'Testing Ground' Live Build Project by Laurence William Ashley

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p. 05-09

Design Team Meetings Diagram: A representation of each meeting we have attended with the wider design team members.

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External Consultants

Live Build An alternative approach to architectural research.

// INTRODUCTION & TIMELINE 04-11

p. 09

An introduction to the various projects we have taken on as part of the Linked Research module p. 10-11

PROLOGUE //

Dis[connect], 12-23

MIMA: Come check us out

p. 14-19 Art Monthly Review p. 20-21

p. 13

PROLOGUE //

Diary Entry p. 22-23 Site Visit to Rochester Roundhouse 24-29

Site photographs

Site Experience: Before the commencement of our own project we had the opportunity to visit previous live build projects produced by previous students of Newcastle University. p. 25-26

p.27-29

LIVE BUILD // STAGE 00

p.32-39

Wildlife Hide, Welcome Point & Viewpoint 30-172

STAGE 02 p.60-83

p.42-45 Design Team Responsibility and Communication

p.62-69 Teams and Themes

p.46-49 Initial Site Visit and Survey

p.70-83 Design Presentation

p.50-51 Hygromorphic Technology

Essay: The Artificial Wild: Hybrid Ecologies p. 52-59 38-39 Bakethin Masterplan

STAGE 01 p.40-59 p.100-107 NOTES

p.108- 113 Final Client Submission: Wildlife Hide

-Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Circles indicate position of trees. Dashed line indicated estimated tree canopy. Red dash indicates outline of existing bird hide structure and path. Line indicates roof above. Blue line indicates shoreline

p. //-// A

NORTH FACING ELEVATION

Dashed line indicates Contours Dashed line indicates existing screening position

SOUTH FACING ELEVATION

STAGE 04 p.98-121

STAGE 03 p.84-97

-00.50

FRONT ELEVATION

Sill

Step providing raised viewing for children

Sill

+00.25

-00.25

Vertical slats for visual connection between pods

B Forest continues along shore line

Window at lower level providing views for mixed user types [see A205 for location].

p.114-119 Final Client Submission: Welcome Point

Area at bottom of ramp to be paved using locally sourced stone. +00.00

-00.25

Area at the top of the slope to be paved using locally sourced stone.

+00.25

Dashed line indicates existing screening position Reclaimed stone from edge of existing ramp. +00.00

Reclaimed timber column holding up rear structure of the roof.

REAR ELEVATION

Charred black timber screening to prevent people from disturbing the wildlife.

Charred black timber screening to prevent people from disturbing the wildlife. 5 meter ramp at 1:10 gradient. Retaining wall between ramps constructed from timber sleepers; with handrail guards at 1100mm. 5 meter ramp at 1:10 gradient.

Revisions A - 26-03-16 - Notes and plan alterations. B - 26-05-16 - Notes and plan alterations. C - 31-05-16 - Groundwork alterations. client

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST

project

Dashed line indicates start of gradual slope.

+00.00

PROPOSED BIRDHIDE PLAN Grey area indicates existing path.

drawing status

p.90-91 Planning Submission

p.92-95 Prototyping

p.96-97 Initial HSE and Project Management Documentation

SOUTH FACING ELEVATION

NORTH FACING ELEVATION

PLANNING

scale

date

drawn by

checked by

1:50 @ A1

p.120-121 Diary Entry

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

+00.00

drawing number

A111

31/5/16

revision

Newcastle University School of Architecture, Planning and Landscape Newcastle upon Tyne NE1 7RU UK

T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

PROPOSED BIRD HIDE PLAN 1:50 @ A1

Essay: Technical Design: A Balancing Act

Essay: “Waste Not, Want Not” p. 136-141

STAGE 05 p.122-151

STAGE 06 p.164-193

p.126-131

p.166-168 What is Handover?

p.124-125 Sourcing diagram

Essay: Stop the Rot

p.168-170 Current Programme

p.132-135 Prefabrication

p.170-179

Site Works p.142-143 Setting Out p.144-145 Groundworks p.146-149 On Site Construction p.150-151 Diary Entry

Essay: Materialising the Imagined p.180-199 Final Photos

A Critical Reflection p.200-203 Acknowledgements p. 204

Chapter 01

INTRODUCTION

Live Build An Alternative Approach to Architectural Research.

“Live projects ...exist in complex, unpredictable spaces where skills of negotiation, ﬂeetness of foot, resourcefulness, time management, and ability to deliver within (changing) constraints to a range of audiences are at stake and of value.”1

he work within this document reflects the live project research we have undertaken alongside Professor Graham Farmer. In the context of this project, the term ‘Live Build’ is not only associated with a change in architectural pedagogy, but also relating to a specific kind of research methodology. This methodology of ‘research by design’ becomes an important idea to discuss, challenging the thought that research in architecture is just “a structured investigation of which the goal is communicable knowledge” .2 he research through design within this project has come about through the process of a ‘Live Build’ —this live project has been undertaken by students of Newcastle University

T 1

Harriss,H. & Widder,L. (2014). Architecture Live Projects: Pedagogy into Practice. London & New York: Routledge. Foreword.

Hauberg, J. n.5 (2011). Research by Design - a research strategy. Revista Lusófono de Architectura e Educaçào - Architecture & Education Journal.

and an external collaboration with Northumbrian Water and Kielder Art and Architecture for mutual benefit. The process involves negotiating a brief, client, budget, realistic timescale, and product.3 In the current architectural system, students often have very little or no experience working with clients, contractors or directly in the construction process until post graduation. In order to overcome the lack of experience with regard to the gap between education and practice, the architectural educational system has introduced live projects.

ive projects are often taught away from core design studio modules4, since the focus of these projects refers to the ‘...engagement of real clients or users, in real-time settings.5’ The unpredictable nature of the live project is a key aspect of the process; students have to grapple with complexities, adapt to overcome ‘real life’ problems and create solutions. It has been said that ‘Live projects exist between the two tectonic plates of learning in academia and in practice.’6 Change in pedagogy of architecture allows for this opportunity to experience the inevitably unpredictable

Anderson, J. and Priest, C., 2012. Developing a liveprojects network and exible methodology for live projects. In: Architecture Live Projects Pedagogy International Symposium 2012. Oxford Brookes University, 24-26 May 2012. 4 Harriss,H. & Widder,L. (2014). Architecture Live Projects: Pedagogy into Practice. London & New York: Routledge. Foreword. 5 Sara, R. (2006). Live Project Good Practice: A Guide for the Implementation of Live Projects. Available: https://www.heacademy.ac.uk/sites/default/ les/Brie ngGuide_08.pdf. Last accessed 16th Jan 2015. 6 Harriss,H. & Widder,L. (2014). Architecture Live Projects: Pedagogy into Practice. London & New York: Routledge. Foreword.

SeeAppendix:Meetings p.252281 for more information

“The Live Build project provides the ‘value’ of the ‘real world’ experience, with multiple actual variables: the brief, the concept, client meetings, planning authorities, budgeting, suppliers, lead times, health and safety, design for access, consultants, detailing, tender, construction and hand over.”

nature of the “real world”. Although live projects seek to solve problems that arise through the design and construction process, we will use this process as a research methodology to provoke further questions and inspire further research. ‘Often, the research process starts with a research question, passes through a methodological reasoning and then arrives at a new, true or possible answer or solution. Research by design suggests a practice somewhat in the opposite direction where research may arise from design from the proposal, model or experiment to the generalisation and rationalisation by consciously extracting rules about the object of the research process - nomothetic research.’7

lthough as a group we have all only previously used conventional architectural research methods ranging between the sciences and humanities, our research work over this module focuses on a research through design methodology. Scientific research seeks to provide quantifiable explanations with definite knowledge, which can be observed, tested and proven correct,8 alternatively humanities are concerned with exploring research questions pertaining to mankind, based on generally acknowledged arguments and writings, theories and philosophies.9 It is important to understand that as researchers of architecture 7

Harriss,H. & Widder,L. (2014). Architecture Live Projects: Pedagogy into Practice. London & New York: Routledge. Foreword. 8 Ibid. 9 Archer, B.(1995, January). The nature of research. Co-design, Interdisciplinary Journal of Design.

we position ourselves between humanities and sciences, as both form integral parts of our work; our own advancement of architecture is linked to the acquirement of knowledge through research and these varied research contexts allow us to interrogate and develop10. Although research in architecture is part of humanities and science research methodologies, Jørgen Hauberg argues the most important way in which the architect achieves new cognition is through work with form and space - drawings, models and completed works.’11 It can be extended to say that architectural works, products, structures and buildings are evidence in the architectural cognition. Architectural knowledge lies to some extent in the building, but also, elsewhere, in its representation, theories and philosophies, processes of sketching, designing and building. Therefore, the boundaries of architectural research should also expand beyond the final product.

Research by Material

esearch by design is inevitably ‘bound to materials … Knowing materiality and context of the place is necessary to build.’12 Therefore this research differs from previous research methodologies, since it is naturally concentrated around material or manufacturing experimentation.

Till, J. (Date unknown - late 2000s). Architectural Research: three Myths and One Model. RIBA Research Committee.. www.architecture.com/files/ ribaprofessionalservices/researchanddevelopment/whatisarchitecturalresearch.pdf 11 Hauberg, J. n.5 (2011). Research by Design - a research strategy. Revista Lusófono de Architectura e Educaçào - Architecture & Education Journal. 12 .Ibid

DTM 1

DTM 2

01.02.2016

12.07.2016

DTM 3

DTM 4

15.09.2016

30.09.2016

16 1

4 5

DTM 5

DTM 6

11.11.2016

10.01.2017

2 2

5 4

â&#x2C6;&#x2020;

Comparative diagram of each Design Team Meeting we attended.

Hauberg states: ‘Architecture is in the most fundamental way about how ideas are embodied. This inherent focus on the material and the practice of making permeates architectural thinking, its concepts and its language.’13 In relation to the live project we have undertaken, our interaction with materials, has become the crux of the process, in particular our work with hygromorphics and timber. We are breaking the traditional boundaries of labour, not only undertaking a process of research by design, but also research through production. In line with Hauberg’s ideas, this research method will propose work between architectural practice and research process and methodology, since both can fundamentally be said to consist of the following elements within our process (originally outlined by Hauberg):14 Basic perceptions: As previously stated, we have looked at other research methodologies to place our research within the context of wider architectural academic work. It is important that we read around the most recent articles of hygromorphic research as well as researching the material in order to understand and build on existing theoretical and practical work. This research process will provoke discussion and in part become advocated for further research, potentially surrounding the changing pedagogy of architecture.

Subsequent rationalisation: Through research by design, research by material and testing in practice, we will subsequently deduce a series of arguments, research topics and theoretical explanations pertaining to the process work. Communication: The material will be presented in the form of a research document accompanied by an extensive appendix. This will show the relation of our process with the research methodology in a consistent, reasoned and evidential manner. 15

o conclude our architectural design process will take a path through research with new methodologies, practices and products. This research through design will allow further research to arise from the design process.’16 With these methodologies in mind, we seek a different architectural pedagogy in the educational system through the introduction and integration of live projects. We believe these projects rethink, interrogate and research the gap between education and practice, and challenge the current academic perceptions of research.

Investigation: Our live build process will provide the testing ground for our investigation and critical analysis of the design, construction method, materials used and the local environment. We will use a research by design methodology in order to probe for new questions at the end of the process and raise further investigative topics for future research. Programme: We will work within and understand the various stages of the RIBA Plan of Work (2013), and aim to quantify the knowledge gained from the process assignment. We aim to solve the briefs with the intention of strategically researching through the programme procedure. We aim to complete this research by the end of the 2017. Proposals - (product) development work: We will design and construct spatial proposals to various briefs. This experience will provide research independent of our analysis. 13 14

Hauberg, J. n.5 (2011). Research by Design - a research strategy. Revista Lusófono de Architectura e Educaçào - Architecture & Education Journal. Hauberg, J. n.5 (2011). Research by Design - a research strategy. Revista Lusófono de Architectura e Educaçào - Architecture & Education Journal.

15 Hauberg, J. n.5 (2011). Research by Design - a research strategy. Revista Lusófono de Architectura e Educaçào - Architecture & Education Journal. 16 Ibid.

â&#x2C6;&#x2020; See Appendix:Images,Publicity p.360-365 for more images of the project on social media

Project Introduction

Project Progress The planning application for the three projects was submitted 14th June 2016, validated 11th July 2016 and planning approval was received on 20th September 2016. The technical design process progressed early September, and has continued throughout the construction. Work on site commenced with the groundworks contractor (THC Landscaping) on the 13th December 2016; the project is still under construction with a project finish date in mid to late February.

We have taken part in four live projects: two primer projects and two larger construction projects for the Linked Research module spanning stage five and six. These have required different sets of design and construction skills from the students taking part.

ur second primer project was essentially small scale working alongside artists, furniture designers and curators at the MIMA Gallery in Middlesbrough. The work, entitled ‘Dis(Connect)’, used Stephanie Misa’s ‘Grandstand’ as a springboard for an exhibition. The project revolved around the rewriting of the brief to contextualise the project and look at social identity within Middlesbrough. Dis(Connect) is based around the idea of the congregation of various groups of people with differing identities. The modular design of the work encourages users to configure their own spaces and physically interact with the pieces overcoming social barriers whether cultural or language.

hese early engagements refined our ability to collaborate and build. They helped us to prepare for our two larger study projects:

∆

The Wildlife Hide is designed to replace an existing bird hide at Bakethin Reservoir at the northwest end of Kielder Reservoir. The sensitivity of its setting - much loved countryside - meant there was vital liaison and collaboration with a number of actors, notably Kielder Art and Architecture, the Forestry Commission and Northumbrian Water Limited all working for Kielder Water and Forest Park Development Trust. It is part of a larger scheme to reintroduce ospreys into the area through specific nesting sites.

In addition to the hide, a new Welcome Point forming part of an overall Bakethin masterplan is to be located in the visitor car park. A Viewpoint has gained planning approval but is currently on hold until further notice. The project is curated in a way to attract both serious wildlife enthusiasts and general public. The design incorporates original and emergent responsive hygromorphic material technologies. The group has been in dialogue with PHD student and project structural engineer Artem Holstov of Newcastle University to exploit research developments in a real life architectural setting.

∆

he first primer for the module involved assisting previous stage six students in the construction of their project at Rochester, Northumberland. We were able to garner valuable information and understanding of the construction process on site. Seeing at close hand both its successes and failures, being able to analyse strengths and weaknesses, gave us an insight into our own project.

he module has brought us up close with the realities of turning design into construction. We were dealing with a beautiful and protected site but one which is both rugged, remote and subject to extremes of weather. This creative process will give us a better understanding of the differences between design expectations and construction realities. We will be both designers and builders, disciplines often undertaken separately and rarely together. This opportunityenables us to gain valuable insight taking a project from conception to construction, an experience which should resonate for each one of us in future practice.

Chapter 02

PROLOGUE: Dis[CONNECT]

“One might suppose the sheer variety of objects crowded together in the gallery would seem too much, but somehow it doesn’t. Why not? Partly, I suspect, because of the presence of modular furniture designed for the exhibition by Newcastle University. A rational seeming system of low wooden tables and stools which viewers can push around and arrange as they choose, this brings a certain order to the profusion on display and it has the added effect of symbolising the possibility of conversation and community” - Review in Art Monthly

See Appendix: Images, Sketches, p.368-373 for more design interations/ development

â&#x2C6;&#x2020; â&#x2C6;&#x2020;

See Appendix: Images, Photographs, MIMA p.439-440 for more images and references regarding the design

MIMA: Check

Bringing together opposed parties through a universal language and shared values by stimulating discussions into the future of Teesside.

Conducting a study into the contextual value of the Middlesborough Institute of Modern Art project Dis(CONNECT) to the community and local arts industry. Researching the information of the local economy and demographic, understanding the associated intensities, polarities and problems that have influenced the design of the Dis(CONNECT) project.

While ultimately seen as a primer or prologue to the Wildlife Hide project it would be easy to dismiss the value and importance of Dis(CONNECT) as a project. Being credited with a piece of work in a prominent international gallery is a commendable achievement, and the ability to research, test and form processes has become an invaluable tool for the team in the design and fabrication of the projects at Kielder. The brief set out the desire for an installation as part of an exhibition that concentrated on the themes of immigration and asylum in Middlesbrough and the wider Teesside area. Featuring a variety of artefacts and artworks by Teesside-based asylum seekers and refugees as well as British and international artists. The works explored the tensions between free circulation and border control whilst taking into account human rights issues, governmental policies, xenophobia, and identity. The project began with the group taking up a pre-existing project ‘Grandstand’ that had been developed in a collaboration between Berwick Visual Arts and Newcastle University. Originally conceived by Stephanie Misa, the design intent was a yet to be realised modular installation that facilitated public political debate and had been developed by the previous years Linked Research team. Consequentially the initial work on the

∆

Photograph of the installtion piece in situ at MIMA

Come us out

â&#x20AC;&#x153; I am deeply concerned by this issue and I have commisioned Home Office officials to conduct an unrgent audit of asylum seeker housing in the north-east.â&#x20AC;?James Brokenshire

project became a process of feasibility. Could the original concept be retained whilst augmenting to meet the requirements of MIMA and hold relevance in the exhibition. After much development and discussion, it became apparent that the project was deviating too far from the concepts of Grandstand and the aspirations of Stephanie Misa, and was consequently becoming its own entity. This process also brought about an important experience, that of negotiating with other designers and professionals and making decisions that preserve intellectual property and benefit all parties involved.

randstand is yet to find a home, what emerged became Dis(CONNECT). The installation was conceived with the hope of bringing together opposed parties through a universal language and shared values, the goal of which was to contribute to remediating social tensions in the area and begin discussions into the future of Teesside.

Asylum in Teeside

IMA had selected a very contemporary, yet polarising subject for the exhibition and a short history illustrated how recent the issues have arisen. A dispersal system was put in place by the last Labour government to ease the burden on councils in the North East who at the time were receiving a higher proportion of asylum seekers and refugees. This dispersal concentrated on a handful of northern towns with large stocks of cheap or unused housing. Middlesbrough and the wider Teesside area with its relative surplus of unused housing stock had consequently taken on some of the highest numbers of asylum seekers and refugees in the UK. While there are many instances that show Teesside as welcoming, this influx of refugees through charities and volunteers caused a rise in instances of xenophobia and a palpable social tension has descended on the area. Recent controversies have included the introduction of red doors to mark out migrant housing in the area. These instances whether intentional or otherwise form an uncomfortable reference to historical intolerance. The exhibition ran through the summer of 2016, at time when the EU referendum and national mood of the country became heightened with a focus on immigration. This exhibition highlighted the perceived strain and the effects of this on the local community.

Steel Town

he tensions over immigration in Teesside are intensified by the sharp increase in unemployment in the area, especially with the uncertainty of what remains at the Redcar

steelworks after the significant job losses of recent years. Redcar formed a mainstay of employment in the area with the wider regional economy also dependent on it. As experienced in Scunthorpe before and Port Talbot the steel industry decline in the UK forms the last death knell of traditional manufacturing in post-industrial Britain. The Redcar site now stands as a monument to a former age of the area, a ghost town. The future of Teesside hangs in the balance, with its steel industry identity lost can it invoke a process of reinvention and renewal in the manner of other post-industrial urban areas such as Manchester and Sheffield, which closed their industries decades ago? Or will it fall into decline like the mining towns decimated in the 1980s and flat-line into an indefinite period of low employment levels and low social mobility. To this end the aims of the installation were to provide a platform on which a union could be formed between the two parties of the refugee and the unemployed. The intention was to encourage discussion and debate between the two parties, allowing each to stake their future in Teesside through shared values, in an environment free of misunderstanding, hostility and stigma.

Design

he game of chess and checkers were identified as activities independent from language, an international game with a universal understanding, irrespective of cultural background that could act as a mediator to join all sections of the community of Teesside. This concept of games was then realised and later materialised in the form of stools, developing out of the initial ideas that had been associated with the project in its Grandstand beginnings. These stools could then be drawn to fulfil the activities such as games, debate and learning envisaged for them. The design then synthesised and embodied these themes and ideals both in materiality and symbolism. Iroko, an African hardwood was selected for the main structural elements. The material choice selected in part due to its relative cost and because it fulfilled the themes of migration and internationalism. A single stool leg was conceived as a steel section, a motif of the dying industry, painted red as a multi-representation of the refugee doors and of the local football team. The chessboard lid then forms affordances to both the game and a place to sit, the internals storing the pieces necessary to play as well as storage for reading materials relevant to the exhibition.

The Process

iven the time constraints on production and delivery, creating an efficient production line was identified as key for

The primer facilitated the collaboration of sector professionals including artists and curators. Designing through a coordination and management of different desires and intents, provided an explorative base to refine design, practice and techniques that have been consequently adopted and adapted into several processes and methodologies. successfully realising the project. Initial prototyping was conducted in collaboration with a furniture designer and consultant, Hugh Miller, whereupon questions were generated and explored through design and specification of jointing, materials and functions. Through this development each member of the team was introduced to at least one tool, piece of machinery or technique that they were unfamiliar with prior to the project, however the competence of utilising these newfound skills only came with time and practice. In this respect the few early processes of the project once fabrication commenced brought a series of errors that resulted in a reduction of the quality on some of the components, however learning from these mistakes became a useful tool when working towards the wildlife hide, cognition reducing any further error.

he preparation of the hardwood proved to be the most time consuming element of the process with multiple rounds of cutting, planing and sanding. Unexpectedly iroko dust was found to be a dangerous allergen for a member of the group which forced a reconsideration of the work flow and in effect forced a reduction in the available workforce. Typically, the planing down of hardwood requires long periods of rest before the next round to allow for any twisting and distortion to occur so that this can be corrected before the wood is finally assembled. With time constraints at play the wood was processed just a single time and consequently when it came to assemble the stools the wood had indeed warped making assembly with the requisite accuracy very difficult. This problem was further intensified by a large number of mitred and biscuit jointed corners which also restricted the alignment of the components. This in effect created an extra step to the assembly line where parts had to be organised into groups dependent on how successfully they could be fitted together. Once fully assembled the stools needed further treatment to remedy inconsistencies in leg length. Once again illustrating the problems

of negotiating the expectations of the straight and accurate domain of the design conception, through the often unpredictable organic nature of wood, and into a tangible execution that fulfils aspirations.

Class Dismissed

he primer facilitated the collaboration of sector professionals including artists and curators. Designing through a coordination and management of different desires and intents, provided an explorative base to refine design, practice and techniques that have been consequently adopted and adapted into several processes and methodologies. As a prologue the project was full of first experiences, procuring the materials informed the implication of budget on specification, in the architectural world of metric standardisation the irregularity found in hardwood sizes became a source of unexpected difficulty in calculating the quantities necessary, while ensuring the quality of the material was achieved by picking and collecting ourselves. The decision to fabricate our own windows and doors for the wildlife hide was born out of the tacit knowledge collated from the problems faced with the processing of the hardwood, undeterred, the experience has prompted further exploration into the specification of materials and research through design. The augmentation of a production line has developed a consciousness of time and efficiency, and as a collective the team operations in prefabrication have become streamlined while everyone is now able to offer a range of skills within this production process. The final teaching received was the value that community engagement generates. With MIMA acting as much as a social institute as an art gallery, community engagement was paramount to the measure of success. The design was conceived to function through the interaction of groups of people and given the exhibition was specifically targeted at the Teesside community, the teams proposal formed a worthy component in the exhibitions success.

â&#x2C6;&#x2020; See Appendix MIMA : Sketches p.439-440 Photos for more information regarding design

Review of the exhibition in Art Monthly

â&#x2C6;&#x2020;

See Appendix: Emails, MIMA p.320335 for more information regarding communication with the gallery curator

Diary Entry 6:00 AM Meet at university to drive to Liverpool. Remember laser cut ply stool top.

9.30 AM

Arrive at Hugh Miller Studio, Liverpool. Have cup of tea around the table.

Sketch out ideas on board. Talk through materials, decide on Oak and Ply. Discuss sizes, Hugh agrees the sizes.

10.30 AM

Start making prototype. Hugh cuts pieces on circular saw. Sand down the legs and table frame. We learn to plane off the sharp edges on furniture.

11.30 AM We finish off planning and sanding the pieces. We learn how to use a domino to strengthen mitre joints. We will use a biscuit cutter for this at university.

We have lunch at a local bakery. Cheese and leek toasties.

13.00 PM

We glue and clamp together the mitre jointed leg and measure to check whether it is at 90 degrees. This requires lots of patience.

13.00 PM

clamp together the frame and the legs. 14.15PM We Again we measure to check whether the angle it exactly at 90 degrees. This requires more patience.

15.00 PM

16.00 PM We begin fixing some of the inside parts into place including the legs and the frame. We decided on an intentional shadow gap around the legs.

We hit a detail stumbling block in the fixing of the newspaper rack and return to the drawing board. This detail is solved by the introduction of a channel in the ply. Hugh routers the ply and we measure out where the holes are needed for the string to feed through.

17.00 PM

17.45 PM

We add contrasting plugs

18.00 PM

We pack up and go home.

We thread through gold wire (we will use red string). We screwed the inner ply to the main fame.

MIMA Prototyping

Chapter 03

PROLOGUE: Rochester Roundhouse

See Appendix: Photos, Rochester Roundhouse p.437 for more images regarding site visits

Site Experience Before the commencement of our own project we had the opportunity to visit previous live build projects produced by previous students of Newcastle University.

e swiftly discovered that even a few days assisting the sixth years amid the muck and grime of the construction site would prove an invaluable experience. Most group members had little or no on-site experience prior to working on the module. The few days spent on site in Rochester gave us an essential insight into the skills we needed to develop.

orking alongside the sixth years, sharing ideas, advice and experiences, helped us to have a much clearer idea of the process and the end goal. We could plan our route through the thickets of the project more successfully.

hen we arrived for our first visit to the sixth years’ Live Build - Linked research “Roundhouse” project based in Rochester, we were initially struck by its sheer isolation. Rochester is only a small village, which boasts a cafe with a sign, painted onto a flanking wall, bearing the legend ‘last stop before Scotland’. At the time we had little idea that this constituted a built up urban area when compared with our own site.

e learnt straight away our first lesson in the importance of pre site organisation. Our task for the day was to put up half of the pre constructed walls around one of the leading corners. Pre fabricating the walls to a high level of accuracy back in the workshop

meant that floundering about in what was a barren wilderness was reduced significantly, and that we were working to some purpose. The importance of this was only underlined when several trips to the site had to be cancelled due to extreme weather, severe winds and heavy snow falls.

he sixth years anticipated that even with bolstered numbers, they would not be able to complete all the walls in one day, so they had packed the vans with extra timbers which would be drilled into the already laid raised timber floor, providing adequate bracing against the imminent bad weather. This would be one of the greatest lessons we would come away with from the first day - the need for forward thinking back at university in order to reduce frustrating delays. It is a truism to state, but it probably has to be, that mistakes and unforeseen situations always occur. By anticipating potential delays and having a plan of action from the outset, many situations, particularly those that are unnecessary and avoidable, can be reduced. he post wall erection stage on another trip to the site gave us a lesson in the importance of teamwork and on site management. Since there were limitations on the number of people able to work on the roof, each joist needed to be first measured on site, cut and then fixed in place on a ladder, so it proved necessary to split up into groups. This ensured that we made maximum use of everyone on site.

To cope with such conditions, we needed a leader willing to take charge, dish out jobs and cut through fruitless discussion and any arguments which would only have had one miserable result, frozen toes and chattering teeth.

he aim of the day was for one group to erect the roof joists, while another group would begin waterproofing the walls. Having people doing a single task repeatedly resulted in increasing efficiency as the day progressed. The result was that the final few joists were erected in short order compared to the first few. By micro-managing the group, everyone was kept busy which is very important when working in such cold conditions.

o cope with such conditions, we needed a leader willing to take charge, dish out jobs and cut through fruitless discussion and any arguments which would only have had one miserable result, frozen toes and chattering teeth.

eeing first hand the many minor successes and failures which can characterise even one day on site offered a real insight into how to set about our own project, how only one day in construction can be filled with such mixed fortune. For example, there was a miscalculation in the number of drill batteries and portable charging stations taken to the site. Although a small mistake in itself, this inevitably prolonged the wall to substructure assembly on that day. Work was hindered by a lack of drill power on site. ut into a broader context the siteâ&#x20AC;&#x2122;s harsh location and imminent bad weather can make even small mistakes a major headache for all concerned, particularly when there is a timetable, which involves building in strict sequence.

ll this vastly enhanced our abilities to collaborate and get down to manufacture. The daily mistakes and small triumphs proved invaluable. We came nose to nose with

the harsh realities of live building. In response, the group demonstrated key skills, learning the importance of early preparation and prioritisation of tasks away from site and then an ability to adapt to changing circumstances on site. We took this into our own project.

his enthusiasm and perseverance on site, not least the ability to overcome inevitable mistakes, was vital. We also felt it would be equally critical for the entirety of our own project, not only the construction stage. We were able to grow in confidence, not only in seeing how fellow students set about problem solving but each of us feeling part of a whole. All of this helped us prepare for the pinnacle of our own study, the â&#x20AC;&#x2DC;hands onâ&#x20AC;&#x2122; construction of two structures on the banks of Kielder Reservoir.

We aided with the installation of the roof joists. A task that required accuracy and patience.

â&#x2C6;&#x2020; â&#x2C6;&#x2020; As the wall panels were prefabricated off site, we were able to install them quickly and efficiently

Chapter 04

LIVE BUILD

â&#x20AC;&#x153;There is one timeless way of building. It is a thousand years old, and the same today as it has

ever been. The great traditional building of the past, the villages and tents and temples in which man feels at home have always been made by people who where very close to the center of this wayâ&#x20AC;? - Christopher Alexander

STRATEGIC DESIGN: “Stage 0

is used to ensure that the client’s Business Case and the Strategic Brief have been properly considered before the Initial Project Brief is developed.”

Section Overview We were introduced to the client and what they wanted from us. We started to explore, strategise and explore in pre-application and pre-concept discussions between ourselves and with Graham Farmer (Live Build tutor) and Peter Sharpe (Kielder Art and Architecture representative). The first primer for the module involved assisting the previous Stage Six students in the construction of their project at Rochester, Northumberland. By getting involved in the construction

process on site, we gathered invaluable information and understanding into the processes on site. Working alongside their team seeing the risks, opportunities and problems that arose. Witnessing the successes and failures of their project, gave us an insight into the future of our own projects. Learning and reflecting on our involvement allowed us to plan a strategy for the basic information we had on the client’s requirements.

DTM 1

Stage

01.02.2016

3 Meeting Agendas 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Attendees

Wildlife Hide Welcome Point Viewpoint Project Timetable Health & Safety Executive/Construction Design & Management Disability Discrimination Act Groundworks Planning Miscellaneous/Administration Interpretative Design Estates Costing/Supplies/Procurement Technologies/Hygromorphs Kielder Experience/Relationship/Authenticity Ecology Heritage Lottery Fund

The client set out their programme and intentions for the future Wildlife Hide using the existing bird hide as a precedent for specifying birdwatching necessities. Design requirements were also established for both the Welcome Point and the Viewpoint. A clear emphasis was put on Kielder Water and Forest Park Development Trust’s desire

Graham Farmer Kathleen Jenkins Sam Halliday Matthew Westgate Robbie Evans Laurence Ashley Sophie Cobley Katie Fisher Alex Baldwin-Cole Ulwin Beetham

Lynn Turner Katy Cook Jane Anderson

Dan Chapman Kelly Hollings Joanna Dailey

Stuart Pudney Scott Everett Peter Pattinson Andrew Rogers Jack Sayers

Peter Sharpe Nick Mason Yvonne Conchie Ian Robinson

to be the ‘Best in Britain’ which involved a focus on the use of locally sourced materials.

See Appendix: Meeting minutes p.252281 for more information regarding client aspirations/intentions for the project.

Initial Brief The proposed project involves the development of three structures: a Wildlife Hide, a Welcome Point and a View Point (later put on hold); at Bakethin Reservoir in Kielder National Park, Northumberland.

“This Linked Research project will give you the opportunity to participate in an ongoing programme of live build projects. The first ‘primer’ task is to design and construct a deployable “Grandstand’ to facilitate discussion and debate in various locations. You will work in collaboration with Vienna-based artist Stephanie Misa , the School of Fine Art and a range of local partners. The main project will be the design and construction of a bird hide at Kielder, Northumberland where you will work with a variety of organisations including the Kielder Art and Architecture programme. You will also collaborate with engineers and utilise innovative new hygromorphic materials. You will have the opportunity to produce the world’s first permanent building integrated demonstration of these technologies.” - Graham Farmer, Director of Architecture at Newcastle University

Kielder & the Wider context Kielder Water and Forest Park Development Trust are looking at the ‘bigger picture’. Creating a programme of works which will add to the variety of core attractions at Kielder.

“Twenty pieces set across an area of sixteen square miles, making the Park the largest outdoor square to experience art in the UK” - www.visitkielder.com

he unique collection of art and architecture around Kielder Water and Forest Park Development Trust has continued to expand over the last twenty years. All pieces have individually challenged and responded to the surrounding environment, with its diverse and captivating history. The art and architecture programme, run by Kielder Art and Architecture, on the behalf of Kielder Water and Forest Park Developement Trust have been responsible for putting together the abundance of contemporary art and architecture pieces which are dotted around the banks of Kielder water. The collection forms an inspiring context of diversity, offering us an opportunity to explore the diversity within our own brief, and in doing so strengthening the existing collection of art and architecture in Kielder. The diversity further strengthens Kielder as a tourist destination, not just a place for forest retreats, but an area of enchanting interventions,

each making their own mark on how we view and experience the landscape around us. The push from Kielder representatives to enhance the location’s identity for tourists is focused around a series of interventions that encourage the increase of visitor numbers. This allows us to place our approach within a functional as well as a diverse context, and makes for an exciting context to situate the design in.

55/02 sixteen* (makers), 2009

Belvedere, Softroom Architects, 1999

The structure’s name refers to the latitude and longitude of the site and highlights the importance of the building’s location to its design. Seating orientates visitors towards particular views of the wider lake and into smaller inlets nearby.

The shelter has been constructed from stainless steel that reflects the natural environment, causing the shelter to change its appearance in different weather conditions, at different times of the day, and as the seasons change.

Cat Cairn: The Kielder Skyspace,

Freya’s Cabin, Studio Weave, 2009

Cat Cairn: the Kielder Skyspace is a sculptural artwork located on a rocky outcrop overlooking Kielder Water and Forest Park by internationally renowned American artist James Turrell.

Freya’s Cabin is one of a pair of small buildings located on opposite sides of the Kielder reservoir that together tell the fairytale story of Freya & Robin.

Janus Chairs, Ryder Architects, 2009

Silvas Capitalis, SSIMPARCH, 2009

Based on the idea of flower petals in different stages of unfolding, the seats can be arranged to face each other, face the sun or the desired view, or turn their backs to inclement weather.

The head has been conceived as a watcher, an imagined presence who has observed the passing occupation of the landscape over past millennia.

James Turrell, 2000

Bakethin Masterplan TH SOU END

SO H WA E

SID

TER

NOTES

Butteryhaugh Ca r Pa rk

-Do not scale from this drawing, except for planning p -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Castle Hill Devil's Lapful Long Cairn

Butteryhaugh Bridge

Homestead

The Birches

Sh=

330mm

Sh=

90mm

Sh=

160mm

Sh=

190mm

Sh=

250mm

Sh=

200mm

Sh=

300mm

Sh=

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Welcome Point

River North Tyne

ct Viadu d Woo

All

ery

Cle

Via Deadman

Cairn

Rev

xx.xx.xx Date

xx By

Descript

Quarry

Overlook

Revision Schedule

(disused)

client

KIELDER WATER & FOREST PARK DEVELOPMENT TR

Bakethin Reservoir

Bird Hide

project

KIELDER BIRDHID KIELDER FOREST BAKETHIN RESER

March Sike

Reservoir

title

(covered)

Hobbs Knowe

Enclosure

LOCATION PLAN

drawing status

Sturdy Brae

PLANNING

Plantation

Lak

scale

esid

(Pa

th)

1:5000 @ A2

drawn by

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date

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checked by

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)

A101 FB

196m

Sc Pla

N C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

Weir

Ne NE UK

197m

T: F:

urn

B on

Capon Holes

Bakethin Masterplan The structures will form part of a wider Bakethin Masterplan, from Kielder Water and Forest Park Development Trust and Kielder Art and Architecture. We were asked by the client to provide a coherent design package, which together would form a journey for visitors starting at the castle carpark and then heading towards Kielder lake. Thus, providing not just a bird watching experience but instead aim to meet the needs of many and reinforce the Kielder brand.

Reservoir (covered)

240

∆

210

Homestead

5 19

215

5 20

195

d ntle ma Dis

190

200

235

Sewage Works

250

The Birches

230

205

225

200

185

SITE MASTERPLAN

Butteryhaugh Bridge

220

225

205

185

190

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ilw

Ra 255

200

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duc

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Via t

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215 190

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185 20 0

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190

195

Bakethin Reservoir

200

∆

205

∆

210

WILDLIFE HIDE

VIEWPOINT

WELCOME POINT

PREPARATION & BRIEF: “Several significant and parallel activities need to

be carried out during Stage 01 Preparation and Brief to ensure that Stage 02 Concept Design is as productive as possible. These split broadly into two categories: > Developing the Initial Project Brief and any related Feasibility Studies > Assembling the project team and defining each party’s roles and responsibilities and the Information Exchanges.”

Section Overview After an initial meeting with the client, we could narrow down on a more specific brief, investigating the project and quality outcomes. We were able to create project roles and start to informally understand the matrix of responsibility relating to the assembly of the project team and the wider client/consultant contacts. The client was broken down into three interested bodies: the main asset owner being Stuart Pudney from Northumbrian Water Limited (who has final sign off authority on

everything); Kielder Forest and Water Development Trust and the Forestry Commission. Very initial risk assessments were discussed, a process of data exchange between involved parties was set up via email, dropbox, and Wetransfer. Initial project gantt charts were produced to gain an understanding of the projected future timescale of the project. Initial site visits to understand the general Kielder location and specific sites were undertaken.

DTM 2

Stage

12.07.2016

5 Meeting Agendas 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Attendees

The client was informed that the initial planning application had been submitted early July and validated on the 11th July although many of the design proposals required further technical design refinement. A heavy emphasis was placed on Health and Safety and Construction Design Management (CDM) which entailed fabricating a

Graham Farmer Kathleen Jenkins Sam Halliday Matthew Westgate Robbie Evans Laurence Ashley Sophie Cobley Katie Fisher Alex Baldwin-Cole Ulwin Beetham

Lynn Turner Katy Cook Jane Anderson

Dan Chapman Kelly Hollings Joanna Dailey

Stuart Pudney Scott Everett Peter Pattinson Andrew Rogers Jack Sayers

Peter Sharpe Nick Mason Yvonne Conchie Ian Robinson

Construction Phase Plan, Method Statements and Risk Assessments. In conjunction with this several internal roles and responsibilities were allocated, with Sam Halliday taking up the roles of Principal Contractor and Principal Designer and Kathleen Jenkins taking up the role of Project Manager.

Design team Responsibility & Communication Every design project involves a collaborative effort from a collection of organisations in a hierarchical structure.

Kielder Water & Forest Park Development Trust

Key Members Key Organisations

Lynn Turner Director

Organisations Katy Cook

Jane Anderson

Living Wild Project Coordinator Administration Assistant

Afﬁliated Organisations Northumberland Wildlife Trust Duncan Hutt

Board Members Forestry Commission Alex Maclennan

Northumbrian Water

Head of Land Management

Recreation & Public Affairs Manager

Dan Chapman

Martin Davison

Estates Ofﬁcer

Kelly Hollings

Ornithologist

Northumberland County Council

Stuart Pudney

Conservation Manager

Kielder Art & Architecture Peter Sharpe

Art & Architecture Curator

Scott Everett

Events, Planning & Investmenrs Coordinator

Peter Pattinson

Estates Ofﬁcer

Guest Services Manager for Operations

Joanna Dailey

Events, Planning & Investmenrs Co-ordinator

Kielder Osprey Expert Volunteer

Consultants

Andrew Rogers Ben Ralston

Conservation Advisor

Jack Sayers

Business Administration Apprentice

Contractors

Newcastle University

THC Landscaping

Head of Architecture

Rob Hindmarsh Manager

Interpretative Consultants

Graham Farmer

Sam Halliday

Kathleen Jenkins

Matthew Westgate

Robbie Evans

Laurence Ashley

Sophie Cobley

Katie Fisher

Alex Baldwin-Cole

Principal Contractor/Designer

Project Manager

Student

Student Student

Student

Pam Covell Finance Clerk

Sub-consultants Newcastle University Artem Holstov

Structural Engineer/ Hygromorphs

Nathan Hudson

Workshop Technician

Ian Robinson

Broads Area Manager

Marcus Byron

Interpretative Consultant

Red Squirrels Northern England

Access & Inclusive by Design Ltd

Nick Mason

Dave Gribble

Project Manager

Student

Newcastle University

Yvonne Conchie

Interpretative Consultant

Royal Society for the Protection of Birds

Student

Ulwin Beetham

Finance

Consultants

Hugh Miller Furniture Hugh Miller

Designer & Furniture Maker

Suppliers

Director

Su pp lie rs

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RESPONSIBILITIES MATRIX DIAGRAM

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Alex Mac len

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External Consultants

External Consultants - NCL

Peter Sharpe Hugh Miller

Lynn Tur

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â&#x2C6;&#x2020; This diagram demonstrates the main connections in communication across the wider design team.

land Northumber

berland W Northum

Initial Site Visit and Survey There were a series of initial site visits, throughout differing stages leading up to the planning submission.

he first site visit involved the whole group, this was important in order for us all to gain a larger perspective on the area, thus informing a richer group perspective of site and richer designs. We first travelled to the three specific sites, as well as other completed installations dotted around the lake, this gave us an understanding of the wider Kielder Architecture package. Following this we then drove up to the tallest hill which surrounded Kielder lake. This gave us an obvious broader understanding of the lake and surrounding area, as well as atmosphere, but also how the project situated itself into this Northumberland landscape and other key Kielder locations.

ater site visits were conducted to survey and photograph all three sites to a greater level than had been achieved before. Marking up of trees as well of tree trunk positions was an

obvious task for the Welcome Point, as the structure was intended to wrap around the forest landscape. For the site of the Wildlife hide, the water positions, the existing bird hide, and gradients were all painstakingly annotated and later realized through drawings. This was a sharp learning experience as many the team had very little if not no previous experience of undertaking surveys. Appropriate equipment was taken, such as: level poles, laser triangulation measurer, measuring tapes, and string. Following the successful recording of all three sites, naturally the challenge then became the process of translation from site annotations into drawings, some of which were undecipherable, due to realities of site (mud) and quick fired annotations. This meant that we had to return to the sites, due to some discrepancies with information, and at some points in the annotation information was missing or not taken down accurately.

We began the project with an intial site visit with the client and followed up with a guided tour to other installations in the area.

â&#x2C6;&#x2020; â&#x2C6;&#x2020; The site surveys allowed us to record any topographical variations as well as tree locations.

We surveyed the existing bird hide to provide detailed planning drawings showing exactly what would be removed

NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

B Rev

∆

Floor Plan

xx.xx.xx Date

xx By

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST +4553

+4553 +4225

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

+4225

title

EXISTING BIRDHIDE PLAN AND SECTIONS +2134

+2002

+2134

drawing status scale +1124

+1124

PLANNING

drawn by +583

Section A-A

date

1:50 @ A2

+1124

checked by

drawing number

A301

12/04/2016 revision

Section B-B

Datum Point

Newcastle University School of Architecture, Planning and Landscape C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

Newcastle upon Tyne NE1 7RU UK

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

NOTES

er Lin

-Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Wat

Site Boundary Tra

Existing Fence Line

Existing Ram

ped Entrance Rev

xx.xx.xx Date

xx By

Existing Bird Hide

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

EXISTING BIRDHIDE SITE PLAN drawing status scale

PLANNING date

1:100 @ A2

drawn by drawing number

checked by

RE A102

12/04/2016 revision

Newcastle University School of Architecture, Planning and Landscape

N Lin e

C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

Newcastle upon Tyne NE1 7RU UK

ter

isti

Lin

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

∆ See Appendix: Design and Access statement p.59-126 for more information regarding the existing structure.

See Appendix: Images, Photographs p.434-436 for more information regarding visits

Hygromorphic Technology What is a hygromorph?

n collaboration with Artem Holstov’s PhD research at the School of Civil Engineering and Geosciences at Newcastle University, we have been working to create a series of sustainably adaptive façade panels with passive climateresponsiveness. Hygromorphic materials, such as wood, are moisture sensitive materials, meaning it responds to changes in environmental humidity by changing its geometry, much like how a pine cone opens and closes.

he research “explores the possibility of adaptive building systems based on the incorporation of hygromorphic materials and argues that they present opportunities for architecture that is passively attuned to the variable natural rhythms of the internal and external environments.” Meaning, if the materials where used as a façade treatment there would be a contrasting reaction between the internal and external due to the varying environmental qualities. Passive layers are “used to amplify the effects of movement of the active layer (wood composite) by providing a constraint to its planar hygroexpansion (shrinkage and swelling of wood) and forcing the composite to bend.” Passive layer materials can include synthetic polymers, fibreglass or carbon fibre.

s part of this live build project, we will be introducing a series of prefabricated climate-responsive panels that will cover areas of the vertical windows in the forest pod. Depending on the external climate and how we pre-programme the materials, there will be times when the panels are closed limiting the views into the forest and then there will be times that they are open creating interesting viewports. The idea behind this is to represent the wildlife hide having a physical responsive relationship with the surrounding environment.

576

A. Holstov et al. / Construction and Building Materials 98 (2015) 570–582

Construction and Building Materials 98 (2015) 570–582

Contents lists available at ScienceDirect Fig. 9. Bidirectional hygroexpansion of passive and active layers of cross-grained veneer laminates (DBp and DLa respectively) results in a tendency of wider responsive elements to develop double curvature leading to a reduced response (here represented with horizontal deflection of the tip dh).

Construction and Building Materials 580

A number of polymers such as Polyethylene Terephthalate (PET) Fig. 11 shows that the response of the composites is most Holstov et of al.fibre / Construction and Building Materials 98 (2015) and Polycarbonate (PC) andA. the majority reinforced polysignificantly affected by the570–582 stiffness ratio when the thickness of mers (FRPs) are characterised by substantially greater overall durathe passive layer is similar to or larger than that of the active layer. bility, toughness and better resistance to UV degradation than The use of layers with the same thickness (m = 1) requires selection wood [40]. When mounted on a surface exposed to direct sunlight of materials with equal stiffness (n = 1) in order to produce comthe composites can have the synthetic layer facing outwards to posites exhibiting maximum response. In other cases the peak provide protection for the active wood layer. In addition, recyclavalue of f(m,n) can be achieved if larger stiffness of one layer is bility of a number of potentially applicable polymers, including compensated by increased thickness of the other layer (and vice PET and PC, has the potential to reduce the environmental footversa). For example, if a composite consists of an active wood layer print of the materials [42], but it is vital that the composites can with 0.5 GPa stiffness in tangential grain direction and a fibreglass be effectively separated at end-of-life, and recycling of GFRP is layer with 15 GPa stiffness, the maximum response will be challenging [43]. Therefore, opportunities for the use of FRPs reinachieved when the passive layer is approximately 5 times thinner forced with natural fibres, such as hemp, jute and flax, for passive than the active layer. If the layers were of equal thickness, for the layers with improved biodegradability and reduced embodied same overall thickness of the composite the response would be energy should be explored [44]. Another important characteristic reduced by as much as 60%. to be considered when selecting the passive layer is the ability to The stiffness of wood in the direction across the grain is practiundergo repetitive bending without changing its properties (e.g. cally always going to be much lower (in the range of 0.3 GPa to due to creep, fatigue, brittleness and a tendency to develop cracks). 1 GPa for different wood species) than that of a passive layer. This makes brittle materials, such as polymethylmethacrylate (a.k. a. Plexiglass), an undesirable choice.

journal homepage: www.elsevier.com/locate/conbuildmat

materials for sustainable responsive architecture

n Bridgens a,⇑, Graham Farmer b

Geosciences, Newcastle University, Drummond Building, Newcastle-upon-Tyne NE1 7RU, United Kingdom Optimal stiffness thickness ratios ofNewcastle-upon-Tyne layers and Landscape, Newcastle3.2.4. University, TheandQuadrangle, NE1 7RU, United Kingdom

The stiffness of the layers, which varies substantially between different wood species and even more so between different grain orientations of wood and different types of polymers and FRPs, significant effectssystems; on both the responsiveness structural benefit from the use of hygromorphic materials are marked green (not italic). (For Fig. 14. Overview of the has roles of building those which canand potentially resistance of the in composites andlegend, deservesthe a particular interpretation of the references to colour this figure reader isattention referred to the web version of this article.) in the context of selection of material configurations. Flexural rigidity of each of the layers is linearly related to their Young’s modulus (stiffness). Meanwhile, based on Eq. (1), the overall responsiveness is affected by a function f(m,n) (coefficient of curvature change, Eq. (2)) of stiffness and thickness ratios of the two layers, not the magnitude of the individual stiffness and thickness values. Crucially, this means that the use of both layers with increased stiffness can allow improved structural properties of the composites without compromising their responsiveness. Plotting f(m,n) for a wide range of possible stiffness ratios shows that the maximum value of the function remains constant at 1.5 and in each case is achieved at single yet different thickness ratio (Fig. 10). Hence, optimal combinations of stiffness and thickness ratios which give maximum response can be determined (Fig. 11), (also showing responsiveness for other combinations at Fig. 10. Curvature change coefficient f(m,n) as a function of thickness ratio of the layers ‘m’ for different values of stiffness ratio ‘n’. 10% intervals from the maximum).

g r a p h i c a l a b s t r a c t

h to multiive

ponse of tive

esthetic hese

a b s t r a c t

Contemporary smart building systems typically aim to reduce building energy use by means of technologically enabled climate-responsiveness; however, these technologies lack the efficiency and elegance of Fig. 15. 1a and 1b prototype of a cladding module with a series of overlapping 150 150 mm square hygromorphic panels in open and closed state respectively. 2a and 2b: gust 2015 naturally responsive mechanisms employing the inherent properties of available materials, such as the prototype of a responsive umbrella with the surface of the canopy comprising of triangular panels with 7 different types of active layers in open and closed state respectively. The response of both prototypes is reversible over opening a large number of cycles and isof achieved within 20 minThis from dry to wet state and 3 hbe from wet to dry state. moisture-induced and closing conifer cones. mechanism can replicated to produce low-tech low-cost hygromorphic (moisture-sensitive) materials with the response driven by shrinkage dynamic building skins would provide a stimulating visual envibeyond the focus on resource efficiency that characterises much and swelling wood. This paper explores the possibility of adaptive building systems based on incorporaronment and would positively contribute to the quality of experiof the contemporary sustainability debate towards a more holistic tionenjoyment of hygromorphic materials argues that they present opportunities for architecture is pasence and subjective of architecture. Their and constant view of environmental well-being. Yannas [52] argues thatthat ‘‘as curattuned to thewould variable the internal and external environments, andisthat formal interaction sively with climatic conditions vividlynatural differen-rhythms rently of conceived and practiced, architecture neither is, nor tiate them from the static structures that typifyofthe current archi- considerations. meant to be, ecologically sustainable” and that design of ‘‘truly bioaddresses a wide range sustainability tectural production, creating opportunities for unique dynamic climatic” buildings requires a transition from inanimate material 2015 Elsevier Ltd. All rights reserved.

The Hybrid Ecologies: Artefacts, Artifice and the Artificial at Kielder

Through research by design and research by material methodologies, small live build projects can prompt further questions. This essay explores built interventions in Kielder, the craft of integrating them and the response to a man-made landscape.

Controlled Environments â&#x20AC;&#x153;Everyone benefits from properly protected, managed and planned landscape â&#x20AC;&#x201C; urban and rural.â&#x20AC;? 1 Natural Environments in the UK are protected and contained to varying degrees;2 it can be argued that their very evolution is determined by human preservation. Kielder Water and Forest Park is an example of a highly controlled and ever-changing manmade landscape. Originally a human altered landscape for quarrying, Kielder was flooded in the 1960s in order to create a reservoir. Today, managed by the Forestry Commission, the natural environment is being continually modified through the process of harvesting and regrowth of the surrounding forest. This ever-changing landscape has become a key influence within the design of the Bakethin Wildlife Hide. The brief for the project was to design a bird hide to look towards an osprey pole put in place by the Kielder Water and Forest Park Development Trust, on which it is hoped ospreys will nest. This juxtaposition of manmade, consciously implemented element and a natural occurrence within Kielder provides an example of how nature in the national park has been manipulated to encourage the creation of a seemingly natural environment. This essay provides an analysis of the site and a study of the concept design, to discuss how the designers have responded to the manmade site, through hybrid ecologies, consciously or unconsciously. 1 2

European Landscape Convention Guidance, (2009),3.7, Natural England, p8 European Landscape Convention Guidance, (2009),1.5, Natural England, p1

Artificial Wild

Hygromorphic Experiments

As part of the research and study in hygromorphic panels, a sample of panels have been placed on top of the roof of the architecture department in order to test the reaction of the material when exposed to various humidities.

The Site, The Brief, The challenge

“…the spatial structure of the forest is typified by incomplete spatial confinement, free-flowing nature of space, layering of views in the depth direction, clustering of views and the nature of light.” 3

he site for the Welcome Point lies within the forest, in a car park area, where a new information point will guide them towards the bird hide. The design for the Welcome Point was influenced by the verticality of the trees in this area, aiming to create a horizontal focal point drawing attention and surrounding one tree. The open centre of the welcome point draws the eyes up to the verticality of the trees and the horizontal layers were inspired by the pine cones from the surrounding pine forest.

he chosen site for the Wildlife Hide proposal is set along an east facing edge of the Bakethin reservoir. This new design will replace an existing timber bird hide, which would not be large enough to cater for the expected rise in numbers should the ospreys land. The immediate site surroundings contain a series of trees varying in height and a thick cluster of shrubbery and tree debris form the forest floor. Although the wind blows through the vertical trees, the site is quiet when we visit. The path to the existing structure has been created by the maintenance team at Kielder by clearing the forest floor. Consequently debris from felling and trimming trees lie scattered across the ground. This impact of management around the site is not something consciously noted on first appearances. Although the location of the site has the potential to become “the number one osprey watching place in the UK” (if ospreys are to nest), there have been various challenges on the site to overcome and various key constraints identified within the existing bird hide to improve on.

n site, the key challenge is to complete work within the set time frame. Once the ospreys nest4, no work can continue on site. Furthermore, the constraints with the existing hide included the threshold, lack of accessibility and the functionality of the space: The Threshold This threshold appears uninviting, unwelcoming and the hide feels closed off. It feels as though it is only somewhere for birdwatchers, not somewhere for public entry.

Accessibility Access to the hide is along a winding muddy track and up a very steep stone ramp, which doesn’t comply with today’s Part M Regulations. Inside there is only one space suitable to view birds in a wheelchair. When all the shutters are closed the hide is dark, which results in poor visibility due to the lack of light. Function The approach to the existing hide follows a track, hiding the view out towards the reservoir with screening. Upon entering the hide, its small size, dark interior, and damp aroma are notable, the space is clearly badly ventilated. The openings (consisting of shutters, which open inwards can be fixed above the opening) are all orientated forwards to create a layered panoramic view.

Research through Design

“In the Age of Ecology, the concept of “form” has to be seen as a temporal process, or emergent situation, rather than a closed and finite aesthetic entity…I do not support any romantic bio-morphic architecture. I advocate an architecture that arises from a respect of nature in its complexity…and from empathy and loyalty to all forms of life and a humility about our own destiny.” 5

he concept design of the Wildlife Hide arose from an iterative process. Initially going away and sketching up potential ideas in response to the site visit. Of all our sketches, three common themes arose from the work produced: a split level, framing the views and journey. Pallasmaa argues that “architecture reflects, materialises and eternalises ideas and images of ideal life.”6 Although Kielder is not necessarily an image of ideal life, the final concept design reflects and materialises an image of the forest. The geometry and form of manmade 1970s Valve Tower on the reservoir and the strict grid in which the trees are planted have clearly influenced the design.

ithin the design process there were several key activities, decisions and influences that affected the outcome. Through development of models, sketching, revisiting the site and several engagement meetings with the design team and client, the design developed with key concepts influencing the decisions made. Each of these ideas acts as a response to the surrounding environment. The three main architectural concepts 5

3 4

Louekari, L., (2008) Architecture and the Forest, (Vol 20, No.3), Nordic Association for Architectural Research, p100 As said by the client in a design team meeting

Pallasmaa, J., (2005), The Eyes of the Skin: Architecture and The Senses, TJ International, p71 Unwin, S., (2007), Doorway, Routledge p132 Pallasmaa, J., (2005), The Eyes of the Skin: Architecture and The Senses, TJ International, p71

As designers we suggested new innovative uses for the bird hide as well as for bird watching, to not only cater for a wider audience, but to enable this audience to interact with the surrounding environment through the architecture.

in the design refer to the hybrid ecologies of the artificial and the natural within Kielder, the influence of geometries and pattern, and creating an architecture that responds to the surroundings and recognises change.

irstly the design needed to overcome the constraints of the brief and consciously improve upon of the flaws of the previous design: the unwelcoming threshold, the lack of accessibility and the limits of the functionality of the hide.

he unwelcoming threshold became something we consciously wanted to improve and this meant much more than addressing the door. Simon Unwin argues that the power of entrance can be affected by many things beyond the architectâ&#x20AC;&#x2122;s control, for instance smells of inhabitation, light, neglect and social situations.7 However, as designers there are many elements we could consciously adjust to minimise the unwelcoming atmosphere. A key example of this was through the design of openable windows so the spaces are never fully shut off from natural light. This along with gaps within the flooring would also allow natural ventilation to prevent the damp smells found in the existing hide.

ccessibility to the new proposal was challenging when designing a split level hide. We would need to create two gradual ramps to the two entrances. Although landscaping the ground is something that has been done multiple times in the National Park, it still feels like we are making a substantial change to the site. Increasing

Unwin, S., (2007), Doorway, Routledge p132

the area of accessible viewing across the bird watching pod, created a solution to the problem, however raised the question of whether such design limited or was an addition to the initial unconscious way of designing. Creating sash windows was also a way of creating openable windows that would be accessible and contain a controlled descent to prevent trapped fingers and banged heads.

esigners imagine a building that is functional for potential future situations. In order to do this they need to identify how the spaces will be used. The client requested that the bird hide would allow for increased capacity and of respectable high quality. As designers we suggested new innovative uses for the bird hide as well as for bird watching, to not only cater for a wider audience, but to enable this audience to interact with the surrounding environment through the architecture. The bird hide would accommodate a variety of visitors: the aged, those with disabilities, children and young families as well as professional bird watchers. The two pods therefore offer different interactive viewing experiences at different levels, one taller for the verticality of forest viewing and the other more enclosed for panoramic bird watching. The increased floor space of the hide provides the opportunity for bigger group activities, where a group can have a unique interactive learning experience. It also allows the opportunity to view the forest and its wildlife, providing an additional attraction outside of osprey nesting season and in doing so challenging preconceptions of what a bird hide offers.

lthough research and an iterative approach helped develop and solve problems of the existing hide, the design process brought

Even when open, it was unclear whether the old hide was suitable for public access.

â&#x2C6;&#x2020; â&#x2C6;&#x2020; The Welcome Point site is currently covered with brash from the forest. A path has been cleared around it to allow for vehicular access.

about new questions surrounding conscious and unconscious decision-making. Essentially, the problems in the examples were consciously solved, however, this design process has led us to question some of the initial assumed unconscious design decisions and conscious design decisions we make. Designing a functional building involves various approaches, which can result in diverse outcomes catering to the same brief. Sometimes designing is conscious and other times it is unconscious. Often we post-rationalise unconscious designs because we think that this will give them more meaning or legitimacy. However, sometimes designers realise that they unconsciously have taken influence from things they have encountered previously. An example of this is the way the geometry and grid of the design was unconsciously influenced by the Valve Tower on the reservoir and post-rationalised by the artificial order, pattern and grid of Kielder Forest.

Materal Based Design “Architecture enables us to perceive and understand the dialectics of permanence and change, to settle ourselves in the world, and to place ourselves in the continuum of culture and time.”8

ne of the key ideas in the project was to create a responsive design, which would change with the surrounding environment. It was decided the timber frame structure would be clad in charred timber, a natural material, treated in a natural way (through burning), but achieved through precise techniques similar to the harvesting and control over the forest. The responsive design would incorporate a bug hotel, have a moss roof and include the first known use of hygromorphic panels in a permanent setting in the world. “Architecture has always been about landscape, making and community” 9

orking with PHD student Artem Holstov, this material research of hygromorphic materials has helped us develop an initial starting point for research in adaptive responsive architecture. Although insects and moss grow on the forest floor, it is the hygromorphic panels that respond most to the setting in Kielder. Implementing hygromorphs within Kielder’s pine tree forest, provides a key example of a relevant hybrid technology responding to its environment, through combining ideas of the natural moisture inducing change in conifer cones and modern engineering. 8 9

Pallasmaa, J., (2005), The Eyes of the Skin: Architecture and The Senses, TJ International, p71 MacKay-Lyons, B., (2014), Local Architecture, Princeton Architectural Press, p13

Lauri Louekari argues that the architect’s task is to rearrange natural material so that they better serve human purposes.10 This combination of a natural vernacular dynamic layer and an artificial passive layer to utilise the natural responsiveness of wood and create this cyclical change in the material allows us to manipulate the material to better serve our concepts and reflect the surrounding environment.

n his work Artem Holstov identifies four overlapping typologies of applications for hygromorphs: Functional devices or components, performance orientated adaptive systems, formal aesthetic value and contextual or location specific value. 11 Within the bird hide proposals, the hygromorphs have a few of these typologies. Mainly used to physically represent the local environment, the changeable weather conditions and represent the changing forest through the creation of different views depending on the changing humidity. This kinetic aesthetic is also reflective of the unconscious decisions made within the process, as they often move so slowly you wouldn’t realise they were changing unless you stayed for a long period of time.

he hygromorphs employed in the project needed to be specifically designed for their placement on the windows. Simon Unwin argues that the inherent geometry of materials influences the geometry of the forms made from them.12 However the geometry of these hygromorphs have been influenced by how they are attached to the frame work, how they will be viewed and how they have been programmed to respond to humidity.

he use and material exploration of these hygromorphs has brought about ideas and place for further research. Other placements of the hygromorphs act as an educational tool, where visitors can be inspired and learn more about the technology. This placement of the hygromorphs will also act as a research tool for further exploration of the materials within the Kielder setting. Future placement of the hygromorphs could also be employed within the open trellis at the bird hide entrance to close and act as shelter when it rains and is wet and to open up when the conditions are drier and there is more chance of sun.

10 11 12

Louekari, L., (2008) Architecture and the Forest, (Vol 20, No.3), Nordic Association for Architectural Research, p111 Holstov, A., Implementing hygromorphic wood composites into responsive building skins Unwin, S., (2007), Doorway, Routledge p25

Stop motion videos of the hygromorphic panels in action can be found online.

∆

Conclusion

hen starting the design process we identified several constraints that we wanted the scheme to solve. We hadn’t anticipated that this research through design and material based research might highlight new questions and further research. Jorgen Hauberg argues that although in design the architect develops complex solutions to a question that is posed, research and questions can arise from design.13 Within the development of the design we have found this to be the case. Looking at the unconscious and conscious decisions and influences within the project we can look to analyse why certain decisions are assumed. We found in the project that inclusion of an accessible architecture was a conscious decision rather than an initial assumption and to some could appear as a limitation. The project has clearly been influenced by the hybrid ecologies in the surrounding environment. However it also allows for further research within the scheme. The design process prompts further research into the placement 13

Hauberg, J., (2011) Design By Research-A Research Strategy, (no5) AE Revista Lusofona de Acquitectura e Educacao, p50

of hygromorphs within a permanent setting, where the Wildlife Hide and Welcome Point create opportunities for hygromorphs that overlap over all of Holstov’s typologies (where hygromorphs can become functional devices, performance orientated adaptive systems, have formal aesthetic value and location specific value). The second key research outcome of the concept design process is further research into the assumed unconscious decisions made within the design process (initial exclusion of accessible design). This could look at whether the architectural education, influences the unconscious assumptions made and if the inclusion of Live Builds can effect these unconscious decisions.

CONCEPT DESIGN: “During Stage 02, the

initial Concept Design is produced in line with the requirements of the Initial Project Brief.”

Section Overview In order to give the client a number of options to choose from we split into three groups of students. The brief required the undertaking of three separate structures: Wildlife Hide, Welcome Point, and View Point. Each group had to create a design for each (the client, therefore, had three designs for each structure to choose from) under an individual group theme: a) Split Level; b) Framed Views; c) Journey. Research and development of the designs were pushed through. A presentation explaining each of the designs was

given to the clients at their headquarters in Horsley. All the “Split Level” team’s designs were chosen to proceed with. In a later meeting we also discussed the initial budgeting and cost information, confirming the final project brief to be taken into the developed design phase. DDA regulations and design for access discussions were particularly informative. Pre-application discussions continued; the chosen design could now be developed towards a planning application.

DTM 3

Stage

15.09.2016

6 5 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Meeting Agendas

Attendees

Following the validation of the initial planning application and early beginnings of technical design packages for the Wildlife Hide and Welcome Point, it was decided that the Viewpoint would be put on hold for future completion. Several key design changes were also put forward, including the reduction of slat spacings in the Welcome Point to

Graham Farmer Kathleen Jenkins Sam Halliday Matthew Westgate Robbie Evans Laurence Ashley Sophie Cobley Katie Fisher Alex Baldwin-Cole Ulwin Beetham

Lynn Turner Katy Cook Jane Anderson

Dan Chapman Kelly Hollings Joanna Dailey

Stuart Pudney Scott Everett Peter Pattinson Andrew Rogers Jack Sayers

Peter Sharpe Nick Mason Yvonne Conchie Ian Robinson

prevent climbing and the introduction of a moss roof on the Wildlife Hide. There was a positive consensus from the design team regarding the charred timber options that were presented. Finally, it was agreed that the groundworks would be split into two phases with the foundations and levelling done prior to construction and the pathways afterwards.

Teams and Themes

Design Strategy In order to provide options for the clients, we as students divided into three groups of three. Each team chose an overarching theme to inspire a design for each of the three builds. The chosen themes included: Split Level, Framed Views and Journey. The whole group then proceeded with the design chosen by the client.

∆ Split Level

∆ Framed Views

∆ Journey

∆

See Appendix: Client Presentation p.39-58 for more information regarding proposals

“The density of the structure intensifies both through materiality and number of openings forming a progressive aesthetic along the route.”

“Journey” Wildlife Hide

Welcome Point

The concept of the design was centred on creating a distinctive journey through a number of unique spaces. The density of the structure intensifies both through materiality and number of openings forming a progressive aesthetic along the route. The path leading to the bird hide has a place to leave bikes set back near the track. As the user walks closer to the hide they are greeted with an inviting open social space. The external space with gabion seating has a number of viewing portals integrated setting out individual views framed by the dynamic exposed structure. Hygromorphic panels will be installed within the structure, reacting to humidity, creating a interactive wall of openings. The hide is orientated to have two main angled views; one towards the osprey pole and the other towards the forest and general shoreline. The front wall slants out to create accessible viewing. Integrated seating runs along the rear wall of the hide creating accessible viewing up front by the main windows or a place to rest at the back whilst still be able to experience the same views. The last portion of the hide is another external space enclosed by gabion walls with vertical open slots directed into the forest. The gabion structures also act as a seating area. The contrast in materiality throughout the design creates exciting experiential spaces. The lightweight nature of the roof juxtaposes the heaviness of the main structure.

The visitor car park situated between Kielder Castle and the proposed bird hide, is a location at which many members of the public will start their journeys. The thin light reflective pieces hung in tension from the trees (in a strict grid, mimicking the grid of the artificial forest of Kielder), act as areas of shelter contrasted to the heavy set gabion cages which provide spaces for information panels or seating. On arrival the welcome point appears to cut through the verticality of the trees with a horizontal slice. The reflectivity attempts to alter the way in which the user perceives and understand their surroundings. This is the start of their journey towards the new bird hide and it should be a unique experience.

Viewpoint

The expressed timber framework surrounding the viewpoint references elements from the bird hide and the welcome point. It creates a place to pause, sit, rest and admire the surroundings from the south-facing gabion cage bench towards the osprey pole and the bird hide. The gabion bench is lined with wooden panels for comfort. The durable timber structure offers a place to prop up bikes. Panels of a responsive material and information panels are integrated into the same wooden lattice.

“The position of the timber frames strung up under a set of springs, can be manipulated allowing the user to frame any view they deem interesting.”

“Framed Views” Wildlife Hide The existing hide was a hidden none event for the average passer-by. To revitalise the bird hide under the concept of framed views we aimed to create a new special experience. The form and orientation of the hide is focused on framing four significant views across the site. The wrapping design is expressed in the roof creating a permanent protective cover to the structure.

Welcome Point The design has an intentionally bold, striking form, which opposes the verticality of the tall pine trees that cover the site. The wrapped monolithic form, a theme continued on from the bird hide, developed as ribbons that would fulfil the various function required in the proposed brief. The ribbons of timber interlink forming benches, shelter, bike lock up space as they flow between the trees. Openings in the sheltered portion highlight the distinctive views to the canopy above.

Viewpoint The viewpoint is an intriguing and sturdy intervention that the public can interact with, altering their perceptions of the Bakethin reservoir.

The position of the timber frames strung up under a set of springs, can be manipulated allowing the user to frame any view they deem interesting. The structure provides a unique personal experience to each user that encounters and operates it. The design encourages the public to experience Kielder in a different manner to just simply walking around the lake.

Split Level: Welcome Point external perspective view â&#x20AC;&#x153;Influenced by the verticality of the forest, the internal space is taller allowing for extended vertical openings which are intended to create specific view from the forest floor up into the canopy - changing how the users view/experience the landscape.â&#x20AC;?

“Split Level” Designs produce by the “Split Level” design team were the preferred choice by the Living Wild Steering group.

Wildlife Hide

Welcome Point

The deviation in level of the existing bird hide offers an opportunity to create two pods with varying viewing options. The bird watching pod is positioned at a higher level approximately one metre above the ground; designed to be fully accessible. The geometric form of the pod allows for an angled view directed towards the osprey-nesting pole. Other views are provided catering for all seasons, bird types and the contingency that the ospreys do not end up nesting in this location. The reduced height creates a darker, more enclosed experience. Bird watching is a naturally horizontal viewing experience, so the viewing slots reflect this. Movable benches allow for flexible use of the space and disabled access. An important aspect we took from the existing bird hide is how the disabled/wheelchair position is only in one place, almost segregating or limiting the experience of the disabled user to one position. Therefore, we extended the length of horizontal viewing slots to make it fully accessible. We are looking to expose the internal geometric structure of roof to create a unique aesthetic. It is important to make each space an interesting experience even when there is no wildlife to see.

The key concept driver for this proposal evolved around the idea of wrapping, with one of the existing pine trees acting as the main focal point of the design. A series of wooden slats are vertically stacked upon one another to eventually create a sheltered canopy overhead that provides adequate cover for informal gatherings. These wooden slats also offer integrated benches and tables allowing for the use of a cohesive single material throughout. The external facade of the screening has an alternating warped geometric facade that is inspired by the scale of pinecones that are present on the site.

The adjoining Forest pod would in positioned at ground level and would also be fully accessible. Influenced by the verticality of the forest, the internal space is taller allowing for extended vertical openings. These are intended to create specific views from the forest floor up into the canopy, changing how the users view/experience the landscape. Varied positions of windows cater for a mix of user groups from families to the professional. By trimming back the lower branches of the existing views, we can break through into the forest allowing for increased opportunities to view undisturbed wildlife. We are currently researching responsive materials that react to the natural environment and how these can be integrated into wall panels or screening. Use of such innovative materials would make for an exciting experience for the users.

Viewpoint The origin of the design is based on the simple form of an equilateral triangle. We looked at how shifting the shapes by fixed amounts created a unique sculptural geometric pavilion. The sets of triangles are separated into three sections for ease of construction and to allow light into the pavilion structure. Internally it is sheltered from the wind and looks south along the lake. This would provide an alternative manner of displaying information that would not detract from the simple form of the triangles. Tiered set of seats are positioned symmetrically on either side of the structure following the rippling effect of the triangles. Seats face the lake and a sheltered set face the path. The seats are spring loaded like cinema or stadium seats. The underside can be used as individual display panels.

â&#x2C6;&#x2020; See Apendix: Images, Sketches p.374-415 for similar images.

In the second Design Team Meeting we presented the three design options to the Living Wild Steering Group.

â&#x2C6;&#x2020;

Design Presentation On the 14th March 2016 we attended a design meeting at the Northumbrian Water head quarters in Horsley, Northumberland. In our three separately themed groups we presented our Wildlife Hide, Welcome Point and View point designs to a mixed panel of clients.

â&#x2C6;&#x2020; Design Team Meetings are a great opportunity to discuss various drawings/ design options in detail.

Wildlife Hide W

ith the Wildlife Hide the outset intention from client was to form a structure which could be used for both bird watching and general forest wildlife observation. The proposed and importantly larger structure replaces an existing bird hide, which is not large enough to accommodate the expected rise in visitor numbers, should ospreys settle on the newly installed nesting site. The increased floor space of the hide will provide the opportunity to view the forest and its wildlife, providing an additional attraction outside of osprey nesting season and in doing so challenging preconceptions of what a bird hide offers. The structure will be spilt into

two separate fully accessible pods: one birdwatching pod and the forest pod. The original concept for the design was to achieve a split level, resulting in both pods being set at differing heights. The attention to create a geometric structure, would firstly allow an angled view directed towards the osprey nesting pole, whilst maintaining other views; catering for all seasons, bird types and the contingency that the osprey donâ&#x20AC;&#x2122;t end up nesting here. The internal finishes, atmospheres and views for each pod would be carefully executed to provide this range of experiences intended for the Wildlife Hide.

NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

SOUTH FACING ELEVATION

NORTH FACING ELEVATION

Dashed line indicates existing screening position

FRONT ELEVATION

Vertical slats for visual connection between pods

Forest continues along shore line

Dashed line indicates existing screening position

Charred black timber screening to prevent people from disturbing the wildlife.

Charred black timber screening to prevent people from disturbing the wildlife. Stone wall reclaimed from of existing ramp.

client

10 meter ramp at 1:20 gradient.

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

REAR ELEVATION

REAR ELEVATION PROPOSED BIRDHIDE ROOF/SITE PLAN drawing status

Grey area indicates existing path.

PLANNING

scale

date

drawn by

checked by

1:50 @ A1

SOUTH FACING ELEVATION

NORTH FACING ELEVATION

25/4/16

drawing number

revision

A110

Newcastle University School of Architecture, Planning and Landscape Newcastle upon Tyne NE1 7RU UK

Dashed line indicates start of gradual slope.

T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

PROPOSED BIRD HIDE SITE & ROOF PLAN 1:50 @ A1

“The simple clean and practical internal layout of Split Level made it, probably the best of all three, giving flexibility and maximum usability for a range of audiences.”- Comments from Living Wild Steering Group

See Appendix : Issued drawings for more information regarding initial drawing packages as well as initial visuals NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Circles indicate position of trees.

Key

Dashed line indicated estimated tree canopy.

Bird watching pod Higher Level (+0.5m)

Red dash indicates outline of existing bird hide structure and path. Line indicates roof above.

Forest/Creek viewing pod Lower Level (-0.5m)

Blue line indicates shoreline

(Colour for diagrammatic purposes only & will not be used in planning drawings)

SOUTH FACING ELEVATION

NORTH FACING ELEVATION

Dashed line indicates existing screening position

FRONT ELEVATION

Vertical slats for visual connection between pods

Forest continues along shore line

Dashed line indicates existing screening position

Charred black timber screening to prevent people from disturbing the wildlife.

Charred black timber screening to prevent people from disturbing the wildlife. Stone wall reclaimed from of existing ramp.

client

10 meter ramp at 1:20 gradient.

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

REAR ELEVATION

REAR ELEVATION PROPOSED BIRDHIDE PLAN Grey area indicates existing path.

drawing status

date

checked by

SOUTH FACING ELEVATION

NORTH FACING ELEVATION

1:50 @ A1

Dashed line indicates start of gradual slope.

PROPOSED BIRD HIDE PLAN 1:50 @ A1

PLANNING

scale

drawn by drawing number

A111

25/4/16

revision

Newcastle University School of Architecture, Planning and Landscape Newcastle upon Tyne NE1 7RU UK

T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Key Bird watching pod Higher Level (+0.5m) Forest/Creek viewing pod Lower Level (-0.5m) (Colour for diagrammatic purposes only & will not be used in planning drawings)

+03.75

+02.60

Inverted timber constructed pitched roof. Depth of structure providing space for bat roosting.

Concealed drainpipe. Accessible via removable access panel.

Openable glazed viewing (bird-watching) slots. Charred black timber cladding. Openable glazed viewing slots.

Charred black timber screening to prevent people from disturbing the wildlife.

+00.50 +00.00

+00.00

Retaining structure constructed from timber sleepers.

-00.50

PROPOSED BIRD HIDE FRONT ELEVATION 1:50 @ A1

client

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

PROPOSED BIRDHIDE FRONT & REAR ELEVATIONS

+03.75

drawing status

+02.60

Charred black timber screening to hide people from disturbing the wildlife. Charred black timber cladding. Structural timber column for rear portion of proposed roof using reclaimed timber.

date

Inverted timber constructed pitched roof. Depth of structure providing space for bat roosting.

drawn by

checked by

Fixed vertical glazing.

drawing number

1:50 @ A1

25/4/16

RE revision

A205

Vertical responsive material panels.

1:20 gradient ramp for 500mm rise.

PLANNING

scale

Charred black timber screening to hide people from disturbing the wildlife.

+00.50

Steps meet external stair approved regulation (part K)

Stone wall reclaimed from edges of existing ramp.

+00.00

Newcastle University

Existing Ground Level

School of Architecture, Planning and Landscape Newcastle upon Tyne NE1 7RU UK

-00.50

PROPOSED BIRD HIDE REAR ELEVATION

T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

1:50 @ A1

“Liked the vertical slots offering a unique perspective of the woodland (these would also be great for kids). Moveable benches are also always a good idea for a bird hide. ”- Comments from Living Wild Steering Group

See Appendix: Initial concepts for more information regarding the alternative design options that didn’t progress past this meeting NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Blue line indicates shoreline. Key Bird watching pod Higher Level (+0.5m)

Nesting island

Osprey nexting pole

Forest/Creek viewing pod Lower Level (-0.5m) (Colour for diagrammatic purposes only & will not be used in planning drawings)

Nesting island

EY PR

OS G

IN ST

LA HE NT VIE

HOR

DO W

VIEWS ACROSS THE LAKE

VIE

LAK

Bakethin Reservoir

VIA

DUC

IEW

S C

IEW

LIN

E RE

A 26-04-16 Rev Date

SH Notes and plan alterations By Description

Revision Schedule client

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST

Creek

CREEK/FOREST VIEWS Existing forest

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

R FO

100

PROPOSED BIRDHIDE SITE PLAN [SHOWING INTENDED VIEWS]

5 10

title

VIE

drawing status

PROPOSED BIRD HIDE SITE & ROOF PLAN

PLANNING

scale

date

drawn by

checked by

1:250 @ A1

1:1000 @ A1 185

drawing number

A109

25/4/16

revision

Newcastle University School of Architecture, Planning and Landscape Newcastle upon Tyne NE1 7RU UK

tra

bir

hid

Red dashed line and white area indicate original position of existing birdhide

T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

Welcome Point T

he Welcome Point is sited within the centre of the car park between Kielder Castle and Kielder lake at the beginning of many visitor’s journeys around the Kielder area. The client requested a partially sheltered information point which was fully accessible to all visitors. The structure will act as an informal meeting point, where visitors can take ‘10 minutes’ whilst being able to access information, including directions towards the bird hide and other destinations within the area. Seating has been integrated into the design where users can stop to rest, wait for friends and eat their

lunch. The structure wraps around one of the existing pine trees, putting Kielder forest itself at the centre of the design. The intention was for a “light touch” structure, therefore causing minimal disruption to the ground and existing trees, an aesthetic but practical objective. The structure consists of spaced horizontal timber members that are intended to visually break down the verticality of the forest. The design also houses information about emergent and responsive hygromorphic materials technology, which are also intended to be installed within the Wildlife Hide.

Welcome Point

Internal Seating + Wooden Facade

Panoramic Visual

Circular Bench

Tables + Shelves

Existing Signpost

Panoramic Visual Site Plan The key concept driver for this proposal evolved around the idea of wrapping, with one of the existing pine trees acting as the main focal point for the design. A series of wooden slats are vertically stacked upon one another to eventually create a sheltered canopy overhead that provides adequate cover for informal gatherings. These wooden slats also offer integrated benches and tables allowing for the use of a cohesive single material throughout. The external faรงade of the screening has an alternating warped geometric faรงade that is inspired from the scales of the pine cones that are present on site.

Internal Visual

Design Concept

NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

A A

Rev

xx.xx.xx Date

xx By

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

PROPOSED WELCOME POINT SITE PLAN drawing status scale

PLANNING date

1:100 @ A2

drawn by

25/04/2016

checked by

drawing number

revision

A107

A Newcastle University

School of Architecture, Planning and Landscape

Newcastle upon Tyne NE1 7RU UK

C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

“The design is organic, looks very appropriate to place and a definite welcome point”- Comments from Living Wild Steering Group

Rev

xx.xx.xx Date

xx By

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

PROPOSED WELCOME POINT ELEVATION drawing status Metal bracket and tension rods fixed around tree trunk to partially support roof

Information Panels attached onto / within timber slats

Vertical tension rods fixed into concrete pad foundations to support horizontal timber slats

scale

PLANNING date

1:50 @ A2

drawn by

checked by

MW A204

3224 3002

drawing number

25/04/2016 revision

Newcastle University

520

Stone filled gabion baskets with timber seat covering

School of Architecture, Planning and Landscape C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

Newcastle upon Tyne NE1 7RU UK

10896

Elevation A-A

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Circles indicate position of trees

Dashed line indicated estimated tree canopy

Stone filled gabion baskets with timber seat covering

Entra nce

from Car

park

e from

Car

Rev

park

Entranc

xx.xx.xx Date

xx By

Description

Revision Schedule Metal bracket and tension rods fixed around tree trunk to partially support roof

client

Vertical tension rods fixed into concrete pad foundations to support horizontal timber slats

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

Entrance from Pathway leading to Bird Hide

PROPOSED WELCOME POINT PLAN drawing status scale

PLANNING date

1:100 @ A2

drawn by

25/04/2016

checked by

drawing number

revision

A108

Newcastle University School of Architecture, Planning and Landscape

Newcastle upon Tyne NE1 7RU UK

C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

“This design is most ‘in tune’ with the surroundings... • Split Level offered the best proposal ... that would compliment the site and that was also weatherproof. ”- Comments from Living Wild Steering Group

Rev

xx.xx.xx Date

xx By

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

PROPOSED WELCOME POINT SECTION Information Panels attached onto / within timber slats

Timber slats to form integrated table

Timber slats to form integrated seating

drawing status

Vertical tension rods fixed into concrete pad foundations to support horizontal timber slats

scale

drawing number

date checked by

MW A304

2480

3224 3002

PLANNING

1:50 @ A2

drawn by

revision

520

558

1130

School of Architecture, Planning and Landscape C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

Section A-A

Newcastle University

Stone filled gabion baskets with timber seat covering

10723

25/04/2016

Newcastle upon Tyne NE1 7RU UK

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

View Point W

(Planning Approved but on hold)

ith the Viewpoint, as well as the Welcome Point structure, the intention was to form a series of stop off points for anyone visiting Kielder as well as the Wildlife Hide. As with the other proposed structures, the client requested that even when there is no wildlife, the geometric structure of the viewpoint should provide an interesting space to visit. And along with the other structures, would form an architectural package fully accessible to all audiences, featuring a level entry and open-ended design, as well as wide enough for people to turn around. The location of the view point lies directly across the reservoir from the new

Wildlife Hide. The striking triangular structure would draw peopleâ&#x20AC;&#x2122;s attention from the adjacent path, highlighting a view towards the osprey pole and Wildlife Hide directly across the lake, which might have previously been missed, whilst walking past. The origin of the design is based on a shifting form of an equilateral triangle, creating various openings throughout the form to frame views out towards the reservoir, whilst still offering partial shelter from wind and rain. The design references the geometry of the other proposals and the use of timber slats again as with the Welcome Point, contrasts against the tall pine trees in the back drop.

NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Site Boundary

k ac Tr Rev

xx.xx.xx Date

xx By

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

PROPOSED VIEW POINT SITE PLAN

k drawing status scale

PLANNING date

1:100 @ A2

drawn by

25/04/2016

checked by

ABC

drawing number

revision

A105

Newcastle University

School of Architecture, Planning and Landscape

Newcastle upon Tyne NE1 7RU UK

C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

“Really liked the intriguing internal walkway, extensive external seating and revealable interpretation.”- Comments from Living Wild Steering Group

Elevation AA

Elevation BB

Rev

xx.xx.xx Date

xx By

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR title

PROPOSED VIEW POINT ELEVATIONS drawing status

PLANNING scale

Elevation DD

date

1:50 @ A2

drawn by

Elevation CC

checked by

ABC

drawing number

25/04/2016 revision

A203

Newcastle University School of Architecture, Planning and Landscape C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

Newcastle upon Tyne NE1 7RU UK

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Information panel attached onto interior of frames

Fold down seat set in between timber frames

Section AA

Section BB Rev

xx.xx.xx Date

xx By

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

PROPOSED VIEW POINT SECTIONS drawing status scale

Section CC

PLANNING date

1:50 @ A2

drawn by

Section DD

25/04/2016

checked by

ABC

drawing number

revision

A303

Newcastle University School of Architecture, Planning and Landscape

Newcastle upon Tyne NE1 7RU UK

C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

“The viewing area for me is Split Level and an interesting use of shapes to create a nice space. Even if you approached the structure it looks interesting ”- Comments from Living Wild Steering Group

D A

D C

C Rev

xx.xx.xx Date

xx By

Description

Revision Schedule client

KIELDER WATER & FOREST PARK DEVELOPMENT TRUST

Fold down seat positions set in between timber frames

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

C title

Floor Plan

PROPOSED VIEW POINT PLANS

Roof Plan

drawing status

PLANNING scale

date

1:50 @ A2

drawn by

checked by

ABC

drawing number

25/04/2016 revision

A106

Newcastle University School of Architecture, Planning and Landscape

C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University logo.jpg

Newcastle upon Tyne NE1 7RU UK

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

DEVELOPED DESIGN: â&#x20AC;&#x153;During this stage, the Concept Design

is further developed and, crucially, the design work of the core designers is progressed until the spatial coordination exercises have been completed. This process may require a number of iterations of the design and different tools may be used, including design workshops.â&#x20AC;?

Section Overview Proposals were coordinated and updated with a number of drawing revisions issued to both client and consultants. For confirmation of the money from the Heritage Lottery Fund bid required a substantial package including cost plan, drawings and gantt chart, to a certain level of detail that would not normally have occurred so early on. Health and Safety documentation was started at this stage (over the summer period between stages 5 and 6) with helpful advice

provided by Peter Sharpe and Scott Everett (NWL). The planning application for the three projects was submitted 14th June 2016, validated 11th July 2016 and planning approval received on 20th September 2016.

DTM 4

Stage

30.09.2016

7 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

1. 2. 3. 4. 5.

Meeting Agendas

Attendees

Regarding the work of the Estates Officer Dan Chapman, it was agreed that the existing bird hide and screening would be removed mid-October and that a volunteer group could be implemented to fabricate and fill the gabion cages for the Welcome Point. Northumbrian Water Ltd were beginning the process of tendering for the groundworks which

Graham Farmer Kathleen Jenkins Sam Halliday Matthew Westgate Robbie Evans Laurence Ashley Sophie Cobley Katie Fisher Alex Baldwin-Cole Ulwin Beetham

Lynn Turner Katy Cook Jane Anderson

Dan Chapman Kelly Hollings Joanna Dailey

Stuart Pudney Scott Everett Peter Pattinson Andrew Rogers Jack Sayers

Peter Sharpe Nick Mason Yvonne Conchie Ian Robinson

again was confirmed to be split into 2 parts for preconstruction and pathways. The second groundworks tender process would be scheduled in on the project timetable for January 2017. Following on from the research of the moss roof, the design team decided to pursue with Dan Chapman specifying the requirements for the technical build up.

185

Development of the Wildlife Hide design

87 NOTES -Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

NOTES

Circles indicate position of trees.

-Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

Dashed line indicated estimated tree canopy. Red dash indicates outline of existing bird hide structure and path. Line indicates roof above. A

Blue line indicates shoreline

1 1428.9

1652.1

450

1350

450

2424.2

450

2225.3

6882.8

450

1502.1

-575mm

1337.4

600

450

1621.7

450

1223.7

Retaining wall

-250mm

rem

g hi

istin

Line

1502.1

4 .

30Â°

450

1189.4

450

3573.1

450

wal

Demise line of phased work. Dig down to -575mm from datum level above this line as indicated on the drawings.

1350

aini Ret

-00.25

+00.25

450

3 1189.4

-575mm 1428.9

450

Area at bottom of ramp to be paved using locally sourced stone. +00.00

1354.4

450

3 4

3261.1

450

Window at lower level providing views for mixed user types [see A205 for location].

450

464.7

450x450mm concrete pad foundations with a depth of 550mm.

-00.25

Forest continues along shore line

Area at the top of the slope to be paved using locally sourced stone.

875.3 Removed tree

1800

1878.9

450

1069.3

600

450

Step providing raised viewing for children

Vertical slats for visual connection between pods

1077.8

1352.9

450

Main reference point at base of tree.

Sill Sill

801

450

FRONT ELEVATION

+00.25

838.4

SOUTH FACING ELEVATION

1040.5

-00.50

FRONT ELEVATION

NORTH FACING ELEVATION

Dashed line indicates Contours Dashed line indicates existing screening position

6 Retaining wall

Dashed line indicates existing screening position Reclaimed stone from edge of existing ramp.

Removed tree

+250mm

Reclaimed timber column holding up rear structure of the roof.

6425.6

Trees will be removed on or before 17.10.16, however tree stump and root system may still remain.

REAR ELEVATION

Revisions

Retaining wall between ramps constructed from timber sleepers; with handrail guards at 1100mm. 5 meter ramp at 1:20 gradient.

Revision Schedule

Retaining wall

Charred black timber screening to prevent people from disturbing the wildlife. 5 meter ramp at 1:20 gradient.

6200.6

REAR ELEVATION Charred black timber screening to prevent people from disturbing the wildlife.

4986.4

+00.00

A - 26-03-16 - Notes and plan alterations.

client

New dry stone wall created using the B - 26-05-16 - Notes and plan alterations. existing stones on site. C - 31-05-16 - Groundwork alterations.

WILDLIFE HIDE BAKETHIN RESERVOIR title

WILDLIFE HIDE GROUND WORKS SETTING OUT PLAN PHASE 1 drawing status

TENDER A

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

project

+00.00

Dashed line indicates start of gradual slope.

+00.00

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST

project

D - 01-06-16 - Annotations/guarding . client

All dimensions must be taken from our datum point along grid line 7. Using the tree as the main reference point. Main reference point at base of tree.

date

scale

1:50 @ A1

SEPT 16

drawn by

checked by

RE title

+00.00

drawing number

revision

A106

+00.00

PROPOSED BIRDHIDE PLAN Newcastle University drawing status

Grey area indicates existing path.

PLANNING

scale

1:50 @ A1

WILDLIFE HIDE GROUND WORKS SETTING OUT PHASE 1 drawn PLAN by

PROPOSED BIRD HIDE PLAN 1:50 @ A1

SOUTH FACING ELEVATION

NORTH FACING ELEVATION

1:50 @ A1

SH drawing number

A111

School of Architecture, Planning and Landscape Newcastle upon Tyne NE1 7RU UK

date

1/6/16

checked by

T: +44 (0) 191 208 5831 F: +44 (0) 191 208 6115

RE revision

E: APL@ncl.ac.uk

Newcastle University School of Architecture, Planning and Landscape Newcastle upon Tyne NE1 7RU UK

T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

See Appendix: Sketches p.374415 for more information

Development of the Welcoem Point design. Section A-A 10723

C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RES

520

558 1130 Stone filled gabion baskets with timber seat covering

2480

3224 3002

drawing number drawn by Timber slats to form integrated table

Timber slats to form integrated seating

Vertical tension rods fixed into concrete pad foundations to support horizontal timber slats

1:50 @ A2

scale Information Panels attached onto / within timber slats

drawing status

PLAN

PRO POIN title

KIEL KIEL BAKE

project

KIEL FOR DEV client Rev

xx.xx.xx Date

xx By

NOTES -Do not scale from this drawing, e -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicativ

-Do not scale from this d -Check all dimensions o -Subject to survey. -Subject to site inspectio -Site boundary lines are

NOTES Circles indicate position of trees

Dashed line indicated estimated tree canopy

Stone filled gabion baskets with timber seat covering

Entr

ance from Car

park

ce from

Car

park

Entran

Rev

xx.xx.xx Date

xx By

Revisi Metal bracket and tension rods fixed around tree trunk to partially support roof

client

Vertical tension rods fixed into concrete pad foundations to support horizontal timber slats

KIELDER FOREST DEVELO project

KIELDER KIELDER BAKETHI

title

PROPOS POINT P Entrance from Pathway leading to Bird Hide

drawing status scale

PLANNIN

1:100 @ A2

drawn by

drawing number

A108

N C:\Users\Robbie\Documents\UNI YEAR 5\DESIGN\LINKED RESEARCH\Newcastle-University lo

See Appendix: Sketches p.416433 for more information.

See Appendix: Drawings, Planning Submission p.59-126 for the official confirmation received from NCC

Planning Submission We liaised with the client and various consultants to produce an Ecology Report, Flood Risk Assessment and Design and Access Statement alongside our design drawings for the planning submission

lanning approval is arguably the most important step of the â&#x20AC;&#x2DC;live buildâ&#x20AC;&#x2122; process. Without approval from the local Planning Authority, in this case Northumberland County Council, the project ceases to exist. From experience, planning is an inconsistent process, making it unpredictable. Due to the size of the project there is a statutory approval period of eight to thirteen weeks, in which the project can either be accepted or rejected. The planning application was submitted to include all three planned structures (Wildlife Hide, Welcome Point and Viewpoint) located around the Bakethin Reservoir, rather than three separate applications.

fter all three structures were designed and approved by the client, the application including all drawings and a Design and Access Statement were submitted in early June 2016. Initially, the application was registered as invalid, due to insufficient payment, owing to the fee being calculated by the gross floor area of all three structures. In addition to this, a Flood Risk Assessment was required, due to the Wildlife Hideâ&#x20AC;&#x2122;s proximity to the reservoir edge. The client considered this to be a little overzealous, since the reservoir is a managed water supply.

nce these issues had been resolved, by way of extra payment and the creation of a Flood Risk Assessment, the application was finally validated in early July, one month after expected. This meant the eight to thirteen week approvals period could begin. Due to the location of each of the proposed structures being in Bakethin Nature Reserve the planning departments ecological consultant requested an Ecological Report be produced in support of the application. The report detailed the local habitats and species around the site and how to manage this when construction began.

he existing Wildlife Hide site had evidence of nesting bats in the roof structure and otters in the general area. A bat survey needed to be carried out and presented. If evidence of any bats were found, an appropriate mitigation strategy was also implemented to ensure the conservation status of the bat population would be maintained. A Method Statement was also required to ensure that disturbance to otters would be prevented during the demolition of the existing hide and construction of the new hide. Regarding the location of the Viewpoint adjacent to a forest track on grassland, details needed to be provided on the habitat, as it is

NOTES

-Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

+03.75

+02.60

Inverted timber constructed pitched roof.Inverted timber constructed pitched roof.

Concealed drainpipe. Concealed drainpipe. Accessible via removable access panel.Accessible via removable access panel.

Top hung openable casement windows. Top hung openable casement windows. Charred black timber cladding.

Top hung openable casement windows. Top hung openable casement windows.

Charred black timber cladding.

Charred screening to prevent people from disturbing the wildlife. Charred black timber screening to prevent peopleblack fromtimber disturbing the wildlife. +00.25

+00.25 +00.00 DATUM LEVEL

+00.00 DATUM LEVEL

Fixedviewing glazed window to encourage shoreline viewing at Fixed glazed window to encourage shoreline at lower height for varied users. lower height for varied users.

+00.00 -00.25

-00.25

-00.50

+00.00

Retaining structure constructed from timber sleepers. Retaining structure constructed from timber sleepers.

PROPOSED BIRD HIDE FRONT ELEVATION PROPOSED BIRD HIDE FRONT ELEVATION 1:50 @ A1

1:50 @ A1

Revisions

A - 26-03-16 - Notes and plan alterations.

B - 24-03-16 - Notes and plan alterations.

C - 26-05-16 - Foundations.

D - 31-05-16 - Groundwork alterations.

client

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST

project

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

PROPOSED BIRDHIDE FRONT &PROPOSED BIRDHIDE FRONT & REAR ELEVATIONS REAR ELEVATIONS

+03.75

drawing status

+02.60

Charred black timber screening to hide people from disturbing the wildlife. Charred black timber screening to hide people from disturbing the wildlife. Charred black timber cladding.

1100mm guarding

Inverted timber constructed pitched roof.Inverted timber constructed pitched roof.

Charred black timber cladding.

Fixed vertical glazing.

Vertical responsive material panels.

+00.25

+00.00 DATUM LEVEL -00.25

Stone wall reclaimed from LEVEL existing ramp.Stone wall reclaimed from existing ramp. +00.00 DATUM

-00.25

Reclaimed timber retaining wall structure. Reclaimed timber retaining wall structure.

PROPOSED BIRD PROPOSED BIRD HIDE REAR ELEVATION 0 HIDE REAR ELEVATION 2 3 1:50 @ A1

0 4

1:50 @ A1

common for reptiles and amphibians such as toads and lizards to be present. A Method Statement on the process of clearing the site safely, so as not to endanger any of the protected species was provided.

n ecologist working on behalf of the client carried out the Ecology Report, which included the Bat Survey and Phase 1 Habitat Survey. Due to the nature of the surveys, particularly the Bat Survey, they were only able to carry out the surveys at specific times, which resulted in the late production of the report. The report was finally completed the same day as the date in which the planning application was due to be approved (after the initial eight weeks). Since the new information provided at this time, the planning department requested a formal extension of the approval date to allow for a statutory fourteen-day review period, pushing the approval date back two weeks to the 20th September 2016.

drawing status

PLANNING

ther than the slight delay in validation of the application at the beginning and the delay in receiving the Ecology Report, this planning process was relatively straightforward. Constant communication with the client was key in order to keep them informed on the progress of the application, which resulted in a quicker turnaround of additional information and documents for the application.

PLANNING

scale

date

scale

date

drawn by

checked by

drawn by

checked by

1:50 @ A1 SH

31/5/16 RE

drawing number

A205

Charred screening to prevent people from disturbing the wildlife. Charred black timber screening to prevent peopleblack fromtimber disturbing the wildlife.

1100mm guarding

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

title

timber for rear portion Structural timber column for rear portionStructural of proposed roofcolumn using reclaimed timber.of proposed roof using reclaimed timber.

project

1:50 @ A1 SH

drawing number revision

DA205

31/5/16 RE revision

Newcastle University

School of Architecture, Planning and Landscape Newcastle upon Tyne NE1 7RU UK

T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

Prototyping A Welcome Point Integrated bench

Process leading up to Workshop - Practice

oo often my experience of detailing in practice has seen the detail and tolerance designed out by external design consultants and manufacture professionals, with our function reduced to the supplying of the structural opening. I argue that in being comfortable in that condition we lose something in that process as an architect, we lose that sense of control over the detail process, a technical way of working. It leaves a natural worry or apprehension, when we get to RIBA 05 stage, a stage of production; specifications drawings, design details, etc. all at once. This is compounded by the nature of our project being live and a self-build, naturally inducing a sense of apprehension ad anticipation for its construction.

Detail Design - Iterations & Build Realisation

ith regards to the Welcome Point, the early technical detailing was done without any resultant knowledge relating to the self-buildability or cost of the proposed details and the restrictions and limitations that places upon the scheme. This formed an overly extensive iterative process, combined with value engineering at the detailed design stage. One example that reflects this well, is a change and redesign from the metal flanged wall spacers originally in the specification (drawing numbers 007 & 011). This early detail disregarded our in-experience with complex construction in a self-build, live project with no professional sub-

contractor or consultant to cover the specialist detailing for us. Through experiencing this process, we recognised that skills, cost and time, are vital to map against detailing strategies, thus extensive research lead to a material change for the spacers to timber, marine ply (drawing numbers 007B & 011A).

Prototyping ‘Research by Design’

e were given the opportunity to work with a furniture designer Hugh Miller, a talented former pupil of Newcastle University, who now runs his own workshop in Liverpool. Before the day of the workshop we identified a location of the structure in which we could prototype at 1:1 scale. The intention was to model a moment in the structure that gave us the opportunity to explore a range of connections and test the rigour of our latest detailed design package. We selected a seat-wall-floor junction, as it allowed us to explore the typical lap joint details that form the horizontal language of the walls. As well as offering us a chance to explore possible ways to support the bench element itself, through the wall structure. This design methodology, of ‘researching through making’ involved problem solving responsiveness leading to subsequent changes. We went into the day with the intention to build our details from the drawings, but with an openness to research through making and potentially push on the design, resulting in crucial changes, a process that was vital to the detailing trajectory of the Welcome Point.

â&#x2C6;&#x2020;

See Appendix:: Photos, Prefabrication p.443-444 for more images of the process

See Appendix: Drawings, Finial client submission p.198-215 for more diagrams of the welcome point.

∆ Roof Prototyping – Applying skills in workshop

ollowing this productive day in Hugh’s workshop, we looked to build upon the problem-solving skills tested in the workshop, to inform the manufacturing of the roof of the structure. Again, we intended to build from our latest set of detailed designs, but we saw this as another learning exercise which could provide changes and detailing solutions through the act of designing through building. The roof to wall junction selected, was key to test, not just the structural rigour but the consistency of architectural language across the whole structure. The reality of recreating the crafted construction of the lap joints in Hugh Miller’s workshop, in a smaller university

space, with machinery which is over used and in a lesser condition, set against the sheer number of spacers and lap joints that needed to be machined, appeared mightily daunting. Undertaking both prototypes was invaluable, importantly building in two contrasting circumstances and environments, it did expose the realities, and ominous task that stands in front of us to build the Welcome Point.

See Appendix: Images, sketches p.416-432 for sketches produced at Hugh Millerâ&#x20AC;&#x2122;s workshop in Liverpool.

Initial HSE & Project Management Documentation The project programme and cost plan were updated at each stage of works. The first edition was an initial attempt at understanding the scope of the project.

nder the Construction (Design Management) Regulations 2015 (CDM) the Principle Designer is described by Health and Safety Executive as: ‘A is a designer who is an organisation or individual (on smaller projects) appointed by the client to take control of the pre-construction phase of any project involving more than one contractor. Principal designers have an important role in influencing how risks to health and safety are managed throughout a project. Design decisions made during the preconstruction phase have a significant influence in ensuring the project is delivered in a way that secures the health and safety of everyone affected by the work.’1

he Principle Contractor is described as:

‘A principal contractor is appointed by the client to control the construction phase of any project involving more than one contractor. Principal contractors have an important role in managing health and safety

Construction - Principal designers: roles and responsibilities CDM 2015. [http://www.hse.gov.uk/construction/cdm/ 2015/principal-designers.htm]. [Accessed 19.01.17]

risks during the construction phases they must have the skills, knowledge, experience and,where relevant, organisational capability to carry out this work.’.’2 Under the responsibilities of the Principle Contractor, they must prepare the required documentation, listed below:(Please refer to the documents in the Appendix).

∆∆∆ ∆

he appointment of the projects Principle Design and Principle contractor fell to the responsibility of one of the students in the design team. This role was a new experience to the student and involved a steep learning curve, which on reflection was hugely beneficial both in knowledge of regulations but also in the design process.

Pre-Construction Phase Plan, Construction Phase Plan, Heath & Safety File, Risk Assessments/Method Statements.

ealth and safety discussions were continually in process during the concept stage, but in a relatively loose fashion, primarily focussed on the designing out/or resolve any immediately obvious design features that would later cause problems. Discussions and production of documents occurred in late summer during the technical design stage. Using the Health and Safety Executive Website FAQ’s section and their regulations/ legislation as reference the four documents were set out. Use of other online examples from contractors etc, and project managers gave light on the format and content; Along with first hand advice from a qualified CDM Co-ordinator in practice. Drafts for NWL and Peter Sharpe were completed, issued, proofed, revised and resubmitted to the Health and Safety Executive via NWL. Along with approval of 2

Construction - Principal contractors: roles and responsibilities CDM 2015. [http://www.hse.gov.uk/construction/cdm/ 2015/principal-contractors.htm]. [Accessed 19.01.17]

the documents, we received a permit to work from NWL (Leaplish Headquarters).

have read the health and safety information and signed it to confirm they have understood the text, they are legally allowed to work on site. Health and safety is a continuous process throughout the project and at the handover of the project to the client, the health and safety document will accompany it.

he Principle contractor has the information on site, and any new site staff are kitted out with appropriate personal protective equipment and given a site induction; once they

May-16 No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Task HLF Bid Submission Planning Resubmission Planning Approval Period CDM Regulations Detail Design of VP Detail Design of WP Detail Design WH APPROVAL/COMMENT PERIOD Order Materials for WP Prefab of Hygromorphics Groundworks for WP Prefab of WP Construction of WP Notification of HLF Bid Removal of Existing Hide Groundworks for New WH Order Materials for BH Prefabrication of BH Construction of BH

Dur. 1d 1w 12w 3w 8w 15w 17w / 2w 6w 2w 3w 5w 1d 1w 3w 3w 10w 13w

Start Date 03.05.16 06.06.16 07.07.16 25.07.16 18.07.16 18.07.16 18.07.16 / 26.09.16 19.09.16 19.09.16 03.10.16 03.10.16 31.10.16 31.10.16 31.10.16 31.10.16 31.10.16 14.11.16

Finish Date 03.05.16 12.06.16 30.09.16 07.07.16 19.09.16 21.10.16 18.11.16 / 07.10.16 28.10.16 31.09.16 21.10.16 11.11.16 31.10.16 06.11.16 18.11.16 18.11.16 27.01.17 01.03.17

Jun-16

16 23 30

Jul-16

13 20 27

11 18 25

Aug-16 1

Sep-16

15 22 29

12 19 26

Oct-16 3

Nov-16

10 17 24 31

14 21 28

Dec-16 5

12 19 26

Jan-17 2

16 23 30

Feb-17 6

29TH AUGUST: INITIAL DETAILED DRAWING PACKAGE FOR WP & WH

Key (Lighter colour: ONSITE) Planning Newcastle Uni WP/VP Newcastle Uni BH Newcastle Uni Hygrmorphics Client/HLF NWL Contractor/Wildlife Trust Current Week

2 weeks min for production

19th SEPTEMBER:

Max. Delay for use.

REVISED DETAILED DRAWING PACKAGE FOR WP

CHRISTMAS BREAK (WORKS LIKELY TO CONTINUE INTO THESE WEEKS - TBC)

13 20 27

Potential spill over period for construction of the Welcome Point

Path Works: Start of Nov

17TH OCTOBER: BIRD HIDE COMPLETED OR IN USABLE CONDITION WEEK COMMENCING 06.03.17 AT LATEST

Bird Hide Cost Plan

DRAFT COPY

Client: Kielder Water + Forest Development Trust

26.04.16

Column1 0 a

ELEMENT Demolitions Demolition of Existing Structures

AREA SQM

£/ SQM

QUANTITY

£/ITEM

TOTAL COST

DETAILS

RESPONSIBILITY

Northumberland Water -

Site Clearence

Removal of one existing tree (to be repurposed within the design).

Kielder Water Forest Park.

1 a

Substructure Excavation

Northumberland Water -

Base structure

Northumberland Water -

Timber sleepers

30m overall length (Timber dimensions: 2600 X 250 X 150mm)

£14.75/2.6m )

2 a

Superstructure Roof

55 approx

General Roof Build Up

55 approx, 8.5 perimeter approx

£14.47,

24 OSB Boards,

ii b

Exposed Timber Beams Walls

External Wall Type

90 approx (inc windows and doorways)

Charred Siberian Larch (oiled) 90 approx

General Wall Buildup

90 approx

Internal Finish Screening

90 approx 58 approx

55 approx 55 approx -

OSB: £6.38

Floor Timber structure Floor Joists/ Board Floor Finish Windows and External Doors

Window Type A

c i

Mar-17 6

WP Welcome Point VP View Point WH Wildlife Hide

REVISED DETAILED DRAWING PACKAGE FOR WH - POTENTIAL TO BE BROUGHT FORWARDS IF POSSIBLE

13 20 27

£885 Treated timber sleepers

£16.99

£16.30 -

£70 -

Rails: £5.94, OSB: Breather Breather membrane: 2 membrane: £6.38, Frame: £103.85 £4.66 £26 £992 8 posts, 44 l £55.56, £374 of black stain

£26 -

£16.30

£230.07

Newcastle University

ROS-2.6C Grade: C | Size: 2600mm x 250mm x 150mm | Min Qnty: 1 | Treatment: Creosote - Timber to be cut down to appropriate lengths (1300mm maximum)

Newcastle University

General Purpose OSB3 Board 18x1220x2440mm ClassicBond® One Piece EPDM Rubber Roof Covering 1.20mm, Sure Edge Kerb Trim 2.5M, Sure Edge Kerb Corner External, Water Based Deck Adhesive, Rubber Roofing Contact Adhesive

Newcastle University

150 x 50mm (6" x 2") x 3600 mm -

£6,300 Charred and oiled (twice) 150mm x 4000mm approx

145-150mm wide, 4m long (4.2 also) Delivery: 4-6 weeks, Approx £300. Potential to collect ourselves. Charred- £60, Charred + Oiled: £65-70

£1,826 Cladding Rail, OSB Backboard, Timber Frame, Breather Membrane

Softwood Timber Cladding Batten 21x34x2400mm Single, General Purpose OSB3 Board 18x1220x2440mm, Studwork (CLS) 38 x 63mm x 3000mm, Housewrap 1.4m x 100m

£2,340 £1,810.48 Black stained timber screening to prevent people from disturbing the wildlife.

Siberian Larch (SILA) Western Red Cedar Slatted Screen Battens 19 x 38mm (35 battens high)

£839.78 Timber Joist, OSB Board £1,430.00 -

Newcastle University Newcastle University

150 x 50mm (6" x 2") x 3600 mm Siberian Larch (SILA) -

£1,656.50 Horizontal Viewing- Openable glazed viewing slot

500mm x 1500 mm, Window: External Frame, Timber Type: Douglas Fir , No finishing is applied to this item, U-value=3.36 152.63 kg, Casement: Traditional Flush Casement, No Ironmongery Fitted Unless Listed Separately, Timber Type: Douglas Fir, 4mm Clear Toughened No finishing is applied to this item

Inverted timber construction pitched roof. Providing space for bat roosting. Exposed timber beams, OSB timber deck, adhesive £1,203.59 OSB timber deck, adhesive, EPDM membrane,

SPECIFICATION NOTES

£488.88 Timber Beam -

Bird Hide- Basic timber frame construction with board, waterproofing and charred/black stained timber cladding.

TECHNICAL DESIGN: â&#x20AC;&#x153;The

architectural, building services and structural engineering designs are now further refined to provide technical definition of the project and the design work of specialist subcontractors is developed and concluded.â&#x20AC;?

Section Overview The technical design process started in late August 2016; the general arrangement drawings were set out, with grids and dimensions. All layers of construction were provisional set out, over thirty details were produced delineating the specifics of the structure and for its future construction. This is where discrepancies and design issues in detail could be worked out. A strategy for the construction was detailed further, including a sequence of works with more accurate timings and lead times. Health and

safety documents (PreConstruction Phase Plan, Construction Phase Plan, Heath & Safety File, and Risk Assessments/Method Statements) were completed, proofed, revised and resubmitted to the Health & Safety Executive. With approval of the documents, we received a permit to work from NWL Leaplish Headquarters. The technical design process overlapped in the (05) construction phase.

DTM 5

Stage

11.11.2016

10 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

1. 2. 3. 4. 5.

Meeting Agendas

Attendees

It was agreed that an availability form would be produced for Dan Chapman to identify when volunteers would be required. He would also prepare suitable signage for the part closure of the Welcome Point car park. A list was produced by Newcastle University students which identified suppliers to be added onto the Northumberland County Council

Graham Farmer Kathleen Jenkins Sam Halliday Matthew Westgate Robbie Evans Laurence Ashley Sophie Cobley Katie Fisher Alex Baldwin-Cole Ulwin Beetham

Lynn Turner Katy Cook Jane Anderson

Dan Chapman Kelly Hollings Joanna Dailey

Stuart Pudney Scott Everett Peter Pattinson Andrew Rogers Jack Sayers

Peter Sharpe Nick Mason Yvonne Conchie Ian Robinson

list by Jane Anderson. Northumbrian Water Ltd would require students to obtain evidence of FSC certification from the suppliers mentioned. Wildlife Hide internal and external visuals would be supplied before the Christmas break.

100

Technical

The art of compromise.

Investigating the restraints, strategies, specifications and regulations that influenced the technical design development of a single wall section detail in the Wildlife Hide bird watching pod. This highlights the significance of research in architecture compared to the norm.

Introduction The technical development of the Wildlife Hide challenged us to balance the vastly different priorities of the various project stakeholders. In addition to this, we also needed to ensure that the final design could be realised using the facilities available to us in the university workshop within the time frame and budget given. Some of the key issues we had to consider, as we developed the detailed design and associated specification, included adhering to DDA accessibility requirements and CDM Regulations (2015) under the Health and Safety Executive. This essay uses a case study of the east facing upper hide wall to illustrate the impact of these issues on the final product, and discuss how we found solutions to the problems that emerged within the technical design stage for this particular detail (for section detail see page 109).

CDM Regulations The publication of the Construction (Design and Management) Regulations 2015 specifies that a designer must eliminate foreseeable health and safety risks to those involved in a project1. The Health and Safety Executive (HSE) are required to be notified of any project lasting â&#x20AC;&#x153;more than thirty days and have more than twenty workers working at the same time at any point on the project or exceed 1

The Construction (Design and Management) Regulations 2015 (SI 2015/51) Available at: http://www.legislation.gov.uk/uksi/2015/51/pdfs/ uksi_20150051_en.pdf (Accessed 15th January 2017)

101

Design:

Balancing Act

W.14

W.13

W.12

W.11

W.04

W.10

W.03

W.06

W.09

W.02

102

Figure 01

W.07

W.05

Fig 02

∆

103

See Appendix: Admin, Emails p.320335 for conversations with DDA

Working with an access consultant on this project has given us a greater understanding of access requirements, as he was able to explain the practical implications of Part M regulations, as well as developing the design beyond the minimum provision of one disabled space. five hundred person days of construction work.”2 Our project may not fall into this category, however, as the two projects had more than one contractor on site, ourselves and the groundworks contractor, Northumbrian Water asked us to produce the CDM documentation to avoid any potential issues, before they issued us a permit to work on site.

he regulations surrounding “Working at Height” are very explicit in HSE documentation and state that any construction work with a fall height of above 4m requires a High Risk Work License. According to the planning drawings (appendix A205 rev. D) the original roof height was 3.75m, taking the work height above the 4m restriction. The requirements for working at this height involve additional, costly training for the site team and the hire of specialist equipment. In order to comply with CDM regulations without incurring significant extra costs, as well as improve constructability, it was therefore decided the best option would be to lower the roof height, once to 3.515m (appendixA303 Section DD rev.01) and then again to 3.135m (appendix tender drawing A301 rev.03).

Integration by Design

rchitecture must set the design trend for accessibility, catering for a wide demographic of the general public in a way that integrates all potential users and avoids singling out those with additional needs. This need for accessibility without differentiation was an integral part of the design process. It was important that the new hide would accommodate a variety 2 Health and Safety Executive What you need to know if you are doing or having construction and building work carried out Available at: http://www.hse.gov. uk/construction/cdm/buildingcontrol.htm (Accessed 15th January 2017)

of user types visiting Kielder, including children and adults, elderly people and disabled users.

he existing hide design with separate wheelchair space (Fig 02) only allows wheelchair users to use one specific area which, rather than being inclusive, catering for all in one space, actively separates wheelchair users from able bodied users. It also only allows one wheelchair user to use the hide at any one time, which can be restrictive for organisations like the Calvert Trust, who currently use lots of facilities in and around Kielder. The new hide (see page XX) includes additional space for wheelchair users, providing an inclusive bird watching experience, with all three recessed sash windows (W02, 03 and 04, see appendix drawing DET 520) suitable for wheelchair users. This recess was included from the very early stages of the project (see appendix planning drawing A305).

he height of the window sill was largely driven by the needs of wheelchair users. Feedback from Dave Gribble, the access consultant involved, indicated that the proposed sill height would be too high to allow for children in wheelchairs, as well as the head height being too low for adult scooter users (see appendix email communications and ‘Bakethin Bird Hide- Eyeline and viewing angles’). Consequently, the header and sill were adjusted to reach the final design size.

orking with an access consultant on this project has given us a greater understanding of access requirements, as Dave was able to explain the practical implications of Part M regulations, as well as developing the design beyond the minimum provision of one disabled space. Additionally, working with an access consultant has helped us to understand that access requirements apply in the technical design stage, not just in initial planning stages, which will be useful in our future careers as practicing architects.

Windows

he existing bird hide had no windows, just slot openings with top hung shutters (Fig 05). The client body expressed a preference for glazed opening windows, as the interior of the existing hide was very dark with the shutters down, discouraging people from using the hide. Both side opening and top hung outward opening windows were given as options, but top hung inwards opening windows emerged as a preference amongst our client group.

104

Figure 03

∆

The prototype was constructed from oak, which we felt would match well with the overall timber specification. However, one of the key criteria for timber selection states that all timber used should be UK grown and FSC certified. Due to a short supply of suitable stock British grown oak there was a high cost premium, making the original choice of oak out of reach within our budget.

owever, when developing the technical design the height of the window meant the latch holding the window in the open position would be too high up the wall and would be out of reach. If not latched properly the top hung windows could also drop and there could be a risk of trapped fingers, smashed cameras and banged heads. As a result of these design conclusions, the detail was changed to include a modified sash window. Sash windows, when properly balanced, have a controlled descent which minimises risk to hide users, and are easy to move for those with limited manual dexterity.

Prototyping- Research by Making

e have worked with Hugh Miller, a Newcastle architecture graduate turned self taught furniture maker, throughout the project process. Hugh worked with us to develop the detailed design of various aspects of the project. A visit to Hugh’s workshop in Liverpool allowed us to prototype the window and pulley mechanism prior to construction.

he process of prototyping led to a number of design changes;

A change in material from the original larch to sweet chestnut. Although larch is a durable timber, as a softwood it is less durable and harder to work with than hardwood. For this reason Hugh recommended we change the specification to a hardwood. The prototype was constructed from oak, which we felt would match well with the overall timber specification. However, one of the key criteria for timber selection states that all timber used should be UK grown and FSC certified. Due to a short supply of suitable stock British grown oak there was a high cost premium, making the original choice of oak out of reach within our budget. Sweet chestnut is a traditionally UK grown timber, often coppiced in the UK, and is thus relatively easy to source3. Oak and sweet chestnut have similar tannin contents, giving both a similar mid range tone, perhaps why sweet chestnut is often referred to as ‘poor man’s oak’. Tannin is a natural yellow tinted acidic compound that acts as natural protection when using a timber outside, so additional treatment is not required. The tannin in sweet chestnut makes it relatively acidic, so in damp conditions it corrodes

TRADA Wood Species Database: Sweet Chestnut Available at: https:// www.trada.co.uk/techinfo/tsg/view/22 (Accessed 19th January 2017)

105

Fig 04

∆

Figure 05

See Appendix: Images, Photos p.434-436 for more images of the existing hide.

106

any ferrous metal it comes into contact with. This is a risk where the window meets the sash pulley, therefore to mitigate this risk specific anti corrosion pulleys have been specified. Heartwood is more suitable than sapwood for making windows and doors, as its lower moisture content and closer grain make it much less susceptible to moisture movement. Sweet chestnut has a high proportion of heartwood to sapwood, meaning we can use the vast majority of the timber and minimising wastage4. The drawbacks of sweet chestnut are chiefly that it splits easily down the grain, so much so that it is traditionally used for making barrels. Though this property doesn’t cause huge issues in making the windows and doors, it does become an issue with the small section sizes typically used in beading. Therefore, the design was changed to increase the depth of the glazing rebate, allowing for a greater depth of beading and making it less likely to split.

nitially, the depth of the window frame was 75mm deep in order to accommodate a routered finger groove to be used as a handle (fig 4). Reviewing this, the depth was reduced to 45mm, both to improve the proportion of timber to glazing and to reduce the amount of timber required. It was also advised, we should consider increasing the size of the beading on the bottom sash rail, in order to project rainwater away from the window. Further advise of rounding the corner profile, would prevent water from pooling on sharp edges, preventing cracking and rotting of the timber(fig 04).

he prototyping process provided an opportunity to learn practical skills and carry out our own research through construction, a rare opportunity in architectural practice, indicating the disconnection between the architect and material craft. One of the questions emerging from our research was ‘what is the best way to detail a sash window to enable efficient water run off ?’. This research question was created through a design process, with the final design representing our group hypothesis, to be tested in the finished product.

nother example of our research by design was the testing of joints for the windows and doors. Traditionally mortise and tenon joints are used for window frames, however there are many different varieties of mortise and tenon joint. We chose three to prototype (Fig 03), making our decision based on which had the most strength whilst maintaining a relative ease of construction. 4

TRADA Wood Species Database: Sweet Chestnut Available at: https:// www.trada.co.uk/techinfo/tsg/view/22 (Accessed 19th January 2017)

Hugh suggested we modify this to a wedged mortise and tenon, to further increase rigidity, as the wedges will tighten the joint in the event of water ingress.

he making of bespoke windows and doors would normally be a specialist role, so naturally has been a steep learning curve for the group. The process of constructing the windows was just beginning, with preparing the timber from the rough sawn, waney edged boards delivered to the required square, rebated lengths of timber having taken much longer than we anticipated. Before we began the process we thought it would become a production line, with each piece treated the same way at each stage, whereas in reality each component has to be individually judged and adjusted to reach the final size..

Conclusion

he case study of this wall reflects just a snapshot of the process undertaken throughout the technical design stage, which has been affected by many different factors including health and safety regulations under HSE, input and advice from external professionals and DDA regulations. Through these challenges we came to understand the number of different pressures on the design process; the architect has the difficult task of balancing multiple design inputs and constraints, whilst still producing a cohesive, unified final product that remains true to their own original concept. There is a common perception amongst architecture students that a building has a design stage and a construction stage, with clear boundaries where one ends and the other begins. The development of the building through RIBA stages three to five, and as construction continues, has proven that such a boundary doesn’t exist. The design stage never truly ends, even in practice once details are issued they’re reinterpreted by contractors and often end up built very differently to the way they were drawn. If we were to do the project again we would have a greater awareness of the continuity of the design process, as well as the often laborious constant flow of information between members of the group and from design team to client.

107

Figure 06

Sash window pulley

Top rail

Sash window weight

Framing upright

Sash stile

Sash beadding

Window pane

Bottom rail

Window sill

10 8mm Sash cord

1 2 6 3

4 8

NOTES

NOTES 02 - Sash window front & left side elevations 1:10

-Do not scale from this drawing, except for planning purposes. -Check all dimensions on site. -Subject to survey. -Subject to site inspection. -Site boundary lines are indicative only.

841

15 20

01 - Sash window front elevation 1:10

75 15 811 60

10 10

77 10

40 20

01 - Sash window assembly (Front)

02 - Sash window assembly (Back)

654

654 75

811

841

Rev Date

By Description

client

03 - Sash window rear elevation 1:10

KIELDER FORESTRY COMMISSION AND NORTHUMBRIAN WATER LTD

841

15 20

project

75 15 60

10 10 20 40

77 10

title

SASH GLAZING DETAILS 3Ds

SASH GLAZING DETAILS FRONT & REAR 654

drawing status

654

KIELDER BIRDHIDE KIELDER FOREST BAKETHIN RESERVOIR

811 60

By Description

Revision Schedule

04 - Sash window rear & right side elevations 1:10

TENDER

TENDER scale

date

N/A @ A2

03.11.16

drawn by

checked by

drawing number

revision

---

scale

date

N/A @ A2

03.11.16

drawn by

checked by

drawing number

---

revision

811

Newcastle University School of Architecture, Planning and Landscape

Newcastle upon Tyne NE1 7RU UK T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

Newcastle University School of Architecture, Planning and Landscape

Newcastle upon Tyne NE1 7RU UK T: +44 (0) 191 208 5831F: +44 (0) 191 208 6115 E: APL@ncl.ac.uk

â&#x2C6;&#x2020;

108

Colour and shading were added to the drawings to help the wider FRONT design team to understand them fully.ELEVATION

Final Client Submission Wildlife Hide General Arrangement and Details

W.01

W.02

W.03

W.04

INTERNAL SHELF/ WINDOW OPENING +1.080

All dimensions in millimeters; unless stated otherwise.

Please use separate groundworks package for details regarding sequence of works and specification.

Drawings to read in conjunction with material/cost specification; construction details; sequence of works; and other attached documentation.

Any discrepancies found in the drawings or any apparant error in specifying or classification of product or its use is to be pointed out to the Architect.

GENERAL NOTES

W.01

INTERNAL SHELF/ WINDOW OPENING +1.080

BIRD-WATCHING POD FFL +0.250

EXISTING GROUND LEVEL -0.00

FOREST POD FFL -0.250

FOUNDATION LEVEL -0.575

BASE OF FOUNDATIONS -1.025

SECTION CC @ 1:25

T.O.ROOF +3.135

T.O.CLADDING +2.785

T.O.VERTICAL WINDOW +2.400

W.12

W.13

W.14

D.02

2600

W.09

2100

T.O.VERTICAL WINDOW +2.400

D.01

W.01

INTERNAL SHELF/ WINDOW OPENING +1.080

Revision Notes 09.10.16 - All drawings pulled together on VW. and checked for discrepancies.

Client BIRD-WATCHING POD FFL +0.250 EXISTING GROUND LEVEL -0.00 FOREST POD FFL -0.250

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST

BIRD-WATCHING POD FFL +0.250 EXISTING GROUND LEVEL -0.00

Project

WILDLIFE HIDE BAKETHIN RESERVOIR

FOREST POD FFL -0.250

FOUNDATION LEVEL -0.575

Title

SECTION CC / DD BASE OF FOUNDATIONS -1.025

Drawing Status

Scale

SECTION DD @ 1:25

TENDER

1:25 @ A1

Drawing No.

KJ/SH A301

Date

Checked

03/10/16 Rev No.

School of Architecture, Planning and Landscape Newcastle upon Tyne, NE1 7RU T: +44 (0) 191 208 5831 / E: APL@ncl.ac.uk

REAR ELEVATION

â&#x2C6;&#x2020;

Section CC and DD through the Wildlife Hide

B RAMP DOWN TO -0.250mm W.1 4

W.1 3

W.1 2

W.0 6

NORTH FACIN ELEVATION

RAMP UP TO +0.250mm

1 W.1

W.0 4

0 W.1

3 W.0 3

9 W.0

W.0 2

1 W.0

NORTH FACING ELEVATION

A D E

109

C L W.07

W.05

C L

110

Location

01 - HEADER AND CILL FOR W.02 - 04

02 - W.01 & 05 INFORMATION

404

7 316 31 7

96 0

0 96

SINGLE GLAZED SASH WINDOW WITH ROUTED HANDLE INTO FRAME. COUNTERWEIGHTED SYSTEM LOCATED IN THE JAMB.

15mm UNDERMOUNTED TREATED BIRCH PLYWOOD SHELF WITH 3mm CHAMFER CORNERS.

SEE DET501 PAD FOUNDATION DETAIL FOR INFOMATION.

15mm TREATED RIDGED TIMBER FLOOR BOARDS; SPACED AT 3mm INTERVALS TO ALLOW FOR DRAINAGE.

150mm x 50mm TREATED TIMBER BEAMS; SEE GA SUBSTRUCTURE PLAN.

SEE GROUNDWORKS PACKAGE.

SASH WINDOW CONCEALED CASEMENT FRAME. SEE WINDOW SCHEDULE AND SPEC FOR FURTHER DETAILS.

4 92

81 0

0 81

92 4

90 x 90mm STRUCTURAL TIMBER COLUMN INTERSECTING THE GAPS BETWEEN WINDOWS.

7 31

2 316 5757

1 12

WALL BUILD UP: 25 x 75mm CHARRED TIMBER CLADDING; 20 x 30mm TIMBER BATONS; 15mm OSB WITH AN EXTERNAL DPM; 38 x 89mm TIMBER STUD WALL PRE-FABRICATED PANELS; 12mm BIRCH PLYWOOD INTERNAL LAYER FINISH.

ROOF LEVEL +0.00 TBC

404

5 25

5 26

26 5

120

PLAN @ 1:10 2385 600

525

670

W.01

02 - W.06 & 07

1435

1091 - ADULT DDA

810 329.9 57

33 0

900 - CHILD DDA

830

Knee and toe space

924

182

SC - look at this detail??

960

125

418

250

96 0

BIRD-WATCHING POD FFL +0.250

150

10 12

EXISTING GROUND LEVEL -0.00

Revision Notes

5 45

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST 57

500

830

Client

Project

145

150

WILDLIFE HIDE BAKETHIN RESERVOIR

FOUNDATION LEVEL -0.565 58

Title

HEADER & CILL W.01; W.05; W.06 & W.07 PLAN @ 1:10

SECTION @ 1:10 0

0.5

Drawing Status

1.0 M Scale

DETAILED DESIGN

1:10 @ A1

Drawing No.

Date

Checked

14/09/16 KF / KJ Rev No.

DET522

School of Architecture, Planning and Landscape Newcastle upon Tyne, NE1 7RU T: +44 (0) 191 208 5831 / E: APL@ncl.ac.uk

Location

01 - INTERNAL VIEW

02 - SLIMLINE VERTICAL WINDOW IN FOREST POD

03 - EXTERNAL

04 - VERTICAL WINDOW VIEWING ANGLES

182

1 4

2 3

1 31

25 0

30 22

2420

2400

2476 [FRAME SIZE USING 38 x 89mm]

25 31 1

1 31

BIRD-WATCHING POD FFL -0.250

4 25

EXISTING GROUND LEVEL -0.00

270

30 0

FOREST POD FFL -0.250

FOUNDATION LEVEL -0.565

FOUNDATION LEVEL -0.575

FOREST POD FFL -0.250

225

EXISTING GROUND LEVEL -0.00

965

31 1

Revision Notes

Client

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST ELEVATION @ 1:10

SECTION @ 1:10

ELEVATION @ 1:10

PLAN @ 1:10 0

0.5

1.0 M

Project

WILDLIFE HIDE BAKETHIN RESERVOIR

INFORMATION 1

WALL BUILD UP: 25 x 75mm CHARRED TIMBER CLADDING; 20 x 30mm TIMBER BATONS; 15mm OSB WITH AN EXTERNAL DPM; 38 x 89mm TIMBER STUD WALL PRE-FABRICATED PANELS; 12mm BIRCH PLYWOOD INTERNAL LAYER FINISH. 25 x 95mm TREATED LARCH CLADDING (OPPOSING COLOUR TO THE CHARRED TIMBER) DEFINING THE REVELS OF THE WINDOW; STANDNG PROUD OF THE CLADDING BY 15mm.

255 x 2430mm SINGLE SHEET OF TOUGHENED GLASS; SEE MATERIAL SPEC.

25mm REATED LARCH CILL (OPPOSING COLOUR TO THE CHARRED TIMBER) THAT JUTS OUT BY 70mm TO COVER VIEW OF THE GAP BETWEEN THE STRUCTURE & RETAINING WALL WHILST CREATING A WATERPROOFING DETAIL.

SEE DET501_PAD FOUNDATION & RETAINING WALL; FOR INFORMATION.

12mm LARCH PLYWOOD INTERNAL FINISH WITH 12 x 15mm PLYWOD INFILL BEHIND TO SIT FLUSH WITH GLASS AND HIDE WINDOW FRAME BELOW , CREATING HIDDEN FRAME DETAIL.

38 x 89mm TIMBER WINDOW FRAME MATCHING TIMBER STUDWORK MATERIAL AND DIMS; TOUGHENED GLASS SHEET TO SITS IN FRAME BY 15mm WITH A 15 x 12mm BEADING.

Title

FIXED VERTICAL WINDOWS [FOREST POD] Drawing Status

EXTERNAL CLADDING NOT TO BE INSTALLED AT THE LOWER LEVEL WHEN HIDDEN BY THE RETAINING WALL.. THE DPM WILL CONTINUE TO PROTECT AND WATERPROOF THE STRUCTURE..

Scale

DETAILED DESIGN

1:10 @ A1

Drawing No.

SH DET523

Date

Checked

1909/16 KF / KJ Rev No.

School of Architecture, Planning and Landscape Newcastle upon Tyne, NE1 7RU T: +44 (0) 191 208 5831 / E: APL@ncl.ac.uk

â&#x2C6;&#x2020; Top image: Sash window detail for the Wildlife Hide. Bottom image: arrangement of forest pod windows

111

02 - HEADER AND CILL FOR W.02 - 04

01 - HEADER AND CILL FOR W.02 - 04

5 12

W. 01 x

ROOF LEVEL +0.00 TBC

Wheelch

1 404

316

12 year o 615

8 year o 4 year o

EXISTING GROUND LEVEL +x1.650

960

125

W.02

810

924

600

525

680

2385

W.03

830

3910

1090

1400

960

W.03

810

924

Knee and toe space

125

830

90 45

900

900 - CHILD DDA

500

900 960

250 182

1091 - ADULT DDA

285

320

BIRD-WATCHING POD FFL +0.250

150

145

830

150

500

285

320

EXISTING GROUND LEVEL -0.00

FOUNDATION LEVEL -0.565

960

125

W.04

810

924

SECTION @ 1:10 03 - INTERNALS

0.5

1.0 M

404

316

31 57

W.01

W.02

W.03

W.04

W.05

4 4

05 W.

BIRD-WATCHING POD FFL +0.250

EXISTING GROUND LEVEL -0.00

FOUNDATION LEVEL -0.575

ELEVATION @ 1:25

PLAN @ 1:10 INFORMATION 1

WALL BUILD UP: 25 x 75mm CHARRED TIMBER CLADDING; 20 x 30mm TIMBER BATONS; 15mm OSB WITH AN EXTERNAL DPM; 38 x 89mm TIMBER STUD WALL PRE-FABRICATED PANELS; 12mm BIRCH PLYWOOD INTERNAL LAYER FINISH.

90 x 90mm STRUCTURAL TIMBER COLUMN INTERSECTING THE GAPS BETWEEN WINDOWS.

SASH WINDOW CONCEALED CASEMENT FRAME. SEE WINDOW SCHEDULE AND SPEC FOR FURTHER DETAILS.

SINGLE GLAZED SASH WINDOW WITH ROUTED HANDLE INTO FRAME. COUNTERWEIGHTED SYSTEM LOCATED IN THE JAMB.

15mm UNDERMOUNTED TREATED BIRCH PLYWOOD SHELF WITH 3mm CHAMFER CORNERS.

SEE DET501 PAD FOUNDATION DETAIL FOR INFOMATION.

15mm TREATED RIDGED TIMBER FLOOR BOARDS; SPACED AT 3mm INTERVALS TO ALLOW FOR DRAINAGE.

Revision Notes

Client

KIELDER WATER AND FOREST PARK DEVELOPMENT TRUST Project

WILDLIFE HIDE BAKETHIN RESERVOIR Title

HEADER & CILL W.02; W.03 & W.04 Drawing Status

Scale

Date

14/09/16

150mm x 50mm TREATED TIMBER BEAMS; SEE GA SUBSTRUCTURE PLAN. By

DETAILED DESIGN

1:10 @ A1

SEE GROUNDWORKS PACKAGE. Drawing No.

SH DET521

Checked

KF / KJ Rev No.

School of Architecture, Planning and Landscape Newcastle upon Tyne, NE1 7RU T: +44 (0) 191 208 5831 / E: APL@ncl.ac.uk

112

â&#x2C6;&#x2020; See Appendix: Images, Visuals p.176-197 for similar images.

113

114

Final Client Submission Welcome Point General Arrangement

â&#x2C6;&#x2020; General Arrangement drawing of Welcome Point Seating Level Plan

115

116

117

118

Since the final submission to the client . Alternative designs were considered that were more achievable considering the time frame.

â&#x2C6;&#x2020;

119

â&#x2C6;&#x2020; This design change prompted further discussions with the interpretation consultant and the planning officer.

120

Diary Entry 6.00 AM Meet at university to drive to Liverpool.

10.00

Arrive at Hugh Miller Studio. Have cup of tea around the table. Show Hugh what we want to do.

Go to local timber merchant to buy material. Decide timber section is too big and change AM it for smaller size.

Hugh demonstrated how to use wood lathe to make makeshift timber poles to represent scaffold poles.

11.00 AM

14.30 PM

We have lunch at a local bakery. ‘The Scouse’ soup with meat and potatoes.

10.30 AM

Carried the timber to Hugh’s workshop, difficult as the only access is a narrow spiral staircase. Discussed where best to start.

We made a timber pole each whilst Hugh cut plywood spacers on the circular saw. Made a simple jig and drilled the spacers on the pillar drill.

11.30 AM

13.00 PM

Used a saw to cut the lap joints to depth and a chisel to remove the material. Planed and sanded to make sure it was accurate and flat. Time consuming and difficult to get completely accurate.

14.00 PM Carefully marked timber slats to make sure they would align properly.

16.00 PM 16.30 PM

9.30 AM

Assemble prototype using metal brackets to fix the poles in place.

Discussion with Hugh and his brother about changing the detail where the seat meets the structure. Decide on a new detail.

Decided to add a little more to the prototype to test to back rest.

17.30 PM

18.00 PM We pack up and go home.

121

Welcome Point Prototyping

122

CONSTRUCTION: “During this stage, the

building is constructed on site in accordance with the Construction Programme. Construction includes the erection of components that have been fabricated off site.”

Section Overview A process of ordering materials went underway mid way through the technical design phase, this gave us a steady stream of materials. The prefabrication of the substructure and stud wall panels. These were manufactured offsite in the Art and Architecture studio in Kielder. The prefabrication is a continuous process for the both the Wildlife Hide and the Welcome point (WP prefab has been done at Newcastle University). After a period of tender for the ground work contractor, Scott Everett appointed THC Landscaping. Work on site commenced with the groundworks contractor on the 13th December 2016; the project is still under construction with a project nish in mid to late

February. A week was dedicated to construction (17th December to 22nd December) in which the half the substructure and one pod of stud walls were successfully installed. In the New Year (2017) the second half of the substructure was installed, later followed by the second pod’s wall panels (and additional bracing for the taller substructure). A later week (20th January to 24th January). The roof installation, cladding, flooring and installation of windows and doors will follow. Phase two of groundworks will again be installed by THC Landscaping. Screening and railing will be installed to finish.

123

DTM 6

Stage

10.01.2017

4 5

8 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Meeting Agendas

Attendees

Following the revised Welcome Point drawings submission on 16.12.2016 Newcastle students also gave a verbal breakdown of key design amendments whilst Northumbrian Water Ltd recalculated their costings for the groundworks amendments. The drawings were approved and signed off by the client. Yvonne Conchie required a detailed explanation

Graham Farmer Kathleen Jenkins Sam Halliday Matthew Westgate Robbie Evans Laurence Ashley Sophie Cobley Katie Fisher Alex Baldwin-Cole Ulwin Beetham

Lynn Turner Katy Cook Jane Anderson

Dan Chapman Kelly Hollings Joanna Dailey

Stuart Pudney Scott Everett Peter Pattinson Andrew Rogers Jack Sayers

Peter Sharpe Nick Mason Yvonne Conchie Ian Robinson

of the locations, dimensions and potential fixings for the interpretation panels that she had been commissioned to produce by Northumbrian Water Ltd in both the Wildlife hide and Welcome Point. The roof build up on the Wildlife Hide was still partially unresolved and was to be specified by Dan Chapman.

Charred Larch cladding sourcing

s Supplier

Approval of HLF North East funding totalling £25,000 (Funding parameter - Orders over £10,000 from a single supplier require 5 quotes)

NWL & FC Meeting - Requirements to specify UK sourced and FSC timber

NWL requirements for Purchase Orders (Accumulative quotes totalling in excess of £5,000 require 3 separate quotes) - Indication of types, quantities and agreed prices of Charred Larch Cladding (Lynn Turner/Jane Anderson - Administration Assistant, NWL)

2 1 tudents NCL S

Initial contact made with suppliers - 2 or more samples per supplier obtained (Only 3 registered companies within the UK capable of supplying product)

7 5

After enquiring about about the sourcing of UK timber it was made clear that none of the suppliers used UK sourced timber for Charred Larch cladding (A decision was made to persevere with this cladding choice for its aesthetical merit)

Obtaining invoices and determining preferences for Charred Larch cladding Final Technical design package submitted to client for comment (Within this package invoices were supplied for Charred Larch cladding options and suppliers) Presentation of cladding samples by NCL to NWL & FC (General consensus - Martin Childs Ltd as preferred Charrled Larch cladding supplier)

10 11

12 13 15 16

As Martin Childs Ltd weren't on the list of designated suppliers provided by NCC, Lynn Turner had to formally add them onto the list in order to complete Purchase Order

Delivery arrangements were agreed and finalised to ensure the Charred Larch cladding could be delivered directly to the Kielder workshop

Inconsistencies with quantities initially specified to Martin Childs Ltd and the actual amount required - A revised quote was provided by Martin Childs Ltd to NCL and NWL

As HLF North East is a charitable organisation VAT can be reclaimed, this wasn't originally accounted for in the initial invoices - Martin Childs Ltd were contacted and provided a revised quote (Significant reduction in expenditure)

Arrangements were made to ensure Charred Larch cladding would be delivered to site before the Christmas break (Projected lead time 6 weeks)

Contact made by Martin Childs Ltd to confirm when the Purchase Order would by processed by NCC - Date provided by Lynn Turner

Martin Childs Ltd confirmed that the Purchase Order had been received

Charred Larch cladding delivered to Kielder workshop (Actual lead time 3 weeks)

n sig e D al

00-02

Pro

sign

HLF North East funding held by Northumberland County Council (NCC provide NWL with a list of designated suppliers - additional suppliers would need to be submitted to NCC by Jane Anderson/Lynn Turner)

05 Construction De

Client

03 Developed Design

Wildlife Hide

s Day

istrator Admin l a c i Finan

04 Tec hni c

esign

04 Technical D

124

Scottish Larch structure sourcing

Suppliers

04 Technical Desi gn

125

Finanical Admin istrat or

NWL & FC Meeting - Requirements to specify UK sourced and FSC timber

NCL decision to specify treated and planed Scottish Larch

Determing Scottish Larch quantities, +10% allowance for pre-fabrication errors and prototyping (Production of a timber cut list)

NCL contracted suppliers list (Contracted supplier and up to £25,000 only one quote is required/Non-Contracted Supplier between £1,000-£9,999 two quotes required)

NCL requirement of Purchase Orders when processing transactions - Indication of types, quantities and agreed prices of Scottish Larch (Pam Covell - Finance Clerk, NCL)

As a means of adhering to the NCL budget the treating and planing process would be undertaken by NCL students

Assessment of Contracted and Non-Contracted Suppliers - Obtaining invoices and determining preferences (NCL preference MH Southern & Co Ltd)

The prototyping of details revealed that the Scottsih Larch could be reduced from 200mm to 150mm Technical design package ammended in accordance with this alteration

Ammendments to original invoice processed and agreed by MH Southern & Co Ltd

Pam Covell received the order to be processed by NCL

Purchase Order sent to MH Southern & Co Ltd

2 weeks projected lead time for the delivery of Scottish Larch to NCL

Miscommunication with Purchase Orders (NCL-Finance-Suppliers) subequently meant the purchase of Scottish Larch was delayed

Realised lead time of 7 weeks for the delivery of Scottish Larch to NCL

Significant delay in the delivery of Scottish Larch prompted for a partial redesign to ensure the project would be delivered within the programmatic time frame

Partial redeisgn/downscaling resulted in a surplus of Scottish Larch - Excess would therefoe be re-appropriated within the Bird Hide

Day s

Client

Establishing the budget of £10,000 (Originally split between 2 projects) - NCL Funded project (Awareness of timber costs in relation to the project budget)

2 NCL Stu dents

3 4

10 7 8 9 11

sign l De ica

04 Tec hn

esign

ocess

Welcome Point

Planning Approval

n Design 05 Constructio

17 16

Key

15 Correspondence Correspondence Instigator Correspondence Involvement

126

Stop the Rot

Issues of Sourcing: Constraints of the UK Timber

UK Timber Depletion

A reaction to our research by design process; the requirement for British timber and FSC certification has lead to an investigation into the adverse effects of the depleted UK timber stocks.

Deforestation is a global problem; Britain’s woodland resources have been declining since the occupation of the Roman Empire, through the middle ages and into the 20th century wars. Throughout most of British history, a long-term deep reason for woodland decline, was a trend to create farmland at the expense of forest. As the forestry commission states: “Historically the UK forestry was repeatedly to clash with agriculture interests and decrease the UK’s forest coverage.” (The Foresty Commission , 2016)1 In response to this and with the development of trade links and empire, the UK increased its reliance on the importation of timber from Europe and the New Americas. However, the destabilising effects of war had a detrimental impact on the reliance upon importation stocks. The demands of the First World War stretched our timber resource to breaking point, as Britain could no longer rely on timber imports. Following the Second World War and its aftermath, further pressure was applied on our woodlands and sourcing strategies. “This meant that the forested area reached its lowest at under 5% of Britain’s land surface by the end of 1919.” (The Foresty Commission , 2016) “Born out of this woodland stock crisis was the 1

Forestry Stewardship Council, n.d. FSC UK. [Online] Available at: http://www.fsc-uk.org/en- uk/about-fsc/what-is-fsc [Accessed 14th January 2017]. The Foresty Commission , 2016. ‘What Shaped our Forest?. [Online].

127

128

â&#x2C6;&#x2020; For timber sourced outside of the UK we attached three quotes from other suppliers to prove it was the most economical/ better solution.

129

See Appendix: FSC Certification p.308-309 for more enquires regarding timber orders.

Under request of client, and the project location, timber for all projects had to be sourced from the UK... The reduced and restricted sources of timber in the UK affected our sourcing and ordering decisions, further affecting lead times; which prompted the research in this essay. Stop the Rot formation of the Forestry Commission in 1919.” (The Foresty Commission , 2016)

he aim of its formation was to produce a strategic reserve of UK timber, which would firstly aim to stop the decline, and thus increase UK forest coverage, aiming to eventually make Britain self-reliant in the timber trade. Since the formation of the Commission, and despite the demands of the Second World War, the Forestry Commission’s strategies have overseen the wholesale of Britain’s woodland decline, and the beginning of its reverse. Despite this, the recovery is still very much in progress, as the statistic from the Forestry commission illustrates: “Other European countries average from 25% to 37% of their area as woodland, in 2012” (The Foresty Commission , 2016)

he 1920 formation of Kielder Forest, the largest man-made woodland in England set an early intent from the Forestry Commission to boost UK timber stocks. Though much of the forest stock is made up of softwood not hardwood species, this lower grade structural timber challenges the local and UK sourced demands set by client.

Kielder as a Setting

he Wildlife Hide proposal is sited on the water’s edge of Kielder Reservoir, on the edge of the forest. We chose timber as our main material for construction of the three projects as it was naturally appropriate to their location in an expansive forest. Our desire was not only to use timber of the highest quality, but also to provide a package of exquisite designs, which were driven by the intent to create simple but beautiful architectural

details to reflect both this unique landscape and the capabilities of the material itself.

Funding and Client Demands

ith regard to project funding, the Heritage Lottery Fund (HLF) granted us £25,000 for the principle element of the project (The Wildlife Hide). HLF distribute a share of the income from the national lottery to projects aimed at preserving and making the nations heritage projects and new, exciting projects, schemes accessible to the public. Additionally, a further fund of £10,000 raised by the University to cover the costs of both the Welcome Point and the View Point structures. Despite funding across the three structures coming from different parties, with differing sourcing processes, all work was for the same client “Northumbrian Water Ltd.”.

n request of the client and due to the project location, timber for all projects had to be sourced from the UK, and wherever possible, locally sourced to reduce the carbon footprint. This UK sourcing stipulation was enforced by the clients auditing body, ‘UK Woodlands Assurance Standard’ which required proof of UK sourcing for any projects undertaken on the grounds of ensuring sustainability standards. With the nature of the live build project, the expectations vs realities of achieving a workable and well-designed project were inevitably effected by the process of managing budget and funding to clients, planning and unpredictable lead times. The reduced/restricted sources of timber in the UK affected our sourcing, and ordering decisions, further affecting lead times; which prompted the research in this essay.

130

Design Intent vs Sourcing Realities

he Wildlife Hideâ&#x20AC;&#x2122;s external cladding was one of the first major sourcing processes and timber purchases. It exposed the challenging realities of the architectural process, where design intentions are formed prior to the sourcing process and sometimes without thinking of the cost. The cladding design decisions, with regards to charred timber, were implemented despite a lack of knowledge of UK timber sourcing. This gap in our knowledge, created differences between the original intention to use UK grown timber and the actual material we could use (which ended having to be specified as Siberian charred larch), thus adding more work to our own project at the sourcing stage. Due to the dramatic visual impact and advantageous additional qualities of charred

Due to the dramatic visual impact and advantageous qualities of charred larch, the implementation of this material was highly desirable to us as designers. We presented the material to our clients with the hope, as all architects do, that they would give us the go ahead to use it. larch, the implementation of this material was highly desirable to us as designers. We presented the material to our clients with the hope, as all architects do, that they would give us the go ahead to use it. The clients agreed not just to its aesthetic appearance but also its practical attributes. The use of charred timber removed the need for multiple layers of Polyurethane based varnish and Cellulose thinners to be lacquered onto the timber. It also acts as a natural insect repellent surface, perfect for the mosquitoes on the lake.

pon searching for potential suppliers within the UK, we soon realised how niche the market was, with only three suppliers. Due to this bespoke specification of timber finish and budget realities, we ended up using Martin Childs Limited as suppliers for the Wildlife Hide cladding, they both had the skills to â&#x20AC;&#x2DC;charâ&#x20AC;&#x2122; the timber and the

timber stock to match our demand. However, the wood would have to be imported Siberian larch, and the acceptance of this order would conflict with our client stipulation for UK grown timber. This reality born out of the process from design to sourcing challenged our fundamental design expectations, and lead to intense group discussions to find a resolution for the type and finish of cladding, which could balance client demands, budget and design intent. Looking past this project and into practice, having gone through the live build process, we will have gained an understanding to be more critical of what we specify, and more time should be given to the realities of sourcing, lead times and budgeting when making early design decisions.

s well as challenging our intentions as designers, and prompting sourcing discussions, it meant we had to put together further correspondence and research documents to prove that this was the most viable option to satisfy planning and client visual demands, and managing budget realities; both at the expense of using UK sourced timber. This process reflects the effects of the expectations vs realities of material specification and the unfortunate problems caused by UK timber sourcing deficiencies effecting the progression and originality of our project.

Lack of UK Hardwood

espite the expansive scale of Kielder, the forest reflects the UK timber stocks, in that it is predominantly softwood. The UK not only has a lack of forest cover but also a low output of hardwood. Nearly all contemporary timber frame building use softwood timber; often hidden beneath layers of masonry and plasterboard.

number of design features in both the Wildlife Hide (exposed roof lattice) and the Welcome Point (horizontal exposed slatted timber structure) also specify the use of softwood due to its relative inexpensive cost compared to UK hardwood. The challenge immediately faced was sourcing a high-grade timber for construction.

he shortage of hardwood in the UK, and the substantial demand needed set against a tight budget, meant our resourcing choices were limited. In response, a priority was also placed on the production of efficient cut lists,

131

Once we presented the cladding sample of charred timber the wider design team agreed that the qualitity of the product outweighed the desire to source within the UK.

CERTIFICATE OF REGISTRATION This is to certify that

Global Timber Products Ltd Primary Works Thorney Lanes Hoar Cross Staffordshire DE13 8QT

has been audited and found to meet the requirements of standard(s) FSCSTD-50-001 (Version 1.2) EN and FSC-STD-40-004 (Version 2.1) EN for FSC® Chain of Custody Certification Scope of certification The purchase, processing, sales and distribution of FSC certified timber products.

Products: Sawn Timber

Vic Bowen Chief Operating Officer Certification UK

Certificate number TT-COC-003253 Issue number: 2014-01 Date of initial certification: 28 January 2010 Certificate start date: 28 January 2015 Certificate expiry date: 27 January 2020

BM TRADA Certification Ltd, Chiltern House, Stocking Lane, High Wycombe, Buckinghamshire, HP14 4ND, UK This certificate remains the property of BM TRADA Certification Ltd. This certificate and all copies or reproductions of the certificate shall be returned to BM TRADA Certification Ltd or destroyed if requested. The validity of this certificate and the list of products covered by this certificate can be verified on www.fsc-info.org Forest Stewardship Council® This certificate itself does not constitute evidence that a particular product supplied by the certificate holder is FSC certified (or FSC Controlled Wood). Products offered, shipped or sold by the certificate holder can only be considered to be covered by the scope of this certificate when the required FSC claim is stated on invoices and shipping documents. Multisite clients – The scope of certification shown above includes the participating sites shown in appendix A

to limit wastage and save cost. Within the process, the hardwood timber shortage affected our sourcing decisions. As example of the challenges associated with the sourcing and limited access to the UK hardwoods is that specified for the windows and doors. Originally detailed in the specification as oak in the technical stage; following thorough sourcing in the construction phase it proved to be in low supply in the UK industry; resulting in re-specification, replacing the oak with a cheaper, but aesthetically similar option of sweet chestnut, that was in ready supply. This again is a case of expectation vs reality affected by the struggling UK timber industry, and its effect on sourcing workloads for our own project.

Conclusion

aving gone through a thorough resourcing process, the experience resulted with us questioning the original expectations prior to the sourcing stage against the realities that have followed, post sourcing process. Note that in

research in architecture the methodology of research is inverted, in which the process is firstly undertaken, with the intention that it leads to further research questions. Which is in this case ‘how has being restricted to the specification of UK timber effected the project?

he experience of material specification combined with limited UK timber resources and suppliers brought about increased lead times, costs and research realities. The experience exposed an initial lack of knowledge, and a process of designing, which in this case was isolated from such realities. But out of that, and on a more positive note, it increased efficiency regarding wastage, pushing us to work in a way that prioritised sustainable manufacturing principles, this is a critical process explored in the following essay.

132

Prefabrication

he expectation of prefabrication is that of perfection. With manufacturing elements of the structure such as wall panels, windows and doors in such hospitable environments as workshops, there is an expectation that everything will coincide with what the drawings represent. While it is easy to draw a straight line on a drawing, or to give a precise dimension, the reality of construction is different. Construction is a game of tolerances and there is always an acceptable tolerance level when

constructing a building. hen installing the prefabricated elements on site there is an element of ‘tweaking’ in order to make things fit in the way they are designed. Especially regarding elements hidden once constructed, as they are purely structural and will be covered by a number of layers such as cladding. See Appendix:Drawings,Working Drawings p.232-249 for more informtion of cutting sheets and Appendix: Images, Photographs p.451 for more images of the prefabrication process.

∆

refabrication is the practice of assembling components of a structure in a workshop or factory, and transporting complete assemblies to the construction site. This is a swift and effective method of construction, particularly with a timber frame structure. Production in a workshop allows for a greater control in manufacturing as they are completed in clean, dry and sheltered environments.

133

Cutting sheets

Due to delays in the groundworks phase, including poor weather and availability of the contractor, we had time to produce cutting sheets for the substructure and wall timber. Although we had considered the benefits of these drawings beforehand, had the programme run exactly to plan this was a process we considered skipping or at least left it to do at the workshop, alongside the cutting. In hindsight, this was one of the most beneficial drawing sets we produced for the project. Subsequently, both the substructure and CLS took a day to cut to size.

134

135

136

“Waste Efficiency and Waste Management

Via a process of research through design and production we can use our small-scale live build projects as examples from which research questions have arisen. This text seeks to investigate the importance of efficient waste management within the construction industry.

Sustainability and Waste Management within the UK Construction Industry.

One of the major issues that requires change in the current construction industry is the sustainable approach to waste regarding the management of materials and construction. “Sustainable” or “sustainability” are often terms that are misunderstood or wrongly contextualised. The term sustainability is most commonly associated to global warming, by the general public. Bruntland Commission defined it as a ‘desire to carry out activities without depleting resources or producing harmful outcome ... meeting the needs of the present without compromising the ability of future generations to meet their own needs.’1 It is therefore in our interest as future designers and architects to understand the role of sustainability, which is inherently linked to efficient waste management. The construction industry has a staggering impact on the UK carbon emission output (reference the statistics table overleaf ). With these shocking statistics in mind, what are authoritative bodies doing to tackle this? In 2008 the government introduced the Sustainable Construction Strategy, which is described as being ‘a joint industry and Government initiative, and is intended to promote leadership and behavioural change, as well as delivering substantial benefits to

Designing buildings wiki. Sustainability in building design and construction. [https://www.designingbuildings.co.uk/wiki/ Sustainability_in_building_design_and_construction ]. [Accessed 21.01.17]

∆

Cut list for the Sweet Chestnut used on all windows and doors.

137

not

Want notâ&#x20AC;?

138

Cutting lists were prepared for all elements of the Wildlife Hide in order to minimise waste. Any waste that was produced was used as spacers.

â&#x2C6;&#x2020; â&#x2C6;&#x2020; The timber for the Welcome Point structure was ordered and delivered in as one to save time and money.

n and production ojects as examples arisen. This text of efficient waste dustry.

s change in the tainable approach of materials and

en terms that are alised. The term ociated to global and Commission activities without utcome … meeting ising the ability of s.’1 It is therefore nd architects to hich is inherently

Sustainability and Waste Management within the UK Construction Industry. One of the major issues that requires change in the The construction industry has a staggering impact on the current construction industry is the sustainable approach UK carbon emission output. to waste regarding the management of materials and construction. UK Construction Emissions Facts “Sustainable” or “sustainability" are often terms that are Around 10% of UK emissions are associate with the misunderstood The term manufacture or and wrongly transport ofcontextualised. construction materials, and sustainability is most commonly associated to global the construction process.’ warming, by the general public. Bruntland Commission Energy from fossil fuels consumed in the construction defined it as a of ‘desire to carry outforactivities without and operation buildings accounts approximately depleting resources or emissions producingofharmful half of the UK’s carbon outcome dioxide.’… meeting the needs of the present without compromising the ability of In 2004, the public sector accounted for 34% of new non1 futuredomestic generations to meet their own needs.’ is therefore building construction and 37% ofItnon-domestic in our interest as future designers and architects to refurbishment.’ understand the of sustainability, isemissions inherently Keyrole Statistics: Construction industrywhich and carbon [http:// linked www.ukgbc.org/resources/additional/key-statistics-construction-industry-andto efficient waste management. carbon-emissions]. [Accessed 21.01.17]

UK Construction Waste Facts

half of the UK’s emissions of carbon dioxide.’ In 2004, the public sector accounted for 34% of new nondomestic building construction and 37% of non-domestic refurbishment.’

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Key Statistics: Construction industry and carbon emissions [http:// www.ukgbc.org/resources/additional/key-statistics-construction-industry-andcarbon-emissions]. [Accessed 21.01.17]

UK Construction Waste Facts More than 400 million tonnes of materials get delivered to site each year. Of these 60 million tonnes go straight to tip due to over ordering, damage resulting for poor storage or because of inappropriate ordering.’ The industry produces 109m tonnes of construction waste each year (24% of total waste), of which up to 13% is delivered and unused.’ Key Statistics: Construction waste [http://www.ukgbc.org/resources/additional/ key-statistics-construction-waste]. [Accessed 21.01.17]

With these shocking statistics in mind, what are authoritative bodies doing to tackle this?

∆

1.Prevention, both thethan construction and the get wider economy. In More 400 millionindustry tonnes of materials delivered 2008 the government introduced the Sustainable each year. 60 million tonnes gobusiness straight tocase Construction 2. Preparing Strategy, for re-use, Theto site Strategy liesOf these alongside a strong which is described as being ‘a due to over ordering, damage resulting for poorbased on: 3. Recycling, fortipthe sustainable construction agenda, joint industry and Government initiative, and is intended to storage or because of inappropriate ordering.’ 4. Otherleadership recovery,and behavioural change, as well as promote 5. Disposal The industry Increasing profitability using resources produces 109m tonnesby of construction waste eachefficiently; year (24% of total waste), of which up to 13% is more 1 Designing buildings wiki. Sustainability in building design and construction. [https://www.designingbuildings.co.uk/wiki/ and unused.’ t is important to note that there are also a deliveredFirms securing opportunities offered by Sustainability_in_building_design_and_construction ]. [Accessed 21.01.17] Key Statistics: Construction waste [http://www.ukgbc.org/resources/additional/ number of charities involved in the interest of sustainable key-statistics-construction-waste]. [Accessed 21.01.17] managing waste. ‘Keep Britain Tidy’ (recently products or ways of working; Enhancing company image and profile in the merged with Waste Watch) is a prime example of this, combining ‘nearly 30 years experience working to market placeby addressing issues relating to Corporate manage waste better. [They] encourage people, businesses, and Social Responsibility.’2 With these shocking statistics in mind, what are organisations and public bodies to ‘waste less and live authoritative bodies doingtoto tackle this? we are interested more’, helping local people work together to change their ith regard this research in waste and efficient management lifestyles, creating less waste and making better use of resources.’ 4 These influential charities, government resourcesintroduced both at the a construction In 2008 the of government Sustainable programmes and institutions are only the start of a industry level and a small-scale project level. Construction Strategy, which is described as being ‘a 3 much larger project to reduce waste in the industry. In 2010, statistics reported that 47 million tonnes joint industry and Government initiative, and is intended to It must come from the source, the architect and of excess waste (from demolitions and construction) promote leadership and behavioural change, as well as via the construction was produced. The industry contractor, designing and ordering to maximise should not understand their role as generators of efficiency, increase profitability and reduce waste. uilding design and construction. [https://www.designingbuildings.co.uk/wiki/ large quantities of waste, but lead the field in waste ruction ]. [Accessed 21.01.17] Application of sustainable waste reduction by finding more efficient and inventive management in a small-scale project methods of design and building methods. This s our project has been a process of research innovation would not only allow the industry to by design we have only scratched the meet government targets, but stay ahead and lead by surface in regard to waste management. example, positively contributing to the sustainable agendas from the authoritative institutions. Our methods of waste reduction were admittedly tipulated in the Sustainable Construction not initially concerned with the problems associated Strategy document produced by the with wider construction industry or government government a ‘now a well- recognised strategies, but simply to manage our resources in approach to managing waste’ is laid out. It the most cost effective manner - working to stay is shown in the following hierarchy: tidily within the allotted budget requirements.

∆ ∆

Author Unknown. (2008). STRATEGY FOR SUSTAINABLE CONSTRUCTION. Department for Business, Enterprise & Regulatory Reform. Internally Published pp. 5 3 Author Unknown. (2008). STRATEGY FOR SUSTAINABLE CONSTRUCTION. Department for Business, Enterprise & Regulatory Reform. Internally Published pp. 5

About Ending Waste. [http://keepbritaintidy.org/Endingwaste/1325]. [Accessed 21.01.17]

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The waste management in our construction process so far has worked well and efficiently. Previous mistakes affecting excess have been caused by rushing the measuring and cutting process due to fast prefabrication timescales; this can be improved by a process of quality control insuring timber lengths are double checked before cutting.

o highlight a specific process that affected how much was ordered and the associated price. The production of detailed cut lists, maximising the use of every millimetre of timber within the standard timber dimensions (we have most commonly used 2.4m and 4.8m lengths); with minimal waste we could massively reduce the orders (naturally a 5% excess contingency was added, mainly in respect of human error and our relative inexperience regarding the timber pre-fabrication.

or example for the prefabrication of the substructure the resultant waste from the efficient cut list was 6.1m from a total order 170m. The smaller excess timber was used for spacers or chocks, and the larger lengths will be used for a frame structure beneath the bird watching pod to reinforce its lateral strength â&#x20AC;&#x201D; these later additions of use for the timber will further minimise the waste.

egarding the stud work the CLS timber order process was slightly different, the amount of timber was ordered accurately using a drawing setting the position/layout of the timber stud wall panels, without a cut list. The detailed cut list had not been produced, however, due to a reduced timescale the order had to be processed, taking into account the undesigned dividing wall and then 5% contingency. By knowing the exact number of 2.4m (110 length) and 4.8m (60 lengths) timber lengths, a cut list could be produced at a later date. Fortunately, the accurate estimation calculations for the order meant that the cut list could be very efficient with only 5m waste out of 552m of timber. The excess timber has been re-appropriated as temporary bracing for the main structure before the roof is installed.

dditionally, ordering an exact amount of timber has a wider knock on effect: less packaging required, reduced use of fuel for transportation (or more space on delivery vehicles for a more efficient delivery round), which reduces the overall CO2 emissions (note facts earlier).

t should be pointed out that the scrap wood, still had purpose, it has been regularly used as chucks or spacers for storing timber off the ground. Scrap lengths can also be used for additional bracing during the construction process, the intention is that any excess timber will be kept in the studio and used in future projects. The untreated offcuts could have a future purpose in the bug hotel structure.

n reflection, the waste management in our construction process so far has worked well and efficiently. Previous mistakes affecting excess have been caused by rushing the measuring and cutting process due to fast pre-fabrication timescales; this can be improved by a process of quality control insuring timber lengths are double checked before cutting. A challenging structural element which is currently being constructed is the roof. A detailed cut list has been produced; however, there is a new level of complexity which could cause more excess than expected. Yet, if we apply the knowledge from the construction process so far it should continue as efficiently as everything else.

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Conclusion

e understand that the nature of our project will have little effect on the wider industry and will not be setting any trends. Our interest lies in the wider topic of sustainable design and resource and waste management within the context of the national and international construction industry. Since we as future architects, have had direct experience and knowledge of the subject, we can work towards

future solutions. We can therefore, attempt to resolve the problem from the source in our future careers working in collaboration with government strategies and charities.

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Setting Out

ing hide to be removed by development volunteer team week commencing 0.16.

B C

485

1080

1070

875

1800

1880

Removed tree

450

1155

A 1040

ing pad foundations to be removed by actor.

Expectation

1 1430

1650

450

1035

450

600

450

2425

1350

450

2225

6880

450

Main reference

2 1500

-575mm 2955

600

450

1350

450

3 Retaining wall

-575mm 450

810

450

30Â°

0 45

t xis

Lin

ing

tain

1200

hid

b to

ing

-250mm

2860

450

1190

450

3600

450

Demise line of phased work. Dig down to -575mm from datum level above this line as indicated on the drawings.

1355

450

3 1295

450x450mm concrete pad foundations with a depth of 550mm installed by NWL contractor.

6 Retaining wall Removed tree

+250mm

4985

D 6200

6425

Trees will be removed on or before 17.10.16. Tree stump and root system to be removed by contractor.

Retaining wall

New dry stone wall created using the existing stones on site by Newcastle University.

7 All dimensions must be taken from our datum point along grid line 7. Steel marker point will be installed by Newcastle University, co-ordinating with the contractor on site.

+00.00

B C

Main reference point at base of tree.

E GROUND WORKS SETTING OUT PLAN PHASE 1

+00.00

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Reality

â&#x2C6;&#x2020; See Appendix: Drawings, Groundworks package p.164-175 for other drawings submitted to THC

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Groundworks

roundworks are the preliminary preparation of the site. Following standard groundwork conventions, in which it is usually the first and last trade on-site, we designed a two-phase plan for the works. With phase one being the initial site preparation and foundations and phase two being landscaping.

hase one involved the clearing of the existing site, which included removing the concrete foundations of the existing hide and the tree stumps and root systems. Levelling the site to a depth of -575mm from ground level marked at a datum point. Excavating and laying of concrete pad foundations as per detailed drawings.

See Appendix: Drawings, Working Drawings p.232.249 for more informtion of setting out sheets and Appendix: Images, Photographs for more images of thesetting out process.

â&#x2C6;&#x2020;

hase two involved landscaping the approach to the hide to provide accessible ramps to the entrances, with the implementation of a retaining wall, constructed from timber sleepers.

he expectation of the groundworks is for the location of the foundation pads to be placed precisely, according to the drawings. The sizes of the concrete foundation pads were slightly oversized to spread the load of the structure, but also to create a margin of error tolerance. Due to the use of a professional contractor the expectation became a reality. All the pads were placed according to the drawings, which is the result of experience and having the right tools for the job.

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Communication with the contractor Prior to any on site progress we met with the appointed groundworks contractor (THC) on site with our submitted drawing set to explain the key factors. These included the orientation of the bird viewing pod in order to optain optimum views of the osprey pole. The other, more challenging discussion was the location of the datum line (7m away from the hide entrance). We attempted to locate this during our setting out on site however, it was later corrected and moved by the contractor.

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On Site Construction On site construction has involved the completion of a variety of tasks. Most of the process was streamlined by off-site prefabrication of the main construction elements. A six-person team initiated work on site by drilling and installing the EMP pad substructure, over the course of two days, into the foundations cast by the appointed contractor (THC). The prefabricated timber substructure elements were then bolted together and fixed to the pads, by a team of ten, again over the course of two days while wall panels were assembled simultaneously in the workshop. Utilising a team of twelve the wall panels were fixed and bracketed with the bird and forest hides taking a single day each. Presently the walls have received the breather membrane and cladding battens. The team aim to erect the roof over the course of the following week with additional assistance from the Live Build students in stage five.

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See Appendix: Images, Photographs, On Site Construction p.457 for more images.

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Diary Entry

8.00 AM

8.30 AM

Meet at university to drive to Screwfix to pick up some extra screws before heading to site.

Pick up supplies from Screwfix.

Meet contractors on site to oversee the pouring of the concrete.

10.30 AM

Follow concrete truck up forest track to site.

10.20 AM All concrete had been poured and the contractors were now levelling the pads. We left site and went to the workshop to continue prefabrication of wall panels.

12.30 PM

12.00 PM

Laying out of pre-cut pieces of timber to put together wall panel.

Sam cut his finger and needed first aid treatment.

15.00 PM Completion of the first wall panel of the day, including OSB. Laying out of the next wall panel to be screwed together.

16.30 PM

18.00 PM We pack up and go home.

Groundworks

14.25 PM

Completion of the second wall panel, including OSB. Some pieces had to be re-cut or adjusted due to being incorrect. Started to pre-cut CLS timber for the prefabrication of two other wall panels. Each piece of cut wood is labelled as per drawings.

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Diary Entry

9.00 AM Meet at university. Drive to Screwfix to buy nails for the nail gun and replacement jigsaw blades, as we broke one last time we were on site.

11.30 AM

11.15 AM

Unload the van of all equipment.

12.00 PM Discuss a plan of action for the day. Start wrapping the lower section of the forest pod with breather membrane.

Arrive at the Kielder workshop. Load the van with PPE, tools and site equipment (including battens and breather membrane). Travel to site. Breather membrane has been attached to the whole face of the forest pod. We split into two teams. The first team would continue to wrap the rest of the wildlife hide in breather membrane and the other team will install cladding battens over the membrane of the forest pod.

14.00 PM

Cladding battens to the forest pod are complete and most of the membrane is attached to the bird watching pod. Due to fading light, we make sure all the membrane is fastened with no loose bits and temporary battens for extra security.

16.00 PM 16.30 PM We pack up and go home.

A Day on Site

152

Installation of breather membrane and cutting of window openings.

153

154

155

156

157

158

159

asdxsaxaxdaaa

160

Cladding installation

161

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HAND OVER & CLOSE OUT: “The project team’s priorities during

this stage will be facilitating the successful handover of the building in line with the Project Programme and, in the period immediately following, concluding all aspects of the Building Contract, including the inspection of defects as they are rectified or the production of certification required by the Building Contract..” Section Overview The group partook in discussions with the client to agree upon plans regarding the future maintenance and control of the building. Usually Newcastle University (particularly the students) would hand over the building to the client without any agreed commitment as to the future upkeep. However, the Wildlife Hide is unique in that sense as it is the world’s first permanent building integrated demonstration of hygromorphic technologies. For this reason the university has agreed to monitor

this aspect of the building not only to aid research into this technology but also to ensure that broken panels are replaced.

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What is hand over? The future of the project beyond Linked Research.

“At the end of the construction phase the architect assists the client with the handover of the building ‘Practical Completion’. It involves a formal visit of the works and a report, sometimes with a list of defects or snagging list, that is put together by the architect for the client. It’s the moment when the client can list any works that they feel aren’t complete or don’t satisfactorily meet their expectations but only defects in relation to a contract can wbe listed.” “Final-completion in the UK is one year after the date of practical completion. The contract can define a one year defects liability period when the contractor can be asked to come back and make good any defects that might arise due their construction work.”1

Conventional Handover

bviously, this conventional handover process described by RIBA is vastly scaled down for our own project, being that the construction is of two non-permanent inhabitable spaces. Instead we are handing over to the client a public structure, which isn’t insulated, without any thermal comfort qualities that you would expect within a fully functioning building. Nevertheless, a post practical completion process will take place, this will come in the form of further correspondence between our student group, Newcastle University and our body of clients; also handover formalities will take place, as well as action taken now to appease the smooth transient from completed structure to used space

Quote from www.rb-architects.com

with the creation of ‘extra parts’ for the hygromorph installations.

ne formality for our own project will see the handover of the Health and Safety file, from our principle contractor to the client. Additionally, we will provide an operations manual which gives overall detail to the hygromorph’s, including key information on their operations whilst also setting out a reasonable life span for the installations. Dan chapman, the estates officer will be the responsible person (on the behalf of the client), who will check the structures, and provide subsequent correspondence from the Kielder team if there are any faults with the structures as part of these checks. He will inevitably be checking the hygromorph’s too (throughout the liability period).

Post Occupancy (A Process Not Ending)

espite the conventional process of handover, our process places its impetus on questioning the conventional post occupancy process assigned by RIBA. We have always seen the structures not as finished products, but instead they form an ongoing engagement with ‘research’ past build completion, and with that fact, it makes the post occupancy phase an equally vital element for this research process.

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â&#x20AC;&#x2DC;The Living Wild Kielder project coordinator has expressed their desire to continue conversations between ourselves post university and themselves as a body. Having stated their intention to organise a series of potential informal interviews for members of the group.â&#x20AC;&#x2122;

he nature of the live build process (research through design/production), has always been focused on the process rather than the end goal, the questions it raises rather than a defined answer, a process as research. As previously mentioned, the project provides revolutionary hygromorphic elements, which are integrated into both architecturally designed structures, a world first. Obviously because of time, and the harsh reality of Kielder weather, these installations will inevitably fail. Eventually in response to this fact we have planned two resolutions; one sees us manufacturing extra pieces in the university lab, with the technical support from Artem Holstov, the designer of these beautiful responsive elements. Added to this and regarding post occupancy, there has been an agreement between university and client that the elements will be monitored for at least two years, placing post occupancy not as a finite stage but an ongoing process of research. As well as the hygromorphâ&#x20AC;&#x2122;s, we have committed to monitoring the use of the Wildlife Hide itself. It further reflects our impetus on process over end-product, our challenge of the conventions of post occupancy.

Correspondence (Challenging Post Occupancy)

nbuilt structures will also form part of this post build process, and form a larger and continued relationship past build completion. Despite, not being able to have the timescale and resource capacity to manufacture the Viewpoint structure, we do however, have full planning permission granted for the structure. The likelihood being, that the following live build group

will take on the constructional responsibilities for the structure. This however, is still to be confirmed and if taken forward will complete the full masterplan of structures, designed by Newcastle University intended for the Bakethin Reservoir. The continued correspondence between the University and Kielder Water and Forest Park Development Trust, and all the bodies that form part of this group is important. The Living Wild Kielder project co-ordinator has expressed their desire to continue conversations between ourselves post university and themselves as a body. Having stated their intention to organise a series of potential informal interviews for members of the group, this process would result in a series of personal reflections upon the project, post rationalising our experiences and skill development, and thinking about whether those skills are being situated within practice, post university and live build completion.

Conclusion

ur methodology of research which situates the structures not as finished products but as part of a linear process of research post completion, vastly contrast the formalities seen in typical architectural projects in the postoccupancy stage, which are marred by sterile stats, evaluations and reviews. Our approach not only leads to continued correspondence between all parties (university, client group and students), post completion. But as the structures ages, as more people occupy the spaces the structures and the hygromorphic elements (acting as a testing ground for the product) continue to post further research questions, aided by our commitment to monitor.

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Current Programme The site programme is updated each stage before Design Team Meetings.

169

s part of each drawing package we submit an updated cost plan and project programme. Initially that was due to client request, however, as the project developed the programme became increasingly useful as organisational tool.

hen circulating information to a large design team involving people from different backgrounds, we found it far easier to compile a lot of information into a gantt chart that was easy to read rather than by scripted emails. The programmes became a key tool at each design team meeting as with each topic of discussion

came numerous questions about specific dates, implications of delays, need to prioritise etc. In that situation it was crucial to have the programme to refer to. In addition, we also continuously updated the cost plan. Initially this formed part of the Heritage Lottery Fund bid made by Kielder Water and Forest Park Development Trust to explain how we would distribute the funds. Later it became a tool to assess whether certain design changes were possible given the financial limitations and lead in times. Both the programme and the cost plan will continue to fluctuate alongside progress on site.

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Materialising An account of the various supporting roles we have assumed in this process.

“For some architects and educators, the gap between school and practice seems too wide to bridge” 1

Introduction

For us as a group of nine students, this ‘Live Build’ project serves as the instrument to aid in bridging the gap between school and practice. Although each of us have had experience in practice, the project has provided us with a wider variety of skills and professions that are usually resourced out-of-office. This in effect should make us become better designers in the real world, since we will have a better knowledge of others working in the wider construction industry. As well as acting as the Architect (Principle Designer), we also served as the Project Manager, the Quantity Surveyor, Principle Contractor, and CDM Co-ordinator. This essay will outline a brief description of the roles which we have undertaken to materialise the imagined drawings, accompanied with learning outcomes and reflections of these roles. The summaries of the developing knowledge of these roles, are experienced through both triumphs and setbacks. This has given us a new-found respect and appreciation towards other members of the construction process. The essay will show that in the confines of a studio, an architect located at a desk, cannot adequately and appropriately make design decisions and detail options without first understanding the process behind it.

Bannister, Turpin C. (ed.) 1954. The Architect at Mid-century: Evolution and achievement. Volume 1 of Report of the Commission for the Survey of Education and Registration of the American Institute of Architects. (Reinhold, 1954) p.153.

Applying oneself in the physical act of construction is possibly the only effective way to appreciate the production of architecture. It is not purely a drawing exercise on screen or paper, but an assembly of trades working together to realise a dream.purely a drawing exercise on screen or paper, but an assembly of trades working together to realise a dream.

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the

Imagined

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“Architects are not just involved in the design of a building. As a licensed professional they are also responsible for public safety and overseeing of projects.”

The Architect “The primary task of the architect, is to communicate what proposed buildings should be and look like, whilst acting as mediator between the client and the builder.”1

he role of the architect is something we are all well versed in, having spent almost six years studying the profession. Designing comes naturally and as students there is little thought of the process of making, as this would be dealt with by another party. The ‘Live Build’ project involves every aspect of the RIBA Plan of Work 2013 and requires us to undertake other professional roles.

ach of us were involved in the concept design stage, to produce three design options to present to the client. This was first and foremost a competition. A battle of egos within the team, to produce what the client describes as the ‘Best in Britain’. With that in mind, the proposals were designed for that wow factor, with little to no thought as to whether a group of nine students with no construction or carpentry experience could build it. This subsequently had some adverse effects, which we had to re-think.

s the design progressed into the technical, buildability stage, we were taking on more and more professional roles and quickly understanding the notion of teamwork. Each role was administered to carefully manage the project to ensure completion on time, on budget, and to an acceptable standard. The specification and sourcing of appropriate materials and fixings that were in budget was needed. Clear, precise and legible

Kostof, Spiro. 1977. The Architect: Chapters in the History of the Profession. (University of California Press, 1977) p.xviiw

technical drawings that anyone could understand needed to be produced. Effectively managing the phasing of the work with strategic and methodical decisions, whilst remaining safe during every aspect and complying with the regulations.

Lessons Learnt:

1. Design – designing a practical building that creates an environment suitable for the users’ needs, whilst meeting the requirements of the client. 2. Accessibility – making sure the design meets the building regulations, particularly Part M – Access to and use of buildings. 3. Feasibility – designing a building that is structurally sound that can be constructed by nine inexperienced students.

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â&#x2C6;&#x2020;

See Appendix:: Photos, Groundworks for more images on the groundworks process

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See Appendix: Photos, Construction for more development photos from site

â&#x2C6;&#x2020; â&#x2C6;&#x2020; See Appendix: Images, Site photos for more images of this process

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TheProject Manager

“The project manager has the duty of providing a costeffective and independent service, managing different disciplines and expertise, to satisfy the objectives and provisions of the project brief from inception to completion.” 2

roject management is all about organisation. It involves knowing every aspect of the project, from design details to delivery dates. As a project manager, you are ‘the piggy in the middle’ of the hierarchical structure of a project, relaying information between designers, contractors, clients, suppliers, surveyors and co-ordinators.

ith so many moving parts, this was really a job for one person willing to take on the burden, in order to relay information consistently with clarity. The unfortunate individual learnt the hard way the extent of communication, time management, organisation and all round people management involved with the job. You become the go-to person for every question relating to the project and its progression.

he project schedule is under constant scrutiny due to numerous factors. One of these included the delay of the groundworks due to unsuitable weather, material orders differing to the schedule or prefabrication taking longer than anticipated. With each impasse, a delay usually ensued, causing careful planning and negotiation with the relevant parties in order keep the project moving forward at a pace, which would result in the final deadline being met with a completed building.

The Chartered Institute of Building. 2011. Code of Practice for Project Management for Construction and Development. (John Wiley & Sons, 2011) p.5

Lessons Learnt: 1. Communication – understanding and discussing tasks with other parties in the design and build process. 2. People management – making sure that each member of the team is aware of their tasks and responsibilities. 3. Time management – keeping track of project timetables. Making alterations in the event of delays, whilst maintaining the final deadline. 4. Mathematics – calculating, checking, and rechecking quantities and surface areas in order to work out quantities of materials and fixings. Avoiding wastage or insufficient amounts. 5. Sourcing – researching and contacting suppliers to query products and costs to get the best deals in order to meet the client’s needs and budget. 6. Logistics – working out how, when and where materials will be delivered to suit the project schedule.

The Quantity Surveyor “The quantity surveyor’s role is based upon a thorough knowledge of construction techniques and competencies to measure works and assess rates that determine a cost.”3

uantity surveying is a game of numbers. The project has been given a budget and as an effective quantity surveyor, the aim is to meet that figure. The first stage of costing is estimation, a ball park figure which you aim to achieve or believe each section will cost. This is soon disregarded during the detailed design stage as more materials are added and there is a better understanding of how the building is put together. The amount by which the estimation varies from the actual needed value is found out during this detailed design stage, which can lead to a process of value engineering by the design team. “Value Engineering (VE) is not a cost-cutting exercise. VE is a creative, organised effort, which analyses the requirements of a project for the purpose of achieving the essential functions at the lowest total cost.” 4

n order to meet the budget requirements, material choices had to be changed and sourced more locally to avoid additional delivery costs. This became increasingly difficult as we also needed to comply with the client’s desire to have British timber that was FSC certified. This, in some cases was problematic as complying with these requirements caused prices to increase, particularly when trying to ensure the timber was British. In the event of being unable to source British timber, compromises could be made, however strong reasons were needed as to why it would not be feasible to purchase the timber from somewhere in the UK. For example: The flooring for the hide was originally estimated at approximately £1000. This was then recalculated after a suitable material option was found, that complied with the British timber and FSC certified requirements. Including fixtures and fittings and delivery it was costed at £2100, with £600 for delivery due to the location of the supplier. This was a massive overspend that couldn’t be afforded, so an alternative option was required. A local timber merchant supplied a similar product which was cheaper and FSC certified, however it was not British- it was a European Redwood. The total cost of this, including fixtures and fittings and delivery was approximately £900. This figure was a saving of £1200 from the first option, but also lower than the original estimate. The client was satisfied with the compromise due to the cost benefits. 3 4

The Chartered Institute of Building. 2011. Code of Practice for Project Management for Construction and Development. (John Wiley & Sons, 2011) p.5 Cullen, Scott. 2016. Value Engineering. (https://www.wbdg.org/ resources/value-engineering)

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The Principle Contractor

“A main contractor constructs a project in accordance with a binding agreement it has with a client. Work will be subcontracted, giving the main contractor the role of procuring, constructing and delivering a scheme.” 5

ontractors are the master builders, they turn the two-dimensional imagination of the architect into a three-dimensional realm that people can experience and touch. It is the final stage of the process, which should be the most efficient after the meticulous planning, designing and managing of the project by the other professional teams. This is not always the case as other factors can come into play, weather being the most detrimental to schedules.

n this case the main issue with on-site work comes down to the inexperience of the workforce: nine students acting as the main contractor (and sub-contractors) with little on-site experience as architects, but zero on-site experience as builders. Simple tasks became a challenge both physically and mentally. The mental challenge was probably the hardest to manage. After painstakingly planning and designing the construction process, the ability to figure out how to put the parts together logistically was needed. The role also involved figuring out any potential hazards or problems that might occur before they could happen.

he groundworks were completed by a professional contractor employed by the client and they were able to complete the works efficiently and most importantly correctly. Although there were some initial delays in getting the work completed, the contractors cleared the site, set out the locations for the pad foundations, dug the foundations, poured the concrete and levelled it out in three days. This could have potentially taken a few weeks for us to achieve due to insufficient knowledge, experience and tools.

y observing the contractor on site, we witnessed first-hand the importance of people management and communication. Each member of the contractor’s team knew their task, which created the ’well-oiled machine’ that was the groundworks team. Whilst constructing the Wildlife Hide we discovered the game of tolerances. Despite the prefabrication of many of the elements in a workshop, there is always 5

Cullen, Scott. 2016. Value Engineering. (https://www.wbdg.org/ resources/value-engineering)

room for error. Minor on-site alterations were necessary to prefabricated elements to stay within an acceptable tolerance level.

Lessons Learnt: 1. Communication – talking to each other clearly so everyone knows their role, to efficiently work as a team. 2. Technical – the logistics of construction, to build in a methodical way. 3. Tolerances – the room for error and modification of building parts. Not everything will be millimetre perfect and match the designed drawings.

The CDM Coordinator

“The CDM Co-ordinator is seen as the facilitator that ensures good co-operation, co-ordination and communication amongst the project team, predominantly in respect of health and safety matters.”6

he CDM Co-ordinator is the sensible soul who makes sure that the construction is dealt with safely. Thinking of every potential hazard that could arise during the construction process, however small, and providing preventative safety solutions to ensure the workforce is not in harm’s way. It is an extremely important role that carries a huge amount of responsibility.

any of the potential risks could be considered commonsense, but since the CDM Co-ordinator does not always know the individuals and how they might work on site, every eventuality needs to be catered for. Legal documents such as the Health and Safety File, Pre-Construction Phase Plan and HSE Method Statement were created to outline the project, the people involved, the hazards and the methods for avoiding these hazards. Following this the documents needed to be signed off by the relevant parties and all involved to prove the information was understood and would be followed. These documents are considered tools, used to prevent legal action being taken in the event of any accidents or neglect of site safety.

Towey, Donald. 2012. Construction Quantity Surveying: A Practical Guide for the Contractor’s QS. (John Wiley & Sons, 2012) see section 1.2.6 Main Contractor.

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See Appendix:Images, Photos for general photos on the process

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his was found to be quite a laborious task. In order to produce concise documents to a professional standard, advice was sought out from a qualified CDM Co-ordinator in practice. The advice centred around the information that needed to be included in the document and how to present this. Without this advice, the task would have been very difficult with the possibility of vital information being missed.

Lessons Learnt: 1. Responsibility – not only do you need to be responsible for your own wellbeing, but the wellbeing of all involved on site. 2. Health and Safety – the risks, however minor, need to be assessed and analysed in order to be managed or prevented. 3. Documentation – the documentation required for legal purposes. The amount of information required to avoid any miscommunication of the risks and prevention methods.

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Conclusion

s architectural students, we live in a world of false confidence. Although qualification is just a base standard, there is an expectation that after a seven year education, we should know everything. With ever changing technologies, material developments and changes to regulations, the profession is a continuing educational system. As this project progressed and after we had worked closely with individuals in other professions, we quickly realised our knowledge is infinitesimal. The level of information that needs to be provided is always more than you think necessary. We may think that something might be commonsense, therefore not include it. However, every detail needs to be drawn or explained as if it is being read by someone who is not in the profession, not because we believe the person to be incompetent, but to create clarity and ensure mistakes are avoided.

This was made apparent to us during the groundworks stage. The groundworks were carried out by a professional contractor employed by the client. The drawings produced by us looked self-explanatory to the novices that we are. However, when trying to set out markers for the foundations ourselves as a test, we soon discovered how complicated the drawings were. The contractors managed to set out the foundations accurately using the same drawings and it was these types of experiences that have led us to have this new-found appreciation for other professions that were not witnessed from behind a desk. This first-hand experience of all professions involved with design and build improved our knowledge and professionalism with regards to meeting the criteria of becoming a qualified architect.

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See Appendix: Images, Working Drawings for other similar images.

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Images of the completed Wildlife Hide upon opening.

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Interior of the Bird Pod.

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Bird Pod in Use + Entrance into Pods.

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Hand Made Larch & Sweet Chestnut Doors .

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A Critical Reflection Live Build: An Alternative Approach to Architectural Research

Cognition: “The mental action or process of acquiring knowledge and understanding through experience, thought, and senses (perceptions).”

his live project research document reflects the cognition we have gained under the guidance of Professor Graham Farmer. We have had the opportunity to undertake a ‘real life’ project, taking pride in the process of creating products constructed for an actual purpose; rather than the paper architecture of design studios. These opportunities have also provided the time to establish and develop our own professional persona.

he purpose of a live build project tends to cycle around the importance of mutual benefit and value. Although the process continues, significant value has been gained. Quantifying ‘value’ or ‘knowledge’ gained from the project is difficult; the project is experienced as a group, naturally some people have taken on the lead roles, certain roles can only be achieved by an individual (inevitably causing disparity between experiences). Therefore everyone has encountered a different journey. The live build project provides the ‘value’ of the ‘real world’ experience, with multiple variables: the brief, the concept, client meetings, planning authorities, budgeting, suppliers, lead times, health and safety, design for access, consultants, detailing, tender, construction and hand over.

t is hugely beneficial to experience multiple aspects of the non-linear process of design and construction. These practical skills can be later applied when returning to practice in the future. There are many theories surrounding the idea of the ‘value’ of this experience to the student via tangible skill sets and knowledge in new fields. However, live projects are dependent on the individuals’ involvement, how much effort they put in, and want to gain from the experience, how they have responded to the different situations: with clients, contractors, group members, regulations, and within the general project. ’Value’ can also be analysed on a group level, in regard to teamwork, collegiality, role/ responsibility distribution, perseverance, appropriate practice and ethics.

he idea that the cognition of architects are seen by some to be different from the traditional research methods, is true; architectural research methodologies challenge the academic environment through other means of expression, documentation, working between the (objective) validity and (subjective) interpretation. ‘The tactic cognition must be expressed so that it can be communicated, discussed, queried and made useful to others. The work must include an accessible contemplation of the experience and cognition achieved, that result from the work with the subject matter.’ This shows how architecture is more that than just simply “a structured investigation of which the goal is communicable knowledge” but layered with a silent language of interpretation and representation,

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We have had the opportunity to undertake a ‘real life’ project, taking pride in the process of creating products constructed for an actual purpose; rather than the paper architecture of design studios. These opportunities have also provided the time to establish and develop our own professional persona.

speaking more precisely than words. Research in architecture is about the experience and values gained through methodology.

eremy Till uses ‘grave terms to summarise the ‘slow death’ of the ‘lifeless pedagogy’ within the UK architectural education.’ We believe that the process of researching within a live project can revitalise the architectural education system and explore new cognitive methodologies of research in architecture. In the context of this project, the term ‘Live Build’ is not only associated with a change in architectural pedagogy, but is also relating to a specific kind of research. This methodology of “research by design” has allowed a relative freedom within our architectural education system, providing a platform in which we can investigate, research and learn.

Research by Design

lan Chandler argues that live projects require both material resolution of a situation and critical reflection of the outcome, so future professional advantage can be gained, establishing a real context for material invention. However, through our work and research by design, we have found that this way of working has meant that this is not the end of the outcomes or the end of the

research, as research by design suggests. The process of research by design continues in a cyclical manner, uncovering new questions from the process, which then inform and lead to further research and live processes. For example analysis of the outcomes of the MIMA exhibition has led into further research by design in one of the students thesis work. Another example of further research is within the Wildlife Hide scheme. The implementation of hygromorphs and opportunities within the scheme for further interventions (bug hotel, new hygromorphs in the trellis to create shelter during wet weather) allow the project to continue to grow and respond to the surrounding environment. As students we have all developed a variety of personal qualities: organisation through early preparations and planning ahead, to become flexible and adapt when problems arise in order to make the most of a situation, collaborate and improve team work, learning to work with different people and manage different personalities and skill sets. These qualities have allowed us as individuals grow in self-confidence, which has allowed the group to work with the several triumphs and loses along the way. We have learnt rather than to expect everything to run smoothly, to work seamlessly to take on challenges that might arise, considering and solving problems in a professional manner. This process has given us experience from each of the Professional Part 3 Criteria sections. This in turn will give us a professional advantage in the future.

Research by Material

orking on a live build project has allowed us to work incredibly closely with the materials to construct a product. This has involved a series of prototyping and research by material to allow us to produce a final product that has been developed and has been well researched. For instance the prototyping of the stools for the MIMA, brought about the need to take the sharpness off the corners of the edges. The prototyping of the sash windows for the Wildlife Hide allowed the development of which mortice and tenon joint to use. The prototyping of the bench for the welcome point reduced the amount of timber needed within the structure preventing clunky detailing. The use and research of hygromorphs within the design was a particularly unique aspect of the project. With the location in an expansive pine forest, it seemed highly appropriate to use this technology. It is important too that this is the first implementation of hygromorphs in a permanent structure in the world.

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See Appendix: Admin for documention mentioned.

Our work has included research with new methodologies, practices and products. This research through design has allowed for further research questions to arise from the design and construction processes undertaken.

n line with Haubergâ&#x20AC;&#x2122;s ideas, this document proposes a relation between architectural practice and research process; this has consisted of our work in the Haubergâ&#x20AC;&#x2122;s fundamental elements within our process: Basic perceptions: We have placed our research within the context of wider architectural academic work and the norms and values which surround it, acting critically of where the work is sited not only within academic work but also government regulations and industry standards. It has been important that we read recent articles of research, in particular the latest findings in hygromorphic technology, in order to understand and build on our existing theoretical and practical work. Through this work we have encouraged further discussions and provoked further research, in thesis work, hygromorphic technology and ideas surrounding the changing pedagogy of architecture. Investigation: Our live build process has become a testing ground for our investigation and critical analysis of design, construction, materials and the local environment. It continues to be a space where this investigation and analysis can continue. This research by design methodology used, probes for new questions at the

end of the process and raises further investigative topics for future research, which have been outlined. Programme: We have worked in nearly all stages of the RIBA Plan of Work (2013), and the document produced quantifies the knowledge and values gained from the process. Although the process of strategic research continues, we feel we have solved the initial briefs and can continue to research in this manner. Proposals - (product) development work: We have designed and constructed various products and spatial proposals to various briefs, as outlined within the document. These products and structures have been developed through research of material and research of detail, with 1:1 prototypes allowing exploratory investigation. These experiences have provided a series of research avenues independent to our analysis. Subsequent rationalisation: Through research by design, research by material and testing in practice, we have deduced a series of arguments, research topics and theoretical explanations within the essays in the document pertaining to the process work. An example of further research questions seek to investigate the

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importance of efficient waste management in the construction industry, following the success of our prefabrication cutlist. Communication: The material presented in this research document accompanied by an extensive appendix, shows our wide-ranging processes. This documentation shows the relation of our process to our research methodology in a consistent, reasoned and evidential manner. The communication of ideas has been important within this process. Checking work and ensuring clarity of ideas has been a key contributing factor to the success of the planning application, use of materials of choice and prevention of mistakes on site.

Moving Forward

o conclude our work has included research with new methodologies, practices and products. This research through design has allowed for further research questions to arise from the design and construction processes undertaken. The design proposals not only answer their initial briefs but act as a springboard to include further ideas and implement new research questions, some which we have explored in this document. We have created two structures that can facilitate further

hygromorphic research and implementation; with the idea that these responsive structures become educational research structures in their own right. Furthermore this encourages future collaboration between Newcastle University and the client. The social tensions and identities initially explored in the MIMA project has led to further research questioning whether similar collaborations between community arts industries and architecture students can attempt to help the area. Thirdly with the methodologies utilised from the design and construction process in mind, we seek a different architectural pedagogy in the educational system through this introduction and integration of live projects. Further research surrounding this question would investigate the unconscious assumptions made during the design process and how this affects accessible design. We believe these projects rethink, interrogate and research the gap between education and practice, and challenge the current academic perceptions of research.

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Contributors Kathleen Jenkins

Sam Halliday

Matthew Westgate

Laurence Ashley

Katie Fisher

Sophie Cobley

Alex Baldwin-Cole

Ulwin Beetham

Robbie Evans

Acknowledgements Kielder Water and Forest Park Development Trust

For their continued engagement in projects with Newcastle University

Middlesborough Institute of Modern Art For the opportunity to collaborate and the trust and enthusiasm shown throughout the project

Newcastle School of Architecture Workshop Department Sean Mallan Nathan Hudson Richard Chippington Bill Softley

For their advice, knowledge and accommodation of our projects over the course of 2 years

Student Volunteers & Tom Cowman For kindly volunteering to assist on site.

With special thanks to:

Peter Sharpe

Without whom, none of this would be made possible

Professor Graham Farmer

For his continued advice and guidance

Hugh Miller

For his patience and tutelage

Artem Holstov

For his research and engineering contributions