Refuse Area - 25 x Car Parking Spaces - Associated External Spaces

The form must stitch itself into the masterplan, connecting the people with the city and immediate context, providing a place for people to feel better and not worse.

Maximising the natural daylight within spaces is essential to the project, creating a strong relationship between the inside and outside as well as maintaining privacy in the intimate spaces. The overall design must maintain a strong sense of dignity and a thought provoking environment for all.

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1 | INTRODUCTION 1.4 Manifesto 1.4.1

Manifesto

The core aspect of the design process is to create a high quality environment that does a large amount of the passive palliative work through the architecture. It is essential that the building is specialised around the needs of the patients and users, whilst ensuring a sense of dignity is evident for the patient.

The approach to hospice design will be done in such a way that the building speaks for itself, providing a haven for not only the patients but the people of Govan. The hierarchy of spaces is fundamental to making people feel welcome and at ease, whilst simultaneously ensuring infection control and a safe environment.

The scheme aspires to create a healing environment and reinvent the area of Govan.

1.4.2

Key Design Principles & Aims

The key aim for the design was to provide a modern hospice design in the heart of Govan, creating opportunities for the local community and reinventing the area.

DIRECTED VIEWS The prominent design principle throughout the process was how to site the building ideally to frame views for each individual space. The connection between the internal and external environment will have a calming effect on the patient and their moods.

SENSORY EXPERIENCE The chosen site must offer a range of textures both on and around the site that can be utilised within the building design to multiply the user experience and evoke emotions and character, Noises in and around the site must be used to the advantage of the patients, interaction with wildlife and water will have a calming effect and provoke a sense of well-being.

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1.4.3

Building Outline

The hospice proposes a one-storey building which will contains an 8-bed respite and 2-bed emergency accommodation unit. A family suite is also located within the same wing to assure support and a welcoming environment. Therapy, social, and office spaces make up the remainder of the floor plan, with associated landscaping and car parking externally. The proposal is accessible at all times internally and externally.

1.4.4

Public Space

The positioning of the building onto the site led to 3 finger block elements forming the basis of the scheme. Two feature walls frame the private wings of the building and run from the south (arrival) to the north (gardens) of the site. The orientation of the bedroom wing leads to south-west directed views over the basin, giving a sense of calm to the patients. This is amplified by private gardens accessed from each of the bedrooms.

1.4.5

Aims/ Objectives

The aim of the building is to provide a modern hospice design for up to 10 patients including day and counselling facilities within the community of Govan, regenerating the area and gathering the community together.

Flexible and adaptable spaces are key for a successful design, providing a basis for external companies to utilise spaces as meeting venues when necessary.

1 | INTRODUCTION 1.5 National Guidance 1.5.1

National Guidance and Policy

The main guidance used to develop the scheme are the Scottish Building Regulations for non-domestic buildings, of which the key aspects are developed in more detail within the document.

The other main guidance are the NHS Building Notes, in particular the HBN 00-01 'General design guidance for healthcare buildings'. The building note states that the designs of healthcare buildings should be; responsive, flexible, convenient and realistic. A beneficial way of conveying this is to consider large spaces that can be divided when required but for the majority of time function for multiple purposes.

The specific requirements of spacial adjacencies between clinical and non-clinical spaces should be outlined, and attention should be given to the use of the facilities overtime and the potential to share facilities. Zoning for staff and patients/ visitors are fundamental between public and treatment areas, and internal circulation is key to encompass future expansion options and create stopping points throughout the building.

Site requirements are outlined, stating that the design should allow for future expansion on the site and should be located in close proximity to public transport. The site should also take into consideration the protection of not only patients, but the staff and visitors on the premises.

Alongside the design of buildings, the HBN 00-09 'Infection control in the built environment' outlines how the design should facilitate cleanliness and cleaning by the use of finishes and hands-free operation within. Through controlled hand hygiene and single-bed rooms the visitors and staff can control any potentially pathogenic organisms.

1.5.2

Local Authority development plan

In order to gain an understanding of the existing context, the Central Govan Action Plan was assessed. The community led, investment and development framework aims to make Govan an attractive, vibrant and prosperous area. Between 2006-2016, a ÂŁ120 million investment is being used to restore historic buildings and create a place where people choose to live, work, visit and invest.

The rich history of Govan has created a thriving waterfront location with exceptional architecture, of which several historic buildings such as the Pearce Institute, former police station and the Fairfield Shipyard Offices have already been restored due to the Central Govan Action Plan. The local authority plan has also created 67 employment outcomes so far, assisting in creating a resilient community for the residents of Govan.

The Govan Cross THI (Townscape Heritage Initiative) was set up in 2009 to help regenerate Govan by restoring the area's main heritage features and historic buildings. The Grant Giving Initiative funded by Glasgow City Council, the Heritage Lottery Fund and others, invested in Govan between 2009-2014. The grant was used to fund the repair of historic buildings, restoration of shop fronts to the traditional design and bring the history of the area to life.

Govan City master plans were also researched to investigate potential developments within Govan .There is a rich body of design in particular to the restoration of the Graving Docks site, which has been vacant since the 1980s.

1.5.3

Specific design guidance

Throughout the project, numerous specific design guidance books and document were read to cover the main principles of a modern hospice design. Amongst various books such as 'Modern Hospice Design', 'Healing Spaces' and 'Hospice and Pallative Care', the most influential document was the Maggie's Brief which states the main points of a hospice design: - Small and domestic in scale - The importance of human relationships and connections - Community value - The layout of the rest of the building is clear from the entrance - There should be views out to trees, grass and sky - The kitchen area is visible - A hearth/ fire is a central feature within the building - The ability to open/ shut walls is key to a flexi-space - The importance of how people move between the house and garden.

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2 | SITE ANALYSIS 2.1 2.2 2.3 2.4

History Location Context & Analysis Site Drawings

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2 | SITE ANALYSIS 2.1 History 2.1.1

Introduction to Govan

Govan is a district, parish, and former Burgh which is part of south west Glasgow. Situated 2.5 miles west of Glasgow City Centre, Govan sits to the south of the River Clyde.

Govan's early monastery was founded by St. Constantine around 565AD, and was primarily an agricultural village until the mid 16th century when the flourishing industries began to grow.

19th Century 565 AD

The first Govan church dates back

During the 18th Century, the area was known for its hand-loom weav- to 565 AD by St Constantine. Since ing industry and associated skills including; bleaching, dying and spin- there have been many to replace it. ning. The Govan Weavers Society was established in 1756 as a result In medieal times, Govan was known of its success.

1759

as an agricultural village.

1759 was also the year the river was deepened. This eliminated the ability from people to cross over the river from Partick, across the river.

Also during the 18th century, in particular the 1790s, the agricultural and then industrial revolution began, having a profound effect on Govan and ultimately it's shipbuilding historic status.

The beginning of the 19th century saw a population of 2,500 within Govan, which rose to over 90.000 in one hundred years due to the shipbuilding and immigration from the highlands of Scotland and Ireland to work in the shipyards.

In 1864 Govan was granted Burgh status, becoming the fifth largest Burgh in Scotland. Although following World War II and the decline in economic conditions many of the shipyards had to close.

Although only one shipyard is still in operation, Govan still retains its industrial heritage of a shipbuilding district, with visible reminders of its status as a Burgh.

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18th Century

In the 18th century, Govan was known for its handloom weaving industry. Women bleached, dyed and spun wool in many factories around the area. There was a guild of master weavers called Govan Weavers Society which was formed in 1756.

Because of both the agricultural and industrial revolutions, there was a large population growth (2,300 - 90,000) in just 100 years by the early 19th century.

Shipbuilding and immigration were the two biggest factors influencing the population growth.

1826

1841

In 1841, Ropert Napier took over a small shipyard in Govan, re-fitting it to build iron ships. Many warships, cargo ships and ocean liners were launched from here.

In 1826, the architect James Smith designed another church on the same existing grounds.

1886

The sec Govan G

1864

In 1864, Govan was granted Burgh status. It was the fifth largest in all of Scotland.

It was also in 1864 that the Fairfield Shipyard started its development, soon to become the largest shipyard in the world.

1875

The fir Gravin

2 | SITE ANALYSIS 2.1.2

Govan's Ship Building Industry

As briefly stated, Govan is renowned for its shipbuilding industry. The River Clyde has been utilised for shipbuilding for hundreds of years, with boats being built in the area and transported down the river as early as the 15th century. The invention of the steam engine ultimately marked the opportunity for Glasgow (and Govan in particular) to expand its heavy industry.

21st Century

1897

In 1897, Prince's Dock was 1886 completed, adding about 2 miles The second dock at the Govan Graving Docks opened. of new wharf to the Clyde River.

There has been a recent effort to revitalise Govan by the Townscape Heritage Initiative as well as the Govan Central Action Plan.

1910

In 1910, the Yorkhill Dock was opened across from Govan, providng berths for liners coming to and from New York.

Today, Govan's main industries are still shipbuilding, as well as The Govan Graving Docks closed, the service industry, making up still awaiting restoration.

27% of Govan's employment.

1988

1898

2007

The final and largest graving dock opened at the Govan Graving Docks site.

d fth

e its me the rld.

1875

The first dock at the Govan Graving Docks opened.

1931

In 1931, the King George V Dock was completed, which is the only dock currently in use today.

1912

In 1912, Govan became a part of the city of Glasgow.

In 2007, the Pacific Quay was redeveloped to house both BBC Scotland as well as Scottish Television.

In 1759, the Clyde Navigation Act was passed due to an increase in trade with America. This led to the deepening of the River Clyde as it was realised there was a desperate need for larger vessels to have the ability to move further up the existing shallow River Clyde. The shipbuilding industry then took off as a result of Govan exploiting the natural resources of the river.

In 1841, Robert Napier laid out his shipyard (Fairfield Shipyard) which ended up as the heart of the shipping industry in Glasgow. Modern shipbuilding began on the River Clyde and within the Fairfield Docks during the mid-1800s as part of the massive industrialisation of Glasgow. Towards the end of the nineteenth century, the shipyard grew to become a lead supplier of the Royal Navy and locally made iron products were used in the construction of bridges, ships and factories.

The River Clyde was gradually deepened and widened to cultivate routes for larger vessels arriving from America, with the docks being carved out of the landscape.

The Glasgow Graving Docks, which will be covered in further detail, were opened between 1869-1898 but eventually took the hit of the economic downfall and closed in 1988. Currently, only the Fairfield docks are in use.

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2 | SITE ANALYSIS 2.1.3

Historic Maps

Maps dating back to the 1800s have been highlighted with the chosen site to show the development of the site overtime. The main changes surround the river, which was widened and cut into in the height of the shipbuilding industry within Govan. It is very interesting to see how that area of the city has always been densely populated.

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1890

1910

1960

1980

2 | SITE ANALYSIS 2.2 Location 2.2.1

Wider Context_Glasgow

GLASGOW - GOVAN LOCATED

GOVAN BOUNDARY

GLASGOW_ GOVAN LOCATION (NOT TO SCALE)

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2 | SITE ANALYSIS 2.2.2

Local Context_Govan

2. CHURCH SITE

1. PARK SITE

3. GRAVING DOCKS SITE

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GOVAN_SITE LOCATIONS (NOT TO SCALE)

2 | SITE ANALYSIS 2.2.3

Park Site

As part of the initial site selection process, a SWOT analysis was carried out of Elder Park. The park is currently the location of Govan library, and the park was established in 1885 by Mrs. Isabella Elder as monument to her shipbuilder husband.

Strengths: There is a close residential link to the park, the area is close to the heart of Govan, it is currently a large open green space, there is close access to a main road for access.

Weaknesses: The site is surrounded on all sides, large site makes it difficult to justify the positioning of the building, .large play park is situated within the park which would make it a loud place.

Opportunities: To integrate the hospice with the social housing and use the range of local material, the chance to utilise the library building that is on site as an educational facility linked to the hospice, a link to the pond will encourage relaxation.

Threats: Too much noise coming from the residential buildings and the park, the park is a hub for local activities and events which would make it an exposed building which does not suit the brief.

Assessing the advantages and disadvantages of the site, it is evident that although it is a surrounded site, the large area of green space will make the building exposed to the surrounding events. This would be unsuitable for the nature of the project which requires private, intimate spaces.

PARK SITE ANALYSIS

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2 | SITE ANALYSIS 2.2.4 Church Site This site is at the location of Govan Old Parish Church, with views out over the River Clyde from the rear of the site. I chose this site as it is in need of a new development to reinvent the area of Govan, and it is in close proximity to the centre of the district, offering transport links to Glasgow City Centre nearby. : The location of the building in close proximity to the graveyard may cause anxiety and worry for the users of the building. overcasting shadow from south light onto the building Although the site offers panoramic views and a well contained site, the location and appeal is not consistent with the design principles to compare and contrast with the surroundings and reinvent Govan.

CHURCH SITE ANALYSIS

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2 | SITE ANALYSIS 2.2.5

Graving Docks Site

The Graving Docks are located to the east of Govan, and offer an expansive site to work with. This particular site has been subject to many landscape regeneration concepts and designs in the years that it closed its doors as a shipyard.

Strengths: It is the definition of the industrial history of Govan, strong link and association with the water, close links to transport in particular the subway, wide range of textures and colours on the site, Weaknesses: Large site requires carefully considered design moves and justifications, derelict site needs a powerful concept to improve the space, Opportunities: This site gives the opportunity to reinvent Govan, there is a nearby subway station creating close links to the city centre, create a range of sensory experiences for the user.

Threats: Noise from Govan Road, exposed site situated with a lot of surrounding water will require robust materiality choices.

Following all of the SWOT analysis' of the potential sites in Govan, The Graving Docks stood out as the one with the most potential for my design aims and objectives. As the root of Govan's industrial history, the site will form the basis of a modern hospice design that will reinvent the area since the decline of the local industry. The building could create many opportunities for the people of Govan, and will revitalise the derelict and abandoned site.

The users of the site will be able to experience the optimum sensory experience with the various noises, textures of the new and old artefacts, and the contrast between old and new will convey Govan in a new light.

GRAVING DOCKS SITE ANALYSIS

The contrast in textures within the site open up a wide range of potential materiality options to convey rough and smooth, heavy and light, quiet and loud spaces

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2 | SITE ANALYSIS 2.2.6

History of the Site

Glasgow Graving Docks were built for the Clyde Navigation Trust between the years of 1869-1898 to cater for the huge demand for a facility that allowed for inspection and repair of the bottom of ships.

The site previously had a variety of uses. The Glasgow Graving Docks was formerly used as the location of Govan's first free church. When the church was moved onto new premises, the building found a new use as a Theatre. The theatre was utilised for other functions such as a music hall, before changing into accommodation for Russian soldiers.

The three dry docks form part of a site including associated quays, capstans and bollards, pump houses (of which one still remains), workshops and other ancillary buildings. The Graving Docks retained the boundary walls and ramped access and steps which are all still in place today. The Graving Docks were primarily used for winter overhauls and refits of Clydebank steamers.

Dock 1 (closest to the river), was opened in 1875, and is 551 feet long and 72 feet wide. This dock also had a steam travelling crane in operation until 1970. Dock 2 was opened on 13th October 1886 at 575 feet long and 83 feet wide. The final dock (Dock 3) was opened on the 27th April 189 and is the largest dock measuring 880 feet long and 83 feet wide, enough to accommodate two ships. At their time of construction, Docks 1 and 3 were the deepest functioning graving docks in Britain, and could take the largest ships afloat.

1890

1910

1950

1980

The Graving Docks were made up of a variety of materials: - Dock walls made up of grey granite - Working surfaces were of whinstone setted - Retaining walls and ramp sides are a cream sandstone - Cast-iron gate piers are used - Workshops are built using ashlar or polychrome brick.

Unfortunately, following economic downfall, in 1988 the Graving Docks were closed and await restoration. In this time, the site has gone into disrepair with several of the buildings being burnt down and vandalism apparent across the site. The site has a lot of potential and has been the location for several masterplans in a bid to reinvent Govan, but it still stands as one of the most complete and evocative pieces of shipbuilding history on the Clyde.

The site is currently part of a conservation area, and the withstanding pumphouse is a Grade A listed building.

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2 | SITE ANALYSIS 2.3 Site Context & Analysis 2.3.1

Site Access_ Govan

The diagram outlines the access routes that are currently available to access Govan. It is evident that the primary form of transport is by road, but there are also rail and subway opportunities close by, making the area easily accessible to the wider community.

Primary Roads Rail Underground

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ACCESS_GLASGOW WEST

2 | SITE ANALYSIS

Primary Roads Secondary Roads Rail Underground

ACCESS_GLASGOW EAST

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2 | SITE ANALYSIS 2.3.2

Existing Site Access

Site analysis of the existing site access of Govan Graivng Docks identified the two main methods of access to the site, on foot or via a vehicle. Pathways are available throughout Govan and up to the existing site boundary, making it accessible for all users. Govan Road runs to the south of the site, making it easily accessible via car, and existing car parking currently exists just outside of the site which could potentially be used as an overflow car park.

Key Pedestrian Access No Pedestrain Access Vehicle Access No Vehicle Access Site Boundary

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PEDESTRIAN & VEHICLE ACCESS_ SITE

2 | SITE ANALYSIS 2.3.3

Building Typologies_ Glasgow

The diagram clearly shows the types of buildings in the surrounding area of Govan, and how they sit in conjunction to the main access routes,.

Residential

Industrial

BUILDING TYPOLOGIES_GOVAN

Recreational / Civic

Medical

University

Green Space

Rail Connections

Major Road Networks

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2 | SITE ANALYSIS 2.3.4 Building Patterns_ Glasgow An interesting study was undertaken to define the different types of buildings within Govan in comparison to Glasgow city centre. This identifies the different eras of construction and the architectural trends of the times.

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BUILDING PATTERNS DIAGRAM_ GLASGOW

2 | SITE ANALYSIS 2.3.5

Public Private _ Glasgow

Further research into the types of buildings identified the public and private buildings. It was useful to see what type of buildings are around Govan, and the relation of these buildings to the chosen site.

Public buildings

(schools, museums, services)

Private buildings (housing)

PUBLIC & PRIVATE BUILDINGS_GLASGOW

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2 | SITE ANALYSIS 2.3.6

Site Walking Distances

The walking distances diagram highlights pedestrian routes to the site within a 5 and 10 minute radius. This also shows the bus routes in red dots, indicating a bus stop to the south of the site boundary of Graving Dock 3, enabling people to visit the site and also leave easily.

Bus Route 5 mins Walking 10 mins Walking

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BUILDING PATTERNS DIAGRAM_ GLASGOW

2 | SITE ANALYSIS 2.3.7

MATERIALITY_GOVAN

MATERIALITY_SITE

Colour Palette _ Govan

An exercise was carried out to identify common building materials around Govan, and in doing so create a colour palette to identify the main buildings. The majority of old buildings were identified as brick, but the modern buildings within the area were starting to utilise colour and timber in their designs.

COLOUR PALETTE

MATERIALITY & COLOUR_GOVAN

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 33

2 | SITE ANALYSIS 2.3.8

Existing Building Fabric _ Govan

As previously noted, there is a wide spread of materiality and colour within Govan, with the more traditional brickwork and stone constructions making way for render and timber. This analysis proved that almost anything can be justified within the area as it is so diverse.

BUILDING FABRIC_GOVAN TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 34

2 | SITE ANALYSIS 2.3.9

Heritage & Conservation _ Govan 1. Southern General Hospital Category: B Date Listed: 12 October 1989 2. Fairfield Shipping Offices Category: A Date Listed: 15 December 1970 3. Govan Old Parish Church Category: B Date Listed: 15 May 1987 4. Pearce Institute Category: A 5. Old Govan Police Building Category: B Date Listed: 15 May 1987 6. Govan Graving Docks Category: A Date Listed: 15 May 1987 7. Elder Park Library Category: A Date Listed: 15 December 1970 8. Sir William Pearce Statue Category: B Date Listed: 15 December 1970 9. Govan Cross Drinking Fountain Category: B Date Listed: 15 May 1987 10. Film City Glasgow Category: B Date Listed: 15 December 1970

LISTED BUILDINGS_GOVAN TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 35

2 | SITE ANALYSIS 2.3.10 Key Artefacts _ Site As the Graving Docks was utilised as a functioning shipyard for many years, there are many relics and dated objects surrounding the site which have the potential to be used as landscaping tools or precedents. Wood, stone and metal are amongst the few types of materiality that withstands on the site, although it is currently in poor condition due to the status of the site.

KEY ARTEFACTS_GRAVING DOCKS TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 36

2 | SITE ANALYSIS 2.3.11 Textures _ Site There is a wide range of textures due to the nature of the site.

These range widely from smooth stone steps to sharp and ragged barbed wire. There is also a lot of sky within the site which is reflected across the river, playing a huge role in whatever is placed on the site.

TEXTURES_GRAVING DOCKS

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 37

2 | SITE ANALYSIS 2.3.12 Wind _ Site A study into the local wind rose identified the dominant prevailing south west winds. These are to be thought about and considered in terms of open faรงades and large glazed areas that could have issues with high wind forces.

JAN

FEB

MARCH

APRIL

MAY

JUNE

JULY

AUG

SEPT

OCT

NOV

DEC

12

10

13

12

12

10

10

10

10

10

10

10

YEAR AVERAGE

DOMINANT WIND DIRECTION

AVERAGE WIND SPEED (mph)

10

GRAVING DOCKS

SOUTH WEST PREVAILING WINDS

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 38

PREVAILING WINDS_GRAVING DOCKS

2 | SITE ANALYSIS 2.3.13 Sun _ Site JAN

FEB

AVERAGE TEMP (° C)

3

4

AVERAGE SUNSHINE HOURS 5

5

MARCH

APRIL

MAY

JUNE

8

11

13

11

13

6

8

9

SUMMER SOLSTICE SUNSET 22: 07 pm

JULY

AUG

SEPT

OCT

15

15

13

10

13

11

9

6

NOV

DEC

6

4

6

YEAR AVERAGE

Average sun rise and sunset times were calculated alongside summer and winter sun angles to outline the optimum orientation on the site.

9

6

10

WINTER SOLSTICE GRAVING DOCKS

SUNRISE 4 : 32a m

GRAVING DOCKS

6 pm

6 pm 9 a m SUNRISE 8 :4 7 a m

SUNSET 15 : 4 5 pm

3pm 12pm

12pm

57.16°

Summer Solssce

SUN PATH_GRAVING DOCKS

Climate -

57.16°

n

10.53 Govan’s Graving Docks Summer Solssce Winter Solssce Summer Solstice Winter Solstice

Sunrise - 04:31 Sunset - 22:06

Sunrise - 04:31 Sunset - 22:06

17 hours 35 minutes of daylight

17 hours 35 minutes of daylight

10.53

Winter Solssce

Sunrise - 08:46 Sunset - 15:44

Sunrise - 08:46 Sunset - 15:44

6 hours 58m minutes of daylight

6 hours 58m minutes of daylight

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 39

SECTION A-A 1:500

SECTION B-B 1:500

SECTION C-C 1:500 TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 40

2 | SITE ANALYSIS 2.4 Site Visuals 2.4.1

SIte Drawings

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 41

1. SOUTH EAST GRAVING DOCK TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 42

South East Graving Docks

Glasgow / Govan / Graving Docks

2 | SITE ANALYSIS 2.4.2 Site Panorama Photos

2. NORTH GRAVING DOCK

North Graving Docks

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE Docks 43 Glasgow / Govan / Graving

3. NORTH WEST GRAVING DOCK TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 44

North West Graving Docks

Glasgow / Govan / Graving Docks

2 | SITE ANALYSIS

4. EAST GRAVING DOCK

East Graving Docks

Glasgow / Govan / Graving Docks

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 45

5. EAST GRAVING DOCK TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 46

East Graving Docks

Glasgow / Govan / Graving Docks

2 | SITE ANALYSIS

6. NORTH WEST GRAVING DOCK TO CARE: A HOSPICE | LAURANorth SATTERTHWAITE | PAGE 47 West Graving Docks

Glasgow / Govan / Graving Docks

7. NORTH WEST GRAVING DOCK TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 48

North West Graving Docks

Glasgow / Govan / Graving Docks

2 | SITE ANALYSIS

8. SOUTH WEST GRAVING DOCK TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 49

South West Graving Docks

9. SOUTH EAST GRAVING DOCK TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 50

South East Graving Docks

Glasgow / Govan / Graving Docks

2 | SITE ANALYSIS

South Graving Docks

Glasgow / Govan / Graving Docks

10. SOUTH GRAVING DOCK TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 51

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 52

3 | DESIGN STRATEGY 3.1 3.2 3.3 3.4

Building Strategy Landscape Envelope Building Regulations

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 53

MAGGIE'S CENTRE, LANARKSHIRE: REIACH & HALL

GUG KIRKE, DENMARK INGER AND JOHANNES EXNER

PRINCE & PRINCESS OF WALES HOSPICE, DESIGN CONCEPT NORD

-Plan form: linear plan form created a starting point for the placement of the scheme on the site - Walled perimeter: the concept of a walled garden was utilised for preliminary studies before defining the concept of rooted feature walls.

- Plan: Once within the building there is a view right through the building and out to the external garden space which is to be developed throughout the scheme - Counselling Rooms: built in seating and casual furniture to put people at ease - Storage Walls: Built in storage, bookshelving and computer desks to increase storage space.

-Concept: Blocks connected with glass tunnels - Blocks of various heights and ratios align with one another with flat roofs. This can be seen in development sketches that ultimately results in a flat roof.

- Multiple blocks joined by a light filled tunnel like corridor provide views of the sky which is in abundance on the site.

- Industrial concrete materiality to be developed within the scheme - Sloped glazed roofs to solve drainage and link each segment of the building to one another.

-Elevations: Brick recess details and strips of curtain walling - Entrance: A canopy is provided to enclose the entrance for the visitors.

- Materiality: Brick and slate to be researched at elevation stage of design : Form: The pitched roofs were explored in early concept stage to recreate the industrial forms onto the site.

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 54

3 | DESIGN STRATEGY 3.1 Key Precedents

RONCHAMP CHAPEL, FRANCE LE CORBUSIER

ST BRIDE'S CHURCH, EAST KILBRIDE GILLESPIE, KIDD & COIA

- Wall: A dense wall is used to create drama within the building and provide recesses that can be walked into - Section: In section, the roof appears to be floating as a result of a slither of glazing between the wall and the roof. This is done to create the illusion as well as allowing light to filter into the building.

- Concept: Section form to be explored at a later stage in the design process - Wall: The thickness of the wall with carved out aspects to be introduced into the design.

-Feature Wall: Recessed features within the wall create voids within a thick solid element.

- Materiality: Robust material, brick gives an industrial feel which was explored further in elevation - Concept: Void forms within a wall was development for the feature wall aspect of the design.

KOOYONG RESIDENCE, AUSTRALIA MATT GIBSON ARCHITECTURE -Materiality: The choice of timber and glazing creates a light elevation option which was explored for the final elevation concepts - Timber cladding: vertical timber cladding elongates the building and subdues long elevations.

-Timber fins: Timber fins are used over large panes of curtain walling, creating filtration of light within the building and a rough textured facade.

- Black is used behind the fins to contrast with the light wood

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 55

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 56

GRID LINES 1:5000

SITE DIVISION 1:5000

SITE DIVISION_HOSPICE 1:5000

INITIAL DESIGN ORIENTATION 1:5000

3 | DESIGN STRATEGY 3.2 Design Development 3.2.1 VIEW POINTS

Undertaking SWOT analysis studies of each potential site led to the Graving Docks as the chosen site for the hospice design. Currently standing as a derelict space, the Graving Docks grounded Govan's shipbuilding history and therefore provide the ideal location for a building that can reinvent the area of Govan.

HT

SW

LIG

SE

One of the key factors in successful hospice design is the relationship to external spaces and views, which is provided in excess on the Graving Docks. Surrounded by water, the site gives panoramic views down the River Clyde with a calming effect. Due to the size of the Graving Docks, it is also the suitable space to house not only the modern hospice design but the subsequent bath house project.

LIG

HT

GRI

DL

INE

S

NOI

SE

SUN PATH

VA

G ILIN

PRE

DS

WIN

Site Selection

A series of diagrammatic studies were produced to locate the scheme within the vast site. Firstly, grid lines were drawn to convey the existing building lines, access and landscape features. This was important in order to highlight potential zones within the site in which to situate the scheme, as well as defining main access routes within the site to assist in grounding the building.

As a result of this study, a main route was highlighted through the site, which in turn split the Graving Docks into two sites; a public section facing onto Govan Road and incorporating the docks, and the basin with focal view points and surrounding water features. Due to the basin being located to the rear of the site in more private surroundings, and the potential to maximise the use of the views from within the building, this zone was chosen for the hospice. In turn, this will allow the building to create new relationships with the water as opposed to the sites previous function as working access for the shipyard.

Further studies into the features of the site show main view points to the northern corner of the site, and one framed by the main route of access through the site. This route, alongside the existing pump house and docks on site allowed an initial mass to be orientated onto the site, with main views over the basin to the west and the River Clyde to the north. Following this analysis, initial site development was undertaken to define the scheme in further detail.

SITE ANALYSIS 1:2500

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 57

BUILDING LOCATION SKETCH

ANALYSIS OF BUILDING LOCATION TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 58

INITIAL CONCEPT 1:500

3 | DESIGN STRATEGY 3.2.2

Concept 1

The initial concept furthered the site analysis into diagrammatic plans, highlighting roughly the layout of spaces within the plan as a first response to the site.

As stated in the Maggie's brief, there should be a clear layout from the entrance and you should be able to see the kitchen table from entry to the scheme. Therefore, it was key that the social space should be situated close to the entrance and that as many rooms as possible had views out. The offices are also situated close to the entrance so that staff can observe who enters the building without confronting them at a formal reception desk. Rough sketch sections were also explored to translate form ideas such as the pitched roofs in the North London Hospice into the scheme.

From the offset, the hospice design has all been on one level. This resolves any issues regarding access, as well as making the most of the expansive site and being able to have links to the outside as often as possible. All corridors are to be a minimum of 1.8m wide in accordance to the Scottish Building Regulations, however they are to a minimum of 2.5m within the scheme to create opportunities to pause and reflect without obstructing the pathway.

The concept began with the development of the bedrooms, and the notion that they should be sited to the south west with views over the existing basin, benefiting from the views and the evening south west light. View points were defined every two rooms in order to reiterate the concept of defined views and open up the building plan. This in turn defined the placement of the building, orientated to the north west and forming two linear elements.

The viewing room was placed to the north of this concept within the sanctuary space, initiating the idea of it being separate or isolated with a special view over the River Clyde to give dignity and respect to the zone. This was something to be taken further within the upcoming concepts in order to define the ideal location for such a special place.

INITIAL PLAN 1:500

Although the placement of the bedrooms and the concept of directed views were successful within this concept, there were a few issues.

A series of walls enclosing the scheme started to develop through this concept, as in Maggie's Lanarkshire. The wall currently acted as a barrier to potential entrances, and required development. The building also needed more development in being rooted to the site, partially to do with the enclosing walls as well as the position and orientation of the form on the site.

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 59

DESIGN SKETCH

CIRCULATION DIAGRAM 1:1000 GREEN SPACES DIAGRAM 1:1000 TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 60

SPACE PLANNING 1:1000

SPACE DIAGRAM 1:1000

SPACE PLANNING 1:1000

SITE PLAN

SPACE PLANNING 1:1000

3 | DESIGN STRATEGY 3.2.3

Concept 2

The main aim when space planning was to root the building to the site utilising the concept of the series of walls and the orientation of the building. By studying Alvar Aalto's plan forms, in particular Heimdal Housing, the plan form began to develop into three linear finger elements framed with a series of walls which weaved themselves onto the site. These were further explored in combination with the previously stated North London Hospice precedent to create development models to record the design development.

The thick walls root the building onto the Graving Docks, and also assist in breaking up the building form, assisting the spacial planning of the internal spaces. The continuation of the walls create an access route to the main entrance, however this would not allow a drop off zone close enough for disabled and sick users.

Access was explored in further detail, creating public and private entrances for visitors and staff. This was successful but did raise the question of there being a requirement for a private access at all.

A service access was also supplied for refuse and plant room access, however it also forms the entrance to the viewing room and sanctuary. The positioning of these two rooms is partially to be isolated from the remainder of the building, but also to offer separate access from the public and social face of the hospice. As a result of this, more thought was to go into this area of the building plan and the approach in terms of dignity for the patients and visitors of a refuse vehicle was to turn up at the same time as a hearse or ambulance.

Development of the bedroom block led to counselling rooms breaking up the block of accommodation. When revisiting the public and private aspect of the scheme, this creates invasive spaces that people may retreat from visiting due to the location.

The plan is now conveying a fan shape, with 3 linear finger blocks providing the accommodation. The basis of the concept has now been defined, however more effort has to go into simplifying the plan to create a successful internal environment and create more energetic circulation spaces. The blocks are beginning to develop into an accommodation, social, and service arrangement which creates a clear layout for visitors to adhere to.

Through the production of development models, the building diagram begins to form into dividing walls and pitched roofs which creates the issue of being too shed-like instead of warm and welcoming.

CONCEPT MODEL AT 1:500

SPATIAL PLAN 1:500

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 61

ROOF PITCH EXPLORATION

DEVELO PMENT SKETCHES

CIRCULATION DIAGRAM 1:1000 GREEN SPACES DIAGRAM 1:1000 TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 62

SPACE DIAGRAM 1:1000

DEVELOPMENT SKETCH

3 | DESIGN STRATEGY 3.2.4 Concept 3 In order to incorporate views from the entrance and simplify the design, the plan was revised to create a fan shaped central element from which the River Clyde can be seen on entry to the building.

The scheme is now composed of four defined feature walls that all have key functions within the building. The far left wall creates a divide between the social and private areas of the building, housing the therapy against the wall for easy use by the patients and day users.

The second wall encompasses the boundary between the social space and the external courtyard, with more active areas such as the staff and multi-purpose spaces being offered views through into the external space. This wall is also continued down through the social space to create a more private dining table for the patients, however this goes against the primary Maggie's principle of seeing the kitchen table from the entrance and creating a welcoming experience.

The third wall creates the boundary of the service block, which can be accessed by three glass tunnels from the central block. As a whole, this concept was unsuccessful, creating a variety of complex routes around the building. However, it did provide the basis of on-coming weeks. The glass tunnels also segregated the external space into strict staff and public spaces, which is too territorial for this type of scheme.

The fourth and final wall separates the hospice from the remainder of the site, creating a strong boundary. Although this is essential in terms of defining a site boundary, it was later explored through the use of soft landscaping as a more effective and welcoming option.

CONCEPT MODELS AT 1:500

During the same stage, the bedroom block was further developed to create hierarchical social spaces between the bedrooms and the large social space for smaller groups of people to enjoy. A nurse station was also an added benefit into this plan, providing close care to the bedrooms as well as a known point of contact for the nurses on duty.

A close look into Gug Kirke allowed an insight into defining three separate elements, and the dividing wall options such as glass tunnels which were then explored further to simplify the plan and create an effortless journey through the building.

LE CORBUSIER'S HEIMDAL HOUSING PLAN PRECEDENT

PLAN 1:500

Development models were produced as a record of the design stage, exploring different roof options. The concept of a series of mono-pitch roofs opening up to frame views was to be further refined.

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 63

CONCEPT SKETCH 1:1000

STRUCTURAL GRID 1:1000

SPACIAL PLAN 1:1000

ESCAPE DISTANCES DIAGRAM 1:1000 TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 64

ACCESS DIAGRAM 1:1000

ROOF PLAN 1:1000

BUILDING DIAGRAMS

3 | DESIGN STRATEGY 3.2.5

Concept 4

As a result of the previous concept, the scheme returned to the design diagram to focus on two walls routing the building to the site,.

This envisioned two heavy private zones framing a light central social space. The geometry of the blocks and the walls were aligned within a structural grid to create zones of external landscaping and an entrance space.

Recessed seating spaces were provided outside the bedrooms for nurses to write up any notes, further emphasising the hierarchical relationship between spaces. The dividing walls also began to develop into habitable storage spaces, which was to be developed further to provide seating and pausing points along the corridors.

Following a lecture by NORD, a garage was added to the service block as a discreet solution to the arrival and access of emergency vehicles and hearses.

Other effective changes to the design include the movement of the kitchen space to the centre of the corridor, once more becoming visible from the entrance. A single connection is now evident from the entrance to the hydrotherapy and sanctuary spaces through the building to reduce any confusion in reading the building on entry.

Parking thresholds have now been defined as access points for vehicles and pedestrians. The added garage as previously stated ensures separate access for emergency vehicles. On entry to the site there is the main car park, followed by drop off and disabled spaces being located close to the entrance to provide nearby and easy accessible spaces. Parking has also been supplied to the north east of the site and a separate entrance for family who are solely visiting the sanctuary or viewing room.

In order to progress the design further, details such as fire doors dividing corridors will have to be addressed. Elevation development is also now required to visually reflect the surroundings.

The fan shape of the central block is successful in framing the social space, but creates a wide corridor space that is unused, which was to be revised to create a more economical floor plan. This will in turn effect the size of the entrance and the facilities that are available.

CONCEPT MODELS AT 1:500

PLAN 1:500

Externally, the landscaping scheme was unsuccessful at providing a link between the internal and external environments. Due to the linear plan, the external environment and landscaping moves should reflect such design moves.

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 65

ELEVATION DEVELOPMENT

ELEVATION DEVELOPMENT TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 66

SECTION DEVELOPMENT

SECTION DEVELOPMENT

DIAGRAM DEVELOPMENT

3D ACCESS SKETCH

STORAGE WALL CONCEPT

3D CONCEPT SKETCH

3D ENTRANCE PERSPECTIVE TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 67

ELEVATIONS 1:500 STRUCTURAL GRID 1:1000

ROOF PLAN 1:1000

3D VIEW TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 68

SECTIONS 1:500

3 | DESIGN STRATEGY 3.2.6

Concept 5

The aspiration for this concept was to return to the three linear elements as opposed to the fan shaped plan, enclosed in the defining walls. The revised plan creates a clear path from the entrance to the social space to the rear.

Externally, elevation studies were developed showing the materiality options of the concrete feature walls and brick facade. A canopy clad in slate creates a shelter and exaggerates the entrance of the scheme. Inspiration from NORD's scheme design for the Prince and Princess of Wales Hospice assisted the elevation development, focusing on details such as recessed brickwork and the slate feature wall.

Although a useful exercise, the brick and concrete combination was too industrial and heavy, requiring further studies into materiality and elevation layout.

Within the scheme, roof-lights were used to filter daylight into the therapy rooms against the left-hand wall on the central block. Although successful, the mono-pitch of the central block was to be reconsidered after researching Ronchamp Chapel, instead providing the idea of a flat roof floating over the top of the concrete wall due to a glazing infill. In addition to this, it was realised that more drama was required within the feature wall running through the building, with the potential to create the illusion of the therapy wing being part of one thick wall that is carved into.

The external landscaping was considered in depth, researching landscaping schemes and plants to create a colourful, linear environment.

Water is incorporated in order to link the surroundings with the water. It is also stated in Modern Hospice Design that water has a calming effect which is to be maximised where possible.

Further development of the viewing room at the top right of the plan is also required to maximise the experience for the users of the space.

MODEL AT 1:200

PLAN 1:500

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 69

INITIAL BEDROOM SKETCHES 1:100

BEDROOM SECTION SKETCHES 1:100 TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 70

BEDROOM LAYOUT SKETCH 1:100

BEDROOM PERSPECTIVE SKETCH

3 | DESIGN STRATEGY 3.2.7

Bedroom Concept

The bedroom concept was the starting point of the hospice design.

The orientation and views created from the building were based around the bedrooms as the key space for the young adults within the hospice. This is the place that they will spend the majority of their time, and it must go above and beyond supplying a place to sleep.

If patients are visiting the hospice for a two week retreat, further sleeping accommodation is required for guests who may stay over.

This also creates a requirement for further seating and storage facilities within the room.

Nursing staff must be able to observe the patient without intruding on their privacy and personal space, therefore vision panels have been placed within the doors of each bedroom. Development of the bedroom also rose issues including staff not being able to see the patients from all areas of the room. Therefore, a storage wall was developed in order to house all of the essential requirements.

BEDROOM DIAGRAM 1:100

The importance of external spaces for users of a hospice has already been highlighted within the Maggie's brief, therefore a terrace space was included within the bedroom designs from the offset to give an accessible space for people to take a moment and enjoy the view over the basin.

Development diagrams were revised to define the main areas within the bedroom: - furniture - storage - circulation - external space.

BEDROOM RE-PLAN SKETCH 1:100

BEDROOM & FAMILY SUITE FINGER LAYOUT 1:500

BEDROOM PLAN 1:50

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 71

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 72

DEFINING THE DIAGRAM

3 | DESIGN STRATEGY 3.2.8

Design Progression Summary_ Diagram

The summary conveys the design diagram at each stage of design, from site analysis to the last concept design before the final drawings.

It is evident from the design diagrams that the concept of a series of walls and defined linear spaces has always been dominant throughout the design process.

As the concepts develop, the aspects of aligned geometry and simplification of the diagram is prominent in rooting the scheme to the site.

CONCEPT 1 DIAGRAM 1:1000

CONCEPT 2 DIAGRAM 1:1000

CONCEPT 3 DIAGRAM 1:1000

CONCEPT 4 DIAGRAM 1:1000

CONCEPT 5 DIAGRAM 1:1000

CONCEPT 6 DIAGRAM 1:1000

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 73

3 | DESIGN STRATEGY 3.2.9

Design Progression Summary_ Elevations

The initial concept development was based heavily on a scheme by NORD for the Prince and Princess of Wales Hospice. At the point in the design scheme, mono-pitch roofs were used across all three blocks of the hospice, creating a dramatic dynamic to the entrance.

Glass walkways have been apparent in the scheme throughout the process within the two private outer blocks, therefore glazing plays a large role within the elevations.

The two feature walls defining the building diagram of the scheme are heavy-looking features running throughout the building. As a result of this, a heavy and robust material has to be utilised. In-situ concrete will allow variations of either smooth or rough textures and is also easily manipulated to shape the feature recesses and storage zones within the floor plan. At the time, the feature walls had not been readily developed.

INITIAL ELEVATION SKETCHES (NOT TO SCALE)

ELEVATION DEVELOPMENT (1:100 AT A1)

As a result of precedent studies, the initial elevations portrayed the glazing and concrete aspects alongside a buff brickwork finish such as Keppie's Ronald McDonald House (which is also situated within Govan). Brick recesses were utilised to create the illusion of openings to create the facade pattern, with the slate roof wrapping down across an entrance elevation to signify the entrance.

The elevations were a good starting point, however created very heavy elevations that required being broken up with more glazing and a lighter materiality choice.

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 74

ELEVATION DEVELOPMENT (1:200 AT A1)

3 | DESIGN STRATEGY During the re-plan of the final concept, a flat roof was defined to separate the two mono-pitch roofs on either side. The importance of the heavy and light aspects was defined, with the smooth concrete walls playing a large part in the effect of the elevations.

Several design options for each facade were undertook to define areas of concrete cladding, timber cladding, glazing, and timber fins in a bid to refine the elevations.

With inspiration from David Chipperfield's Ninetree Village and Matt Gibson Architecture and Design's Kooyong Residence a variety of materiality studies were produced capturing the vertical aspects of the elevations. This included maximising the quantity of curtain walling to break up the facade in a regular pattern. Timber fins were then overlaid over the glazing and timber cladding to configure light elevations to contrast with the heavy and dense concrete walls. The use of vertical timber fins also allows the subtle filtration of light into the building.

In addition to this, the sawn-timber used to clad the elevations will contrast against the smoothness of the concrete, creating elements of contrast in the texture and extending the sensory experience of the scheme.

SOUTH ELEVATION PROGRESSION SKETCHES

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 75

EAST ELEVATION PROGRESSION SKETCHES

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 76

WEST ELEVATION PROGRESSION SKETCHES

SOUTH EAST ELEVATION PROGRESSION SKETCHES

NORTH ELEVATION PROGRESSION SKETCHES

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 77

TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 78

SOUTH ELEVATION STUDIES 1:100 TO CARE: A HOSPICE | LAURA SATTERTHWAITE | PAGE 79

3 | DESIGN STRATEGY 3.3 Design Drawings 3.3.1

Building Diagram

The final design diagram utilises a combination of the original key aspects which have been refined and aligned geometrically to create a simple explanation of the hospice.

Two walls are shown dividing the site into three aspects; two heavy and private areas surrounding a light inner blockt.

The diagram encapsulates a suitable response to the site, using the orientation of three finger blocks and walls to define their position.

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DIAGRAM PROGRESS MILESTONES

FINAL DESIGN DIAGRAM 1:500

3 | DESIGN STRATEGY 3.3.2

Location Plan

The plan below shows the chosen site and building within the context of Govan, in association with the surrounding building forms.

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3 | DESIGN STRATEGY 3.3.3

Site Plan

The building is positioned against the boundary of the basin within the historically renowned Graving Docks of Govan.

The building form and roof plan is shown within the immediate context of the site, defining the site boundary within the initial landscaping of the full site.

The main access route frames a view point across the River Clyde, and soft landscaping reiterates the boundary of the hospice.

A clear access route is defined opposite the entrance ramp to Docks 1 and 2 which allows pedestrians a clear path to the building.

As you enter the site, parking is available to the left, and is concealed by the extended feature wall running through the site. A selection of parking spaces and accessible parking is provided at a closer proximity to the entrance, creating a drop off space and hierarchy of arrival points.

The building is placed to the rear of the site, away from the busy Govan main road. This reduces any noise issues of traffic whilst also providing an easily accessible route to the building.

The remainder of the site is to be landscaped and used to create a public facade of the subsequent bath house project.

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SITE PLAN 1:1500

3 | DESIGN STRATEGY 3.3.4 Floor Plan The final concept en-captures the drama of the feature walls in creating habitable walls for seating and storage as well as routing the design to its site. The main thick feature wall creates the illusion that the therapy wing of accommodation is part of the wall, with seating recesses carved out.

A combination of design changes and improvements have led to the simplified plans, with focal views to the north of the central block, as well as the journey to the viewing room within the service block.

The social space to the end of the building signifies the main meeting point. With no official door to enter the room as such, it spills out into the circulation spaces, signifying the use of circulation spaces for social and meeting points as opposed to being just part of the journey through the building.

The use of sliding doors throughout the building creates flexible spaces, especially in the case of counselling and consulting rooms, which can be left open and utilised by the public when available.

A hierarchy of spaces is evident throughout the plan to create pausing and seating points for groups of all sizes as well as individuals.

These go from window seats and benches in toilets where you can privately take a moment to reflect, to benches and seating within the feature walls for 2-3 people to write up notes or pause for a chat, to larger social areas available between bedrooms for people to work or gather, and ultimately the social space where people gather to chat over a cup of tea and enjoy dinner together. Such a wide variation of spaces will allow people to feel comfortable in whatever environment they choose to be a part of during their stay.

The relationship between the internal and external spaces is key to the design' s heavy and light principle, so there are plenty of links and opportunities to access the external environment.

Curtain walling encourages maximum amounts of daylight to enter the building, as well as a Ronchamp like glazing panel above the large feature wall to filter light into therapy rooms.

The feature wall has remained a constant throughout the design process, with huge design assistance from St Bride's Church creating simple but effective reflection points.

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SECTION A-A 1:200

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SECTION B-B 1:200

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SECTION C-C 1:200

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PUBLIC / PRIVATE DIAGRAM

QUIET / LOUD DIAGRAM

CIRCULATION DIAGRAM

ALTERNATIVE PARKING

REF USE VEH RGE ICLE NCY ACC VEH ESS ICLE ACC ESS

DROP OFF & STAFF PARKING

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ACCESS DIAGRAM

EME

PED EST

CAR PARKING

RIA N

ROU

TE

BICYCLE RACK

DIRECTED VIEWS DIAGRAM

3 | DESIGN STRATEGY 3.3.6

Diagrams

A series of diagrams were produced in order to convey the key features and functions of the hospice design and the associated layout of the scheme.

The public and private diagram effectively highlights the spread of main spaces located within the scheme. This in turn is replicated within the quiet and loud diagram, which conveys the loud spaces being congregated together in order not to disrupt the quieter spaces such as accommodation and therapy rooms.

A simple circulation diagram conveys the importance of these zones within the scheme. Effective and wide circulation creates environments in which people feel comfortable to pause for a moment and still feel in privacy, as well as encouraging people to stop and talk amongst each other within the walkways without obstructing others.

A diagram conveying the main audiences for room uses clearly shows that the vast amount of accommodation provided within the building can be widely used by any patient/ user/ visitor, creating an environment in which visitors feel they are a part of and free to be comfortable.

The main access routes are clearly defined within the access diagram, conveying three main thresholds between vehicular access, pedestrian access, and emergency access.

The diagram showing directed views is very important to understanding the layout of the building. The main directed views include the view over the basin from the bedrooms and family suite, which is important for the patients and also creates a warm environment with evening light due to orientation. The main view is available from the entrance of the hospice, drawing visitors towards not only the view but the social hub that is the kitchen table at the heart of the building.

Finally, a space diagram clearly shows the layout of different types of rooms, and how they have been grouped together. Therapy spaces are all readily available from the entrance for day visitors, and sanctuary spaces are isolated in the top corner of the scheme to create a private and separate environment for users.

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BEDROOM PLAN 1:50

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BEDROOM LAYOUT 1:200

3 | DESIGN STRATEGY 3.3.7

Bedroom

The final bedroom layouts creates a balance between the giving the patient privacy and dignity, and providing a safe, infection-free space for the nursing staff to overlook.

BEDROOM PRECEDENTS

The role of the nurses and the bedroom has been previously touched upon, with the key point being that they must be able to check on the patients within the bedrooms. Doors with vision panels are provided so that nurses can check on the patients, with a bench being recessed into the wall between every two bedrooms for the staff to write up any notes or even take a moment to themselves if and when it is required. There is also a 900mm circulation zone around the bed to ease access to the bedside for nurses to complete any required procedures. A cupboard concealed within the storage wall creates a storage point for a hoist and oxygen tank.

In terms of designing the room for the patients,fundamentally I thought about what I would want from the space if I was to be a visitor. With assistance from a NORD lecture, the key concept I derived from the bedroom was the importance of the window. Therefore, the window is not only a place to observe outside, but the patient can physically use it as a seating and contemplation space, or a place to be alone and away from the door as it is situated in the furthest corner from the door. This will allow the patient to be in a safe and comfortable environment at their best and worst moments.

A sofa bed is provided as a multi-purpose seating and sleeping zone for any visitors that would like to visit. Creating a flexible and welcoming environment was essential so that the users can enjoy their experience at the hospice and are able to be joined by as many or as few people as they wish.

Ample amounts of storage within the wall allow the personalisation of the area for each individual user of the bedroom. Bookshelves are provided for books or to house cards and photographs, as well as a shelf recessed behind the head of the bed which can be used for whatever purpose.

The mono-pitch roof also creates a domestic scale at 2.5m on entrance to the bedrooms, opening up to 4m to display the views over the basin and external space.

BEDROOM SECTION 1:50 AT A3

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FAMILY SUITE PLAN 1:50

3 | DESIGN STRATEGY 3.3.8

Family Suite

I also chose to focus on the development of the family suite within the bedroom block as a space that will be just as frequently used.

Families accompanying the patients are just as important to welcome with a safe and warm environment.

The family suite will provide parents and siblings with a place to stay in emergency cases, or if they wish to book in a visit alongside their child.

FAMILY SUITE PRECEDENTS

As part of the bedroom accommodation block, the internal environment is similar, at a domestic scale on entrance and opening up to look over the basin and the River Clyde.

External spaces are created off the master and guest bedrooms to create intimate, private spaces that will be required for the family to gather their thoughts.

The family suite is located in close proximity to the social space, encouraging them to get to know the others within the hospice, and give them the option to join everyone for dining. With this being said, a full kitchen is supplied to the family in the event that they would like to have their own privacy.

Similar to the rest of the building, all parts of the family suite are fully accessible, with wet rooms like the bedrooms in place. A dining table is also situated within the living area as a place for the family to dine or work during the day if required. Adjoining to the family suite in plan is a social space which also provides a more relaxed working environment. This hierarchy of working and relaxing areas allows the family to do what suits them without feeling pressurised.

FAMILY SUITE SECTION 1:50 AT A3

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SOCIAL SPACE 1:50

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3 | DESIGN STRATEGY 3.3.9

Social Space

The social space is the hub of the hospice, the heart of the building situated to the far north of the central block. Inspired hugely by the Maggie's Lanarkshire, the area consists of multiple zones all welcoming each individual.

SOCIAL SPACE PRECEDENTS

The social space can be seen from the entrance, behind which is framed the panoramic view of the River Clyde. The kitchen table is the most important feature of the social space, creating a point for people to gather and share their experiences over a cup of tea.

Exposed glulam columns open up the space and add warmth within the room, in combination with the timber flooring and features. A selection of sofas and chairs are readily available as points of pause or reflection, with views to the external environment at all times.

Double doors lead visitors out onto a fully accessible terrace, which is also linked to the courtyard to rectify the relationship between inside and outside. The social space is placed to the rear of the building so as not to disturb people residing in their bedrooms Kitchen units are recessed into the feature wall to create a flexible and welcoming kitchen area that anybody can use. There is also an additional staff kitchen to cook large meals for the hospice, but in order for the patients to retain their independence, every daily experience is offered within the hospice.

Being situated at the end of the building allows the users to see their end destination as well as exploring the full building journey to that point.

SOCIAL SPACE SECTION 1:50 AT A3

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3 | DESIGN STRATEGY 3.4 Landscape 3.4.1

Precedents

In order to develop the landscaping surrounding the scheme in line with the orthogonal forms of the building plan, various schemes and themes were researched for assistance.

Due to the industrial history of the Graving Docks site, Landschaftspark Duisborg-Nord was initially looked at in depth to associate the parks industrial heritage and nature within the landscape. The site is currently home to many industrial features from the old use as a shipyard, as well as a derelict pump house. Although these areas could be improved to reflect the sites old heritage, as the buildings key principle is to reinvent Govan and its health, it is important to take into account new and clean lines of landscaping.

Angular landscaping plans which take into account and manipulate building lines were researched, alongside primarily concrete slab pathways and hints of timber to reflect the external building materials within the landscaping.

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DEFINING SPACES SKETCH

INITIAL SKETCH CONCEPT

LANDSCAPE DEVELOPMENT

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LANDSCAPE (2) 1:1000

LANDSCAPE (3) 1:1000

3 | DESIGN STRATEGY 3.4.2 Landscape Masterplan POND

CONCRETE SEATING

CONCRETE PAVING SLABS

TIMBER DECKING

GRAVEL

SYRINGA TREES

The use of external spaces within a hospice is very important in determining what patients see from within the building, and what they can experience by smell / touch / noise when outside. This was therefore a key principle when it came to choosing planting and pavement surfaces.

The development of the building plan quickly created a defined avenue on approach to the building, and a large external space at the centre of the scheme.

Through the development of landscaping concepts, it was clear that linear routes as a result of the doors / links outside from the hospice were a main principle. These were portrayed with concrete slabs to create a link between the landscape and the two walls that are routed to the site. Concrete is also the materiality chosen for the seating elements within the garden. Utilising a robust material such a concrete will not only supply a long-lasting material, but link the seating to the surrounding environment.

Hints of timber decking are used within the central space, hinting at the chosen elevation material, and also creating a gathering point where people can easily meet.

Trees and planting were a large factor in the external experience.

The noise of leaves rustling, the feel of rain drops falling from leaves, the smell of flowers, all exaggerate the sensory experience for the users. The use of birch trees within the scheme alongside syringa (lilac) trees will allow bursts of colour within the summer months.

Water is also a key feature within hospice design. With directed views over the river and basin being a key factor in the building design, it was important to also encapsulate this within the landscaping plan.

This was conveyed by a pond being incorporated into the landscape plan.

Planting beds and open green spaces have been selected as areas for patient participation, encouraging them to take part in planting seeds and shrubs during the correct seasons.

DDA compliant routes are thoroughly available throughout the landscaping plan, with all paths on a level surface and slip-resistant materials being chosen to avoid injury or discomfort.

LANDSCAPE MASTERPLAN 1:200 AT A1

BIRCH TREES

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3 | DESIGN STRATEGY 3.5 Building Envelope 3.5.1

External Drawings

External materiality is key to presenting the scheme in the correct way. A texture study carried out early into the site analysis stages of design identified various rough and smooth textures throughout the Graving Docks site, from historic stone to rusted metals. It is important not to neglect but celebrate the contrast in the textures within the site, and carry out the same attitude when it comes to designing elevations and choosing the materiality.

There are four key external materials making up the external faรงades of the hospice design. As previously noted, the main walls routing the building to its site are two concrete feature walls. The smoothness of the material will contrast with the main building material in order to create a contrast similar to the textures within the Graving Docks.

TIMBER CLADDING & LOUVRES

CONCRETE FEATURE WALL

The main cladding material within the scheme is timber. The rainscreen cladding system is made up of a Siberian larch that will weather naturally overtime to create a neutral aesthetic. Fins are also present throughout the facade to add a texture to the elevations. A rough timber finish will be chosen in contrast to the smoothness of the concrete walls.

Curtain walling is a large part of the scheme, maximising the daylight gain within the building and being used alongside timber to create light faรงades amongst heavy walls. Black mullions are used to stand out amongst the glazing and add another layer of texture to the elevations.

A metal roof cladding system is used to finish off the scheme. Zinc standing seam cladding protects the roof structure and wraps over 400mm of the facade, adding an extra touch to the elevations as well representing the industrial history of the site.

ZINC ROOF CLADDING

CURTAIN WALLING

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NORTH ELEVATION 1:200

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WEST ELEVATION 1:200

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3 | DESIGN STRATEGY 3.5.2

Final Design Model

The design model makes up the last in the series of concept models that have been developed throughout the design process. I find models very useful in portraying design ideas simply in 3D form.

The images portray the final design in model form at 1:200. It was useful to see how it fit the site model and allowed me to gain a better understanding of how it relates to the site.

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3 | DESIGN STRATEGY 3.5.3

Internal Materials

The internal materials are not dissimilar to what is evident externally, reiterating further the importance of the relationship between the interior and exterior environments.

The concrete walls running through the site will be left exposed throughout the building, remembering and respecting the industrial history of the site. The grey of the concrete wall will contrast with warm timber flooring, an ideal material for infection control and slip resistant surfaces.

Storage walls are evident in each bedroom, which are a mixture of timber and a painted plasterboard finish to create light and airy spaces.

Light and neutral finishes are used within the interiors, in contrast to the black mullions within the curtain wall areas.

WINDOW SEATS

OAK FLOORING

CONCRETE STORAGE WALL

BEDROOM STORAGE WALL

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INTERNAL 3DS

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BEDROOM_ INTERNAL VIEW

ENTRANCE_ INTERNAL VIEW

SOCIAL SPACE_ INTERNAL VIEW

COUNSELLING ROOM_ INTERNAL VIEW

CIRCULATION_ INTERNAL VIEW

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3 | DESIGN STRATEGY 3.8 Building Regulations 3.8.1

Daylighting

Standards state that 'every building must be designed and constructed in such a way that natural lighting is provided to ensure that the health of the occupants is not threatened.

The Environmental Design Pocketbook states that good daylighting depends on: - amount of daylight available - external obstructions and reflectance - internal reflectance of room finishes - proportion of window opening - location of window opening - depth of plan.

Daylighting is expressed as 'daylight factor' (DF).

Daylight =

internal daylight x 100 external daylight

The minimum daylight factor is 1.5-2% in habitable rooms.

Recommended daylight factor is 5%

Window room area - total window area should be smaller than 10% and ideally around 20% of the floor area. It should be no greater than 40% on south and 32% on other orientations to prevent overheating.

Shallow plan - natural daylighting and natural ventilation can be achieved with floor plan depths up to 2 x floor-to-ceiling height, if the facade is fully glazed.

Introduce lightwells and courtyards into deep plans - this can provide daylighting and fresh air where depth of plan is greater than 12m.

Floor to ceiling curtain walling is used across some of the key faรงades in order to maximise the light within the building and minimise the requirement for mechanical ventilation and artificial lighting. Where artificial lighting is required, LED lighting is used to reduce the quantity of electricity used within the scheme.

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3.8.2

Accessibility

In accordance with the Scottish Building Standards, 'every building must be designed and constructed in such a way that all occupants and visitors are provided with safe, convenient and unassisted means of access to the building.'

The Building Regulations state that where car parking is provided within the curtilage of a building, it should include accessible parking on a ratio of at least 1 per 20 parking spaces. However, due to the nature of the design, there are 3 accessible parking spaces within the 25 provided. The spaces are no more than 45m from a common entrance, with drop off spaces located in close proximity to the entrance and separate parking for direct access to the sanctuary spaces. All accessible parking spaces are clearly marked with the international symbol of access.

An accessible route is in place for all of the entrances, with no barriers, kerbs, or other obstacles that may pose as a hazard for disabled users. All floor surfaces internally and externally are uniform and have a smooth finish so that it is easy to manoeuvre with no possibility of slipping. Concrete paving slabs are used with a contrasting colour to the road surface in order to suit the needs of those with a visual impairment.

Primary accessible routes within the hospice have a minimum width of at least 3.5m, and secondary routes 2.5m. Although the standards state a width of 1.8m to allow two wheelchair users to pass safely, the extra width will allow the corridors to act as a social place where wheelchair users can pause and talk without causing a hazardous obstruction.

Within the hospice, timber flooring is used to provide sleek floor finish for wheelchair users, as well as giving a warm aesthetic and homely feel to the building.

Externally, an industrial slate finish is used for the road surface, and concrete paving slabs as previously noted are used for paths and pedestrian routes. These materiality choices suit the industrial history of the site, whilst also supplying suitable surfaces to suit the needs of every user.

3.8.3

Escape

As written in the Scottish Building Standards, 'every building must be designed and constructed in such a way that in the event of an outbreak of fire within the building, the occupants, once alerted to the outbreak of the fire, are provided with the opportunity to escape from the building, before being affected by fire or smoke.'

The stages of escape within my building are: - escape from the room of fire origin or escape from the fire where only one direction is possible, - escape from the compartment of fire origin or until the safety of a fire resisting wall is reached.

There are two forms of escape from within the hospice: - Direct escape - the occupant can escape from a building directly to a place of safety by way of a final exit door, - Internal escape - occupants escape from fire using enclosed corridors inside the building to reach a final exit door from the building, leading to a place of safety.

Travel distance is the distance users must travel to a protected door.

From this point, there must be direct access to one or more of the following: - a place of safety, - another compartment, - a protected zone, - to a door or sub-compartment wall.

For very slow evacuation, occupants must be within 9m of a protected door in one direction of travel. In the case of more than one direction of travel to a protected door, there can be a travel distance of 18m.

In the case of the hospice, each room comprehends with the travel distances, with many rooms (especially bedrooms) having multiple exits.

According to the building standards, the maximum total area of any fire compartment is 1,500m2, therefore the hospice will require two fire compartments to be calculated by fire engineers in order to contain the spread of fire.

Large hold open doors are present throughout corridors, allowing the spaces to be separated in the event of a fire.

60 minute fire resistant plasterboard also protects all of the walls and ceilings within the building to ensure extra fire protection and coincide with building regulations.

8m 8m 8m

9m

9m

5.4m

9m 9m

9m

5.4m

6.5m

5m 9m

9m 3.2m 7.9m

9m

12m

5m

9m

8.6m 14.5m

9m

3.7m

9m

3.2m

6.2m

9m

9m

4.5m

PRIMARY ACCESSIBLE ROUTE SECONDARY ACCESSIBLE ROUTE

PRIMARY ESCAPE ROUTE ALTERNATIVE ESCAPE ROUTE TRAVEL DISTANCES

9m

ESCAPE DISTANCES 1:500

ACCESSIBLE ROUTES 1:500

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4 | TECHNICAL STRATEGY 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 4.11

Structure Spans Floors Roofs Walls Ventilation Strategy Heating Strategy Biomass Boiler Lighting Strategy Glazing Insulation

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4 | TECHNICAL STRATEGY 4.1 Structure A Glulam frame structure is used within the scheme for several reasons. Glulam is not only the natural, renewable and recyclable choice, but it also has a much lower embodied energy than reinforced concrete and steel. Glulam is also 2/3s the weight of steel and 1/6 the weight of concrete, requiring a smaller quantity of material for construction.

Glulam is a structural timber made up of multiple layers of dimensioned timber which is bonded together with moisture-resistant structural adhesives. For this reason, it allows a smaller quantity of structural material that supports longer spans.

A simply support column and beam is used as the form of construction, with connections made using steel dowels.

The use of glue laminated timber columns and beams within the scheme gives it a virtually unlimited life span, that has a highly predictable performance in fire as the timber chars at a known rate of 40mm per hour which retains the structural integrity of the building.

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STRUCTURAL PLAN 1:500

4 | TECHNICAL STRATEGY 4.2 Spans The typical spans using Glulam are between 4-30m. Within the project, the average span is 4-5m, with a maximum span of 6m.

Glulam beam and post construction has the following features: Typical depths (d) = 180-1400 mm Typical spans (l) = 4-30m Typical l/d = 15-20m The most economical breadth of columns are used within the project, creating 140 x 140mm columns.

Calculated using the span to depth ratio, the maximum span is used to calculate the beam depth requirement for the building. (l / d) x 1000 = beam depth (6 / 20) x 1000 = 300 This leads to 140 x 315mm Glulam beams being used throughout the project.

STRUCTURAL MODEL

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4 | TECHNICAL STRATEGY 4.3 Floors

4.4 Roof

Strip foundations of 1m depth and 750mm width are used within the scheme to support the Glulam frame structure. Strip foundations are also the least expensive type of foundation and support the closely spaced rows of columns.

There are two types of roof within the scheme, a flat roof and two mono-pitch roofs. This enables the use of a timber deck warm roof construction.

Glulam Attachment - Mild steel base plate with welded studs glued into the base of the timber post. Cast in holding down bolts or resin anchors to the concrete either exposed or rebated into the base of the timber post.

The floor is constructed as a concrete floor slab. 200mm of rigid insulation lies between the floor slab and a 75mm layer of screed. The layer of screed houses the underfloor heating slabs at an optimum thickness, creating a good conductivity to the underside of the floor finish (timber flooring).

The primary internal floor finish in all dry areas of the building is Russwood Chateau Oak flooring. The solid, contemporary flooring is in a natural colour to create a continuation from the external to internal spaces, ultimately creating naturally inspired interiors. The 20mm thick panels are 150mm wide and 2m long. The use of timber flooring will add warmth to the spaces, as well as providing an easy maintainable surface that will allow the transfer of heat from the underfloor heating system.

As a result of warm timber being used primarily as cladding, bringing an aspect of metal as the roofing material provides a sleek finish and a contrast in appearance.

VMZINC PLUS standing seam warm roof is used in a pre-weathered grey finish in order to achieve an appearance that will not change overtime, drawing into the industrial history of the site.

The zinc cladding provides a warm roof on rigid insulation, and is fixed through the Glulam deck with specific clips and screws.

The lightweight material is flexible as it can be used on roof pitches from 3 to 60 degrees, and at only 0.7mm thick it does not distract from the focal curtain walling within the scheme.

To break up the elevation and exaggerate the overhang on the central finger of the hospice, the zinc cladding is wrapped over 400mm of the elevation.

A suspended ceiling is used within the scheme, finished with plasterboard, to hide any services and provide a comfortable floor to ceiling height.

4.5 Walls 4.5.1

External Walls

The external walls have an overall thickness of 382mm. The 140 x 140mm Glulam columns allow a high efficiency insulation to be used in between column spacings.

Timber cladding makes up the majority of the external facade of the building. Russwood Siberian Larch cladding is used to tie in with the timber structure of the hospice. Siberian larch is suitable for all external timber cladding applications, and as it is a naturally dense timber of 75-90% heartwood with a kiln-dried moisture content of 1618% it is not easily damaged by highly exposed elevations which is a major factor for the Graving Docks site.

Siberian larch cladding is also a cost-effective option, which is essential due to the large surface area that it is covering. In contrast to Western Red Cedar which is £45/m2, larch is not only cheaper at £26. m2 but it is manufactured in a wider variety of widths and lengths.

25mm thick fixed lengths of 4m larch cladding are used vertically on the façades, with the 200mm wide panels being attached back to the structure using timber battens through rigid insulation.

Aesthetically, Siberian larch cladding has a clean, consistent look with a straight grain and relatively few knots, which gradually weathers to a consistent silver grey colour over time. These qualities ensure that the cladding does not require maintenance over the 50-100 year life span of the building.

Internally, the walls are finished with two layers of 60 minute fire protected plasterboard for a clean aesthetic, creating a 50mm service cavity to meet any requirements.

Brise soleil are used in Siberian larch sporadically to allow the filtration of light into the rooms and prevent any glare from direct sunlight.

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EXTERNAL WALL AXO 1:20

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4 | TECHNICAL STRATEGY 4.5.2 Internal Walls The partition walls within the building consist of non-loadbearing timber stud partitions. High levels of acoustic performance and fire resistance can be achieved through the use of Gyproc Fireline Plasterboard.

The 12.5mm thick partition walls are composed of 2 x 12.5mm Gyproc Fireline Plasterboard on either side of the timber stud, resulting in 60 minute fire resistant walls within the building. 75 x 38mm timber studs are used at 600mm centres to create 38 RwdB of sound insulation with no insulation.

Overall, the 125mm wide option from British Gypsum provides an efficient solution for non-loadbearing walls within the scheme.

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INTERNAL WALL AXO

4 | TECHNICAL STRATEGY 4.6 Ventilation Strategy

SUMMER CARCADIAN

A Mechanical Ventilation and Heat Recovery (MVHR) system is used as a 'whole building approach' ventilation strategy within the hospice.

The air-to-air heat exchanger provides ventilation to all habitable rooms whilst removing the stale air, re-using between 90-95% of the heat that would have otherwise been lost.

There are several benefits of using a MVHR system within the scheme: - constant removal of condensation and indoor pollutants - Environmentally friendly way of recycling and re-using heat - low-noise ventilation system

WINTER CARCADIAN

SPRING/ AUTUMN CARCADIAN

SUMMER In the summer months, natural ventilation is the primary cooling system within the building. Open-able windows given ventilation to improve the indoor air quality. Simultaneously, the MVHR system is used to remove the stale air from wet areas such as bathrooms and the kitchen to prevent overheating and condensation. Due to the high performance insulation and building materials, there is no heating requirement over the summer.

WINTER During winter, the low angle of the sun allows light to penetrate deeper into the floor plan, resulting in solar gains but also glare.

Brise soleil are used to prevent glare and gain an aspect of control over the light within the rooms. Due to the low outdoor temperatures, natural ventilation is not possible. The MVHR system supplies the building with supply air, removing exhaust air in the process. An underfloor heating system is in place to provide heating via a biomass boiler to maintain a regulated thermal environment.

SPRING/AUTUMN During the spring and autumn months, both natural and mechanical ventilation systems are required. Natural ventilation is normally acceptable to control indoor air quality, but due to the location of the scheme, opening windows could result in too much heat loss. In this case, the MVHR system is adopted to maintain a controlled internal environment comfortable for every user. If it is particularly cold, the underfloor heating system is available as means of heating, although due to the wall build up this should not be required.

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4 | TECHNICAL STRATEGY 4.7 Heating Strategy The building temperature is regulated using an Uponor underfloor heating strategy. The heat is distributed through the scheme from the central distribution point, which is served by the primary heating source (the biomass boiler). From this system, warm water is distributed to the pipes of the underfloor heating system. In addition to this, the underfloor heating system operates with a low water temperature flow and return, therefore requiring additional individual temperature controls and its own pump.

The main benefit of using an underfloor heating system is that it erases the requirement for radiators or convectors within the design, instead utilising the whole floor area as a heating medium. This will ensure a consistent, comfortable temperature within the structure. In addition to this, underfloor heating distribution systems only require a heat input of 30-40 degrees Celsius, as opposed to conventional radiators requiring 60-90 degrees Celsius, defining them as the most efficient way of distributing space heating.

A screed floor system is the most efficient with an underfloor heating system, relying on the conductivity of the screed to conduct the heat from the pipe surface to the underside of the floor finish. The screed floor used within the scheme is 75mm thick, creating the optimum screed surface for underfloor heating. A layer of insulation is required immediately below the pipework to prevent any downward heat loss and maximise the heat gain within the structure.

The standard pipe spacings of 300mm for solid screed floors create a requirement of 3.4m/m2 quantity of 20mm wide PEX pipes. The pipe layout is such that the flow direction is to the coolest areas of the room first, creating a meandering pattern of pipework with a 100mm bend radius.

Multi-zone installations allow Individual room controls as wireless controlled room thermostats. This will allow the individuals in the bedrooms or social areas to have control over the air temperature at a personal level.

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4 | TECHNICAL STRATEGY 4.8 Biomass Boiler

4.9 Lighting Strategy

Biomass boilers are a carbon neutral and renewable alternative to fossil fuel boilers. By 2020, 15% of all energy generated in the UK should be from renewable sources, therefore a biomass boiler supplies the hot water for the underfloor heating system within the hospice.

LED (light emitting diode) lighting is used within the design as a form of energy efficient lighting. LED lighting uses approximately 10% of electricity than that of a standard light bulb.

Wood chip pellets are used to fuel the system as they suit medium to large scale buildings, and can be locally sourced from Tracey Timber Recycling in Paisley. Wood chips are a waste product that are cheaper to buy and are recommended for schemes with a demand of more than 25kW. It is estimated that a 50kW system is required to suit the building size, which as a result requires 12.5 tonnes of fuel per annum. 1 tonne of wood chip fuel currently costs £80 (or 2.3p/kWh), therefore to run the system it will cost approximately £1000 per year for fuel which is cheaper than current gas prices.

Although biomass boilers are more environmentally friendly than a fossil fuel boiler, they do require more maintenance. A weekly visual inspection should be done by a member of staff who must also empty the ash bin.

The chosen system is the 50kW Guntamatic PowerChip biomass boiler

by Treco, a multi-fuel system that can maintain up to 96% efficiency between 26-100% of output. The fully automated system is also self-cleaning, via a constant motion of the turbulators keeping the heat exchanger tubes free from efficiency-reducing deposits.

There is a low ash content with the system, which means only 0.5-1% ash to the volume of fuel. This means that the 60-80 litre ash bin requires less maintenance, only needing to be emptied every 6-8 weeks.

With a 25m2 storage space in place for wood chips within the plant room, only 5-6 deliveries are required per annum to supply the biomass boiler, further reducing fuel costs in the transportation process.

As a result of LED lighting not only using less electricity, it also produces less heat which puts less pressure on maintaining temperature within the scheme. Less carbon emissions result from LED lighting, helping the environment as well as creating savings of up to almost 70% within the building.

LED light bulbs also have a long life span, with one bulb lasting having between 25,000 and 100,000 hours of use.

4.10 Glazing A triple-glazed, curtain walling system is in place within the scheme, finished with black aluminium mullions to contrast against the warm façades. A low-emissivity coating is combined with argon gas cavity to allow solar gain into the building, and prevent heat loss out of the building. Using a triple unit, argon filled 44mm glazing system will give a U-value of 0.58 W/m2K within the scheme.

4.11 Insulation Rigid, high performance insulation is used within the building. Kingspan Kooltherm K12 Framing Board is used within the external walls to provide a premium performance insulation. The Class 0 fire-rated insulation core is manufactured in 1.2 x 2.4m panel sizes, and sits between the Glulam columns. This particular rigid insulation was used at 140mm thickness to provide a thermal conductivity as low as 0.020 W/m-K.

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| APPENDIX A B C

Technical Strategy Sketches Models References

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WALL TO FLOOR DETAIL 1:10

| APPENDIX A

ROOF DETAIL 1:10

Technical Strategy Sketches

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| APPENDIX B

Bedroom Models

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CONCEPT BEDROOM MODELS 1:50

| APPENDIX B

Concept Models

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CONCEPT 3 MODEL 1:500

CONCEPT 3 MODEL 1:500

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CONCEPT 4 MODEL 1:500

CONCEPT 4 MODEL 1:200

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STRUCTURAL MODEL 1:200

FINAL DESIGN MODEL 1:200

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| APPENDIX C

References

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2nd ed. Oxon: Routledge.

Hertzberger, H (2009). Lessons for Students in Architecture. 6th ed.

Rotterdam: 010 Publishers.

Keswick Jencks, M (1995). A View from the Front Line. London: Maggie Keswick and Charles Jencks.

Pallasmaa, J. (2012). 3rd Edition. The Eyes of the Skin. West Sussex: John Wiley & Sons Ltd. Pelsmakers, S (2012). The Environmental Design Pocketbook. London: RIBA Publishing.

Robbins, J., Moscrop, J. (1995). Caring for the Dying Patient and the Family. 3rd ed. London: Chapman & Hall.

Rowe, C. (1976). The Mathematics of the Ideal Villa. Cambridge, Massachusetts: MIT Press.

Sheeham, D. C., Forman, W. B. (1996). Hospice and Palliative Care: Concepts and Practice. London: Jones and Bartlett Publishers International.

Sternberg, E. M., M.D. (2009). Healing Spaces. Cambridge, Massachusetts: The Belknap Press of Harvard University Press.

Unwin, S (2000). An Architecture Notebook. London: Routledge.

Worpole, K (2009). Modern Hospice Design: The Architecture of Palliative Care. London: Routledge.

Zumthor, P. (2006). Atmospheres. Berlin: Birkhäuser.

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Zumthor, P. (2010). Thinking Architecture. 3rd ed. Berlin: Birkhäuser.

Buxton, P (2015). Metric Handbook: Planning and Design Data . 5th ed.

London: Routledge.

Films Blind Young Things. Zac Beattie. Channel 4, 2007. Documentary Film.

Seven Pounds. Gabriele Muccino. Sony Pictures, 2009. Film.

The Fault in Our Stars. Josh Boone. 20th Century Fox, 2014. Film.