AT3 Portfolio by Lauren Di Pietro

“Design is about conceptualisation, imagination, and interpretation, in contrast planning is about realisation, organisation, and execution.” -Kosta Terzidis, Algorithmic Architecture

-Lauren Di Pietro 33308831

AT3 BUILDING STUDY SUBMISSION LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Project Description

“Creating a sensitive, cultural and contextual response through a reflective design process; exploring the nature and character of space, along with the sensory aspects of experience.” -Lauren Di Pietro 33308831

My BA3 project is inspired by the 2012 Venice Biennale, titled ‘Common Ground’. I propose to create a cultural and contextual response to my site through the exploration of Common Ground as the domain between public and private use of the built environment and the contrast that these pose with one another. My site is in the city of Chioggia, near Sottomarina at the southern end of the Lido in the Veneto region of northern Italy, 25km south of Venice. I chose my site based on the idea of contrast of Chioggia with Venice. My reflections of Venice were of the beauty but ruined by the booming tourist industry here. After visiting Chioggia it seems that this is the Venice without the tourists. Chioggia is how I imagine Venice was before the tourist industry took over. Chioggia seems to be a smaller version of Venice, still with the same building and canal typology, just fewer canals. My scheme incorporates a master plan, located on Isola Saloni in the city of Chioggia, VE, which responded to the problems of the site through the theories of public and private space. I designed a community college campus as the driving scheme for my master plan in order to tackle the problems of the area, economically and socially, through the education of the community. As an extension to my master plan I further developed a detailed design for a public space, incorporating my ideas of the public and the private. Through this scheme I created a community library as a public space within the community college campus. With this project I designed my building reusing the existing facade of a cement factory on Isola Dei Saloni. I chose to do this in order to create a historical and contextual response to the site, grounding the building in the heart of the community. My semester two building is a teaching centre for emergency healthcare which also explores the idea of providing a public service, however with elements of privacy incorporated into the building. The ground floor and first floor of my building will be dedicated to the public service to the community. I am designing the teaching element of my design as a tower construction. The teaching tower will ground my project on site, as well as create a monumental building feature that can be seen from all of Chioggia, which I feel is an important aspect for a healthcare centre.

AT3 BUILDING STUDY SUBMISSION LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

My site plan with both proposed plans included

Concept image for my scheme

A series of photographs from my site in Chioggia

AT3 BUILDING STUDY SUBMISSION LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

MH de Young Museum

Location: 50 Hagiwara Tea Garden Drive, Golden Gate Park, Palo Alto, San Francisco, California, USA Herzog + de Meuron Architects: Building Size: 27.220m2 Cost: $135 Million Building Completion: October 2005 Principal Architects Fong & Chan Architects 1361 Bush Street San Francisco, CA 94109 Structural Engineer: Rutherford & Chekene, San Francisco Mechanical / Services Engineers: Ove Arup & Partners, California Ltd., San Francisco Client: Corporation of Fine Arts Museums of San Fransisco The de Young Museum is located within the Golden Gate park in San Francisco, on the site of the original museum, which opened in 1895, and was destroyed by the Loma Prieta Earthquake in 1989. In 1999 a competition was held for the redesign of the museum. Beating out architects such as Tado Ando, Herzog and de Meuron proposed a scheme composed of a nine story education tower, housing an arts education programme and giving extensive views of the San Francisco city skyline, sitting above a three story gallery space, within the landscape of the Golden Gate park on the footprint of the old site. The building acts as a monument to the skyline as the 44m tower twists through a 30 degree angle from the ground to the observation deck on the ninth floor giving views across San Francisco; including the New Academy of Sciences Building (designed by Renzo Piano directly opposite to the de Young Museum); the city of San Francisco; Golden Gate Bridge; the Manne Headlands; and the bay. The twisting tower was built as a relationship between the park and the city. The base of the tower is aligned with the gallery and concourse building below. The horizontal element of the building, the gallery and concourse level, is aligned with order of the park, a grid system dominant from 1984. The horizontal and vertical elements of the building twist together and align the base with the top. The vertical element (the top of the tower) then twists and rises to align with the grid system of the city of San Francisco. The structure of the tower relates the park to the city and creates a poetic link between the orders of the past - through the park, and the orders of the present - the city. The de Young Museum is an appropriate precedent for my second semester building design as it is similar in form to my idea, with a similar proposal of an education tower. The base of the tower - the three story gallery and concourse level, is around twice the footprint of my building, however the tower is around nine stories which is similar to the height of the tower that I am designing. This precedent has also inspired elements of my tower design, as well as the facade design for my project.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

The previous building footprint overlayed onto the new building footprint

Model of the proposed scheme

Concept sketch of the proposed scheme

Model of the proposed scheme

Development models of the proposed scheme

Concept image of the proposed scheme

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Site, Access + Landscape

The building sits within the beautiful landscape of Golden Gate Park, around 4.12km long and 1.6km wide, and several acres of lavish gardens. Herzog and de Meuron designed the de Young Museum with respect to it’s landscaping, constantly linking the building back to it’s surroundings, using the original palm trees and keeping the pool of enchantment and sphinx structures, all standing since the opening of the original museum. The materials used throughout the building were all aimed to be natural to the surroundings, such as glass, stone, wood and copper. These natural materials allow the building to become part of the land it occupies. The copper facade was designed intentionally for this reason as well. The copper sheeting is perforated in order to diffuse direct sunlight through canopy structures, and instead filters light through to give the impression of the way light filters through a tree when standing beneath it. 20.700m2 of new landscaping was produced. 344 new trees were transplanted. 69 historic boulders remained on site. The trees planted are both native and non-native to the site in order to achieve the desired conceptual effect for the building, and include Redwood, Cypress, Eucalyptus and Ferns. Shapes have been cut into the top level of the gallery and concourse space in order to reveal gardens and courtyards where 48 trees have been planted. (see figures 10 &11)These shapes are influenced by the roofing structure. (see figure 12) The fissures that divide up the mass of the building are defined by conceptual terrain lines of the building below. These terrain lines are where the copper panels of the cladding join together and create small ridges. They also define the internal courtyard spaces, cut out of areas where the terrain lines are sparse, marking entry points into the structure of the building. The internal courtyards denote the primary entry points into the building. They also help to break up the Northeast and Southwest facades of the building into a tripartite arrangement, allowing the nature of the park to flow into the building. The landscaping includes pathways that lead to all four elevations of the building, allowing visitors to enter to building from all sides. There are three primary circulation routes that relate to the park opposite the building, and also relate to New Academy of Sciences building by Renzo Piano across the other side of the park. (see figure 9) The pathways from the museum to the park are designed to be natural extensions of the park paths. Pedestrians are free to weave in and out of the museum along this route whilst outdoor spaces and indoor courtyards penetrate and surround the exhibition spaces. The building is located as a result of ordering systems within the landscape. (see figure 14) At macro level the tower orientates with the order of the city. The tower location is also a result of ordering in the landscape, at a triangulation point of axis. (see figure 13) A primary axis connects the park to the city with a parallel line running along the NE elevation. The primary circulation routes then connect with this to create a triangulation point for the location of the tower, again connecting the park with the city. The entry point (primary access) is located at the point where the central circular court of the park meets the axial line connecting the park to the city. Extensive windows connect the interior and exterior whilst providing views in and out. Andy Goldsworthy produced the ‘Fault line’ Sculpture as part of the architectural design, drawing a meandering crack running from the roadway in front through a series of eight cleaved boulders that can be sat on. This draws people in following the drawing on the ground.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Building on site showing the landscaping

Internal courtyard space

Building on site showing the landscaping

Figure 9

Figure 10

Figure 11

Figure 12

Figure 13

Figure 14

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Solar Wind + Temperature Analysis

Solar Analysis As the de Young Museum sits within the landscape of Golden Gate park, San Francisco, there are little or no buildings surrounding it on site. The closest building situated next to the de Young Museum is Renzo Piano’s Natural Sciences Museum, however this is located to the South of the de Young, and therefore is not affected at all by the sun paths created by the museum. This would be the only building in a close enough proximity on site with rights to light, and the de Young does not affect them. The National Sciences museum is located far enough away so that it also does not overshadow any building, including the de Young Museum. The education tower has been located to the North East of the building to make sure that it does not overshadow the rest of the building. This can be seen through the sun path diagrams for the building on site. The design of the facade allows as much natural lighting into the building as possible through a conceptual way, but also technically making sure that the natural sun lighting from the South facing galleries does not damage the artefacts within the museum. The facade has been designed with a cultural and technical notion. Due to the facade design this means that the programming is not affected by South facing facades, and allow more freedom through the layout of spaces. As the de Young building was built to replace the existing building on site, insolation analysis was the same for both buildings, old and new. This meant that the siting of the building was not designed due to the analysis of areas with maximum insolation, but instead it occupied the existing footprint. However, due to the nature of the site being in a large open park, the only built forms that may affect insolation of the site are the trees. Instead Herzog and de Meuron have used these trees to shade some of the facade and create a further dappled lighting affect seen on the interior of the building. The de Young is relevant to my scheme, as I will also have to analyse the siting of the tower on my building, with respect to the insolation and rights of light of the surrounding buildings. Temperature Analysis In comparison with the USA averages, San Francisco has a warmer climate. This could be due to it’s coastline location, and the fact that the building lies in the southern area of the USA. The building therefore must accommodate for heat gain within the building during the summer months. This has been done through the partially perforated facades blocking some of the insolation. The de Young does however create internal spaces which open up to the exterior. These spaces are appropriate for the climatic location of the building, where the summer months reach temperatures over 30 degrees. The average sunlight hours are also much higher than the national average, therefore the de Young has made maximum benefit from the use of natural lighting. Wind Analysis In comparison with the USA average the wind in San Francisco is much more directions from the South West, rather than spread across directions as is the national average. This means that the position, location and orientation of the de Young Museum must take this main direction into account to accommodate for wind loads. The speed of the wind in San Francisco The building is orientated so that the wind forces, both pressure and suction, do not hit flat elevations. This means that the forces will not become too extreme around the building, allowing the wind to flow around the building, rather than directly hit it. Beaufort Scale Number : 2 - Light Breeze 4-7mph Land Conditions: Wind felt on exposed skin. Leaves rustle. Wind vanes begin to move. Sea Conditions: Small wavelets. Crests of glassy appearance, not breaking. Acoustics The building is located in a park with lots of public use. Golden Gate Park attracts 13 million visitors a year. The building will attract more people to the area, however it’s purpose will not create a noisy place that people don’t want to visit. The building itself does not generate a lot of noise and will therefore not affect the surrounding locality.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Sun path diagram for the San Francisco 0800

Sun path diagram for the San Francisco1000

Sun path diagram for the San Francisco 1200

Sun path diagram for the San Francisco 1400

Sun path diagram for the de Young Jan 1000

Sun path diagram for the de Young Jan 1300

Sun path diagram for the de Young Jan 1600

Sun path diagram for the de Young June 1000

Sun path diagram for the de Young June 1300

Sun path diagram for the de Young June 1600

USA

San Francisco

Average Temperature graph and sunlight hours for USA

Average Temperature graph and sunlight hours for San Francisco

Average Minimum Temperature

Average Maximum Temperature

Record Minimum Temperature

Record Maximum Temperature

Wind rose diagram for USA

Wind rose diagram for San Francisco

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Water Analysis

Nearby Bodies of Water The bodies of water nearby San Francisco are the San Francisco Bay and the Pacific Ocean. San Francisco Bay is a shallow, productive estuary that drains water from approximately forty percent of California. Water from the Sacramento and San Joaquin rivers, from the Sierra Nevada mountains passes through the Bay to the Pacific Ocean. Both bodies of water are made up of salt water. The Pacific Ocean is a tidal source of water affecting the coastal areas of San Francisco, whereas the Bay is an estuary water source which is a partly enclosed coastal body of brackish water with one or more rivers or streams flowing into it, and with a free connection to the open sea. Estuaries form a transition zone between river environments and ocean environments and are subject to both marine influences, such as tides, waves, and the influx of saline water; and river influences, such as flows of fresh water and sediment. Drinking Water Sources for site Stretching from Contra Costa to Monterey, the South Bay region includes major cities such as San Jose, Oakland, Walnut Creek and San Mateo. Although some local streams and rivers have been developed to provide drinking water, much of the region’s surface water is imported from the Mokelumne, Tuolumne, Sacramento and Feather rivers. San Francisco’s Hetch Hetchy project supplies not only the city and county itself but also Hayward, San Jose and Palo Alto. A number of large population centres in California have developed their own extensive water projects. The Hetch Hetchy Project transports Tuolumne River water 156 miles from the Central Sierra to San Francisco and peninsula cities. The East Bay Municipal Utility District supplies cities on the east side of San Francisco Bay with Mokelumne River water Nearly 600 special purpose local agencies in California provide water to their areas through local development projects and imported supplies. A number of local agencies may also operate flood control and wastewater treatment facilities in addition to providing drinking water. Local water agencies usually are formed by a vote of the community, operate as public organizations, are governed by elected directors and fund their projects through bond issues. In some communities, water is provided by private companies. Approximately 6 million Californians are served by these investor-owned utilities, which are regulated by the California Public Utilities Commission. The PUC monitors operations and service, sets water rates, and enforces water quality standards set by state and federal regulators. Public agencies and private water developers have built nearly 1,400 reservoirs in California to capture seasonal runoff, protect against floods and allocate water supplies throughout the year. These reservoirs hold about 42 million acre-feet of water when full. The Hetch Hetchy project was created to find and deliver drinking water to San Francisco and the Bay Area. Flooding Analysis Although the Pacific Ocean Coastline lies approximately 2.5 miles away from the de Young Museum, there is no risk of flooding to the site. The San Francisco Bay lies around 5 miles from the de Yound Museum on the Eastern side of San Francisco, whereas the site for the de Young Museum is on the Western side, therefore there is also no threat of flooding to the site from the bay. The diagrams opposite indicate the areas at risk of flooding with a 1.5m sea level rise, and as the diagrams show there is no threat of flooding to the de Young museum or it’s surrounding area. Rainfall In comparison with the USA average the de Young Museum receives much less rainfall. This is good due to the design of the facade being copper, and how this may react with rain water. Rainfall is highest for the de Young Museum in February. The rainfall is not significant for all seasons, and therefore will not affect the de Young Museum in any significant way that would be different to the rest of San Francisco. The biggest aspect to take into consideration for the rainfall on the de Young Museum is the copper run off that will occur from the building’s facade. Although the de Young Museum is close to nearby bodies of water, there is no flood risk to the building, whereas where I am locating my building on site there is a substantial risk of flooding. In this sense, the site response for the de Young Museum is not as relevant to my site.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Nearby bodies of water

Source of drinking water for San Francisco

Site location

Land edge boundary

Current water level

Flooding zone with 1.5m sea level rise

Average Precipitation graph for USA

Average Precipitation graph for San Francisco

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Earthquake Analysis

San Francisco is a major earthquake risk due to the collision of the pacific tectonic plate and the north American tectonic plate. However, it’s not just the bay area of San Francisco, it’s the entire coast of California, as well as the coast of the pacific rim nations like Japan. The reason why San Francisco and the Bay area are at risk from powerful earthquakes is because of the San Andreas Fault. also, the two tectonic plates, are the pacific plate and the American plate. The city has a number of geographical fault lines running underneath it, most of which are part of the larger San Andreas fault. That, combined with the soft soils in the area, makes it vulnerable during earthquakes. San Francisco is built upon the San Andreas fault. They are naturally at risk of the fault fracturing at any time. The diagrams show estimated peak ground accelerations resulting from the four earthquake scenarios. Peak ground acceleration (PGA) is strongly affected by distance from the earthquake fault and local soil conditions. PGA is the largest acceleration occurring during an earthquake and is one measure of the severity of the earthquake and the potential damage that may occur. Peak ground acceleration is measured in % g, where g is the acceleration of gravity. The site of the de Young Museum lies in Golden Gate Park, an area likely to be affected by earthquake damage. The San Andreas Fault is a continental transform fault that runs a length of roughly 810 miles (1,300 km) through California in the United States. The fault’s motion is right-lateral (horizontal motion). It forms the tectonic boundary between the Pacific Plate and the North American Plate. The fault was first identified in Northern California by the UC Berkeley geology professor Andrew Lawson in 1895 and named by him after a small lake which lies in a linear valley formed by the fault just south of San Francisco, the Laguna de San Andreas. After the 1906 San Francisco Earthquake, Lawson also discovered that the San Andreas Fault stretched southward into southern California. Large-scale (hundreds of miles) lateral movement along the fault was first proposed in a 1953 paper by geologists Mason Hill and Thomas Dibblee. As seen by the map, Golden Gate park lies directly on the San Andreas Fault line and will be affected by tectonic movement here. The previous building was damaged beyond repair by an earthquake, and has been replaced by the new de Young museum. Eleven years after the original de Young museum opened, the great earthquake of 1906 caused significant damage to the building, forcing a year-and-a-half closure for repairs. Paths around the building have been designed to site on a concrete sheet which the building is also built on. Below this is a moat so that in the case of an earthquake, the whole building can move and be stable.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Graphs indicating areas affected by earthquakes

Map indicating areas of tectonic faultlines

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Ground Conditions + Foundations

Seismologists have observed that some districts tend to repeatedly experience stronger seismic shaking than others. This is because the ground under these districts is relatively soft. Soft soils amplify ground shaking. The influence of the underlying soil on the local amplification of earthquake shaking is called the site effect. Due to the earthquake risk of the site where the de Young is located, the building has been designed on a moat in order to allow the whole building to move and stay stable. The building can move up to three feet (91cm) due to a system of ball bearing sliding plates and viscous fluid dampers that absorb kinetic energy and convert it to heat to create future proofing for earthquakes. The entire steel frame of the building rests on seventy-six elastomeric bearings and seventy-six slider bearings. The building sits on seismic isolating pads. In the event of an earthquake the building will not move, and instead the earth will move around it. Paving slabs surround the exterior walls where the building sits on top of a concrete slab on top of a moat, which will move and shift in the event of an earthquake. The building has base isolated foundations to reduce seismic forces, which also allow for a horizontal displacement of 91cm during a seismic event. During a seismic event the building will effectively shake itself loose from the ground pushing up loosely fixed paving from the ground. The building shifts on top of a concealed moat. The moat will be covered by a podiumlike device. The building concept was of harmony within the park setting and an open moat seemed incompatible with the design imperative. The podium-like device is a buried concrete slab surrounded by loosely fixed paving slabs rather than a raised podium, giving the illusion that the building is grounded into the landscape. Base isolation is a method of designing structures to better withstand earthquake vibrations. Base isolation is the preferred foundation system for achieving seismic safety in San Franciscoâ&#x20AC;&#x2122; large public buildings. The base isolation foundation system works by having a wide and deep stone and mortar foundation, smoothed at the top, upon which a second foundation is built of wide, smoothed stones which are linked together, forming a plate that slides back and forth over the lower foundation in case of an earthquake, leaving the structure intact. A ball bearing is a type of rolling-element bearing that uses balls to maintain the separation between the bearing races. The purpose of a ball bearing is to reduce rotational friction and support radial and axial loads. It achieves this by using at least two races to contain the balls and transmit the loads through the balls. In most applications, one race is stationary and the other is attached to the rotating assembly (e.g., a hub or shaft). As one of the bearing races rotates it causes the balls to rotate as well. Because the balls are rolling they have a much lower coefficient of friction than if two flat surfaces were sliding against each other. Ball bearings tend to have lower load capacity for their size than other kinds of rolling-element bearings due to the smaller contact area between the balls and races. However, they can tolerate some misalignment of the inner and outer races. The ball bearing will be placed within the base isolated foundation, allowing for greater seismic forces due to loess friction of the ball bearing taking the load instead of a fixed point. Although my building will not be designed using this foundation system, as there is little risk of earthquakes, it is interesting to understand systems of design to future proof buildings and accommodate for such measures.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Ball bearing system

Base isolated foundations

Comparison of buildings with and without base isolated foundations in the event of a seismic force

Image of de Young’s base isolated foundation system

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Materiality

the Products Structural System Main Building: Steel Frame / Tower - Concrete Frame by The Herrick Corporation, CA / Dolan Concrete Construction, CA Exterior Cladding Metal: Copper - 7’200 perforated / embossed panels, A. Zahner Company, Kansas City, MO www.azahner.com; Van Mulder, San Leandro, CA - Installer Roofing Metal: Copper, Solid panels, with copper expressed fins following the lines of the building - A. Zahner Company, Kansas City, MO www.azahner.com; Van Mulder, San Leandro, CA (Installer) Glazing Glass: Architectural Glass & Aluminium, Northern California, Oakland, CA www.arch.amarlite. com Skylights: Glass at skylights / Spandral glass at mechanical - Crown Sheet Metal & Skylights, Inc., Brisbane, CA www.crownsheetmetal.com Interior Skylight Glass: Hung glass with translucent innerlayer - Walters and Wolf, San Francisco, CA www. waltersandwolf.com Glass curtain wall: Various types clear glass - Architectural Glass & Aluminium, Northern California, Oakland, CA www.arch.amarlite.com Windows Architectural Glass & Aluminium, Northern California, Oakland, CA www.arch.amarlite.com Doors Glass doors: Walters and Wolf, San Francisco, CA www.waltersandwolf.com Fire Protection doors : Painted metal - B.T. Mancini, Milpitas, CA www.btmancini.com Interior Finishes Paint: Benjamin Moore www.benjaminmoore.com; Jerry Thompson & Sons Painting Inc., San Rafael, CA (Installer) Drywall & Plasterwork: KHS&S, Concord, CA www.khss.com (Installer) Acoustic Ceiling (Public Spaces): Baswaphon, Baldegg, Switzerland www.baswa.com; Raymond Interiors, Concord, CA (Installer) Tiles: Celadon handmade tiles - Anne Sacks www.annsacks.com; Tile West, CA ( Installer) Wood Flooring: European Hardwood Floors, San Francisco, CA Stone Pavers: Porphyry, Italy 6” wide, random lengths, flamed finish by The Cleveland Marble Mosaic Co., Orange, CA www.clevelandmarble.com Wood Ceiling: Wood Ceilings, Veneta, OR; Ireland Interior Systems Inc., San Francisco, CA (Installer) Grilles:Displacement air supply grilles in Gallery spaces - Presslock bronze grilles, sandblast/acid finish - Romak Iron Works, CA www.romak.com; Reification, San Francisco CA (Finish) Custom woodwork: Gallery Wood Cases - Sydney Blue (Eucalyptus) clad display cases by Design Workshops, Oakland, CA Furnishings Gallery benches:George Slack, San Francisco, CA www.georgeslack.com Movable Display Cases:George Slack, San Francisco, CA www.georgeslack.com Stretched Fabric:20th C Gallery Skylights - Stretched fabric by Newmat newmatusa.com; George Family Enterprises, Suite A, Novato, CA (Installer) Theatre Seating:Poltrona Frau, NY www.poltronafrau.it Reception Desk / Built in Seating: Arcustone, Oakland, CA; KHS&S, Concord, CA www.khss.com (Installer) Lighting Slot lighting system: Lightolier, Carlsbad, CA www.lightolier.com Handblown glass globes:Dan O’Reilley, Berkeley, CA (for Café space) Landscaping Exterior Stone: Appleton Greenmore, Halifax Exterior Pavers: Hanover Asphalt Pavers www.hanoverpavers.com Courtyard Stone: Sierra Madre random aprox. 4” to 12” pieces; The Cleveland Marble Mosaic Co., Orange, CA (Installer) www.clevelandmarble.com Wood: Ipe Benches/Equipment enclosures Trees/Planting: Species inspired by existing Golden Gate Park trees/planting ie. Eucalyptus Court, Fern Court, Redwoods etc.; Shooter & Butts, Pleasanton, CA (Installer) AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Image of de Young’s perforated panel system

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Materiality

Materiality in the de Young Museum: Lobby Floors - Italian Porphyry Stone Area next to the information desks - Acrustone Gallery spaces - Sustainable source ‘Sydney Blue’ Eucalyptus wood floor finish Ceilings - Stretch fabric for acoustic properties Cafe - Hand blown glass lighting fixtures Paved exteriors - ‘Appleton Greenmore’ Yorkshire Sandstone Herzog & de Meuron developed the idea of a variably perforated screen exterior which would mirror the green foliage and forestry of the surrounding Golden Gate Park, San Francisco’s central park. The architects worked with Zahner whose engineers and software specialists developed a system which would allow unique perforation and patterned dimples, variably sized and placed throughout the exterior. This included over 8000 unique panels whose collective whole formed the pattern of light through trees - literally. This was the first iteration of the Zahner Interpretive Relational Algorithmic Process, or the ZIRA™ Process. Zahner Exterior cladding specialists were employed to aid with the design of the copper facade. They specialise in Metasystems, where sheet metal can be patterned, embossed, cut and perforated. They can also create custom designs with repeating shapes and patterns, as they did with the de Young Museum. MetaPerf - Perforated patterns MetaShape - Enhance sheet metal with deep relief designs MetaBump - Light relief bump patterns de Young Museum uses the ‘dirty penny’ pre-weathered copper sheet metal specially designed and sold by Zahner, with each sheet using all three metasystems (see above). The architects came up with a photo taken pointed up through the trees, and in several parts of the museum, light filters through the perforated system of holes, revealing shadows similar in shape and form to those of actual trees. The ZIRA™ Process streamlined this complex series of variable holes in the copper, allowing engineers to run chosen imagery through the algorithmic system, translating it to the thousands of copper plates. At the time, this mosaic algorithmic process was emerging, but was unheard of in the world of architecture. Zahner hired software developers and engineers to assist in this technological advancement. The copper facade is textured and perforated so that light may filter through this similar to light filtering through a trees leaves and branches. The bumps, dimples and perforations allow the cladding to change with a poetic unevenness, also allowing areas of smooth copper across all elevations. The facade is perforated to imitate dappled light, as well as to protect gallery spaces from direct sunlight but providing natural lighting. There are over 7000 unique custom made copper embossed panels. A computerised engineering system enabled 7602 panels to be individually cut, punched and embossed. 950,000 Ibs (pounds) of copper was used. The copper facade is 80% recycled. Architects originally called for a light golden-hued appearance for the Museum. However, as the intentions evolved, a desire for the Museum to blend and emerge from its forested surroundings like an ancient indigenous structure. The copper materiality was designed so that as it oxidises it will turn green and blend further into the surroundings with time. The cladding will be subject to time and the elements; sensitive to, and expressing the idea of change, as this new building replaces the old. The cladding is treated with a patina that will evolve with time. Zahner CEO/President L. William Zahner guided this decision. A champion of the integrity, resilience, and unpredictably of copper, he educated clients by explaining that over time it would transition from its bright golden red, to a dark brown, to a black, and finally, it will slowly emerge into earthy greens. The interior of the building contains a wood floor finish, relating the exterior surrounding back to the interior of the building, as well as creating a warm atmosphere for the building. The large ribbon windows create a connection between the interior and the exterior. The roof is also clad in copper panels, relating this to the rest of the museum. The roof design was important as it is overlooked by the viewing platform on the ninth floor of the education tower. The seams of the copper roofing panels create an interesting pattern, seemingly apparent to terrain or topographical lines, suggesting that the building emerged from site. Unfortunately, this is just a suggestion, as the lines do not replicate to the topography of the site in Golden Gate Park, San Francisco. For my design I am really interested in the materiality of the building, with perforated sheet metal panels as a facade system. I would like to explore this idea further for my own project. I also need to take into account that the roof of my building will also be overlooked by my tower, and I will therefore need to design the roof with this in mind.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Image of interior wood finish

Image of de Youngâ&#x20AC;&#x2122;s perforated panel system

Image of perforated panel system process and design of the panels

Image of perforated panel system process and design of the panels through a tree image and pixilation process

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Structural Response

The building is primarily steel, concrete and glass construction, with a vertically post tensioned tower. The building uses 2323 tons of steel 500 tons of rebar 1500 tons of reinforced concrete 431.000kg of copper for the facade system covering 18.000m2 surface area and 13.000m2 on the roof 136.000kg of glass Construction of the steel panels. Each panels was uniquely designed using a computerized engineering system which cut, punched and embossed the individual panels. This means that the panels were made off site and preformed and then constructed and attached on site using cranes. The design called for sweeping views with a 200 foot long double height glass wall which limited the opportunity for structural columns. The design instead incorporates multi- story steel trusses to eliminate the need for structural columns, and provide uninterrupted views. The museum and the tower are structurally disconnected. The museum is a two story building with an underground car park story. This means that the tower is not seismically isolated. The walls of the ninth floor in the tower sit on top of a staggered wall. Due to the twisting form of the tower there is a 40 degree torque. During a seismic event pressures would cause it to keep rotating in that direction. Vertical post tensioning cables are embedded into the structure of the tower that constantly pull back on the tower to resist forces and stop it over-rotating. An underground carpark was excavated for the new de Young Museum to hold 800 cars. This will also be shared with the Academy of Sciences building opposite the de Young. The underground car park was created by digging a tunnel beneath 10th Avenue from Fulton Street. The building incorporates a 40-50 foot cantilever system to envelope and provide cover to the terrace space below this. This creates a space to meet, and the cantilever acts as a sun screen with the conceptual idea of shelter under a tree. The cantilever system is constructed through steel roof trusses. The roof functions as the fifth facade, meaning that it was a design imperative to conceal any mechanical units located typically on the roof. Certain functional elements, such as gutters are design features of the roof, however all mechanical units are accommodated inside the building. The copper fins of the roof also conceal elements such as exhaust ducts from the conservation laboratory. Although this building is a precedent for the form of my own design, I have chosen to use a concrete construction instead of a steel one. This is a design imperative of mine in relation to my conceptual which is contrast. As I constructed my initial building in an existing concrete facade my intervention was a steel construction within this, I therefore want to contrast the design of my second building with this and create a concrete structure, with a steel facade, much light to copper panels of the de Young, but I will be using steel instead. Therefore the structural response of the de Young is not as relevant to my design. I have also looked at this building in respect to a structural precedent for my first building design as I used steel construction to build into the existing concrete facade, however the de Young have specially designed their structure in order to hide structural element, however as materiality and structure are key elements through both of my design projects I have chosen a structural column system, in both steel columns for my first project, and then concrete columns for my second project, in order for me to expose the element and materials of my construction.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Images of the construction of the de Yound Museum

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Environmental Strategy

Overall Environmental Strategy The overhang of the tower serves to frame the view of the observation deck, as well as provide shield against excessive solar gain. The perforated facade also protects galleries and artefacts housed within the galleries from direct sunlight which could damage them. The copper facade is 80% recycled. The building incorporated green design applications. These included: • 50% fly ash concrete mix • Reuse of steel from the previous building within the foundation construction of the new proposed building • Storm water leaching • Dehumidification systems • Recycled content materials • UFAD - the under floor air distribution system • Mould mitigation plan • Grey water treatment The new building has a 37% smaller footprint that the previous building with a more open and light filled environment creating an enhanced cut viewing experience. HVAC The HVAC system which the de Young museum employs is a floor distribution instead of wall distribution due to the steel frame structural system, all service therefore run through the floors and not through the walls. The floor distribution HVAC system improves indoor air quality and energy efficiency. The copper facade serves effective for blocking wireless signals and therefore 505 more wireless access points had to be included. Constant volume under floor air distribution system allows the building to meet museum standards for quality of ventilation, internal temperature and humidity control. Under floor air distribution (UFAD) is an air distribution strategy for providing ventilation and space conditioning in buildings as part of the design of an HVAC system. UFAD systems use the under floor plenum beneath a raised floor to provide conditioned air through floor diffusers directly to the occupied zone. A plenum chamber is a pressurised housing containing a gas or fluid (typically air) at positive pressure (pressure higher than surroundings). One function of the plenum can be to equalise pressure for more even distribution, because of irregular supply or demand. A plenum chamber can also work as an acoustic silencer device. Lighting The building makes use of the amount of natural lighting it can incorporate into all spaces within the building, as well as exploiting the natural climate and creating a positive linked between the interior and exterior of the building. The use of large skylights maximises day lighting. Automatic blinds mix day lighting with artificial lighting to produce the required lighting for gallery illumination levels. There is electric lighting in most public areas, usually energy efficient custom design multi- functional lighting fixtures for the multi- function of the gallery requirements. Fire Strategy Due to the perforated and penetrated facade there was no need for a fire egress stair (enclosed and pressurised) which is normally a requirement for high rise structures. Due to the perforations it means that smoke can easily be evacuated safely. Travel distance The maximum travel distance from seat to exit within the auditorium is determined by the need to evacuate from each level of the auditorium within 2/; minutes. For traditional seating the maximum travel distance is 18m measured from the gangway, for continental seating 15m from any seat. Exits From each level of the auditorium two separate exits must be provided for the first 500 seats with an additional exit for each further 250 seats. Each exit from the auditorium must lead directly to a place of safety. Acoustics Room acoustics for the de Young improve sound quality to exact sound and make pleasurable listening. This is particularly important in the auditorium space where music and speech are transmitted to a listener. Acoustic stretch fabric ceilings have been used to reduce noise and improve sound insulation to enhance privacy between spaces, eliminate sound intrusion and reduce transmission of airborne and impact sounds. The use of long term and short term sound monitoring equipment was used prior to the construction of the de Young in order to assess and quantify noise levels on site and develop mitigation measures to counteract this. All mechanical, electrical and plumbing equipment has been reduced in noise levels to create a quiet and comfortable environment and reduce vibration disturbances.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Interior electrical strip lighting

Interior electrical spot lighting

Interior electrical strip lighting

Interior electrical spot lighting and large ribbon windows for natural lighting

Internal courtyard space

Exterior electrical lighting for terrace space

Roof skylighting

Large ribbon windows for natural daylighting

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Programming

As this building, design by Herzog and de Meuron, replaces the old building, there were some new feature of the museum added. These included; -A new public sculpture garden -A terrace area underneath the cantilevered structure -Childrenâ&#x20AC;&#x2122;s garden space The main entrance of the building is a 9m copper covered walkway creating a gap driving through the facade. This leads to a central courtyard with access to an elegant living room with Italian sandstone floors. The staircase leads from the lower ground to the ground floor and concourse level, with glazed walkways lading to other internal courtyards and gardens. The cafe terrace is located underneath a large cantilever structure, and the terrace merges with the Barbo Osher Sculpture Garden, and provides shade beyond the Japanese Tea Garden. Spaces include Entry Court (GF) - large, double height, with a glazed front to allow natural light into the open space -102m2 Museum store (GF) - Properly ventilated for the preservation of artefacts Auditorium (GF) - Seating 300 people -362m2 -A common condition is a minimum air supply per occupant of 8 litres per second, 75% of outside air and 25% recirculated. Retail Areas (GF) - Museum shop 362m2 Cafe Space (GF) -344m2 Admin Offices (GF) -320-500 lux lighting conditions Conservation Laboratories (GF) -1226m2 -500 lux lighting conditions Public sculpture garden (GF) -3252m2 Childrenâ&#x20AC;&#x2122;s Garden (GF) -4413m2 Gallery Spaces (GF and Concourse Level) - Permanent exhibition halls 632m2 - Temporary exhibition halls 104m2 - Other art exhibitions 95m2 -Lighting conditions will vary dependant on gallery requirements Study Centre (Concourse Level) Office spaces (Tower) - Housed within the education tower -320-500 lux lighting conditions Library (Tower) -500 lux lighting conditions Observation deck (Tower) -232m2 Educational Areas (Tower) - Such as classrooms etc - Educational areas 173m2 - 500 lux lighting conditions Although the precedents that I have looked at are gallery spaces, and dissimilar to my project in programming, each contain public spaces and education spaces, which do have relevance to my scheme.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Detail Design

The details of how the panel system attaches to the building is the construction response that I have been interested in. The facade is not structural, or attached to any other the structural walls. Instead the facade is bolted and clips onto a tertiary structural system of steel pies, which run outside of the structural concrete walls as a separate frame for the panel facade. My facade system will also attach to my tertiary structure, however this will be my external walls, instead of a separated external frame. One of my design imperative is integration of elements, both cultural and technical, therefore I want to integrate the structural elements of my building together with the non structural elements. Understanding and exploring the way that the de Young have constructed their panel facade system has helped me a lot in understanding how I may want to attach my own facade system.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Panel fixing detail

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3 Panel detail

Panel detail

Detail Design + Response to de Young

Reading through the details and understanding the elements of these designs have really helped my understand the construction process of buildings. Extracting information about the de Young building, even though it is not a structural precedent for me has helped me to understand other precedents to aid my constructional and structural response for my project. I chose the de Young museum as my precedent due to it’s form and concept of the perforated panel system. I like the idea that the building is monolithic on first appearance, and serves as a landmark building through the tower design, similar to my own design imperatives. As the building reveals itself the perforated panels become visible. The de Young Museum have designed this to achieve maximum day lighting to the internal spaces. I also wish to achieve this through my design, but have also chosen the perforated panel system to reiterate my conceptual response of exploring the domain between public and private, opening some spaces up and closing other spaces off through the perforations on the panels. I also wish to use steel as the material response for my perforated panels, where the de Young used copper. The main reason I chose this was to reiterate the scheme of contrast through materiality with both my first design building and my second design building. Another reason that I decided to use steel instead of copper is the issue of copper run off. The de Young Museum have suffered from large amounts of copper run off from the building. The copper cantilever was designed to cover the outdoor terrace for the cafe space, however due to copper run off, this cantilever leaks copper dust and tainted copper run off onto the food and cafe furniture. Unfortunately due to this design floor, a permanent glazed structure has had to be built underneath to cantilever. The building has been described as one of the least sustainable buildings in San Francisco due to it’s copper run off; contrasted with Renzo Piano’s Academy of Sciences building opposite the de Young Museum, which has been hailed as one of the most sustainable buildings in San Francisco. The copper skin causes run off from the rainfall etc. 1g of copper is released per year per square foot of copper roof. There is approximately 298 Ibs (pounds) of copper run off in the Palo Alto area, where the de Young Museum is located. The de Young museum is constructed from 333680 square feet of copper. This equates to 73.5 Ibs of copper run off per year. This means that the de Young museum accounts for 25% of the copper run off pollution in the Palo Alto area.

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Cantilever and roof truss detail

Gutter detail

Window head detail

Section showing foundation details and cantilever truss detail

AT3 PRECEDENT RESPONSE dE YOUNG MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Structural Precedent

The Hepworth Gallery As I am designing my building as a concrete structure I have included a precedent of the Hepworth Gallery to show methods of concrete construction. The Hepworth Gallery is situated on the Banks of the River Calder, Wakefield in an ex industrial site in the city. It is a water front gallery designed by David Chipperfield Architects. It is constructed from in-situ concrete creating a sculptural form like that of the art housed within. It opened to the public on the 21st May 2011. Project value: ÂŁ35 million Client: Wakefield Council Start on site: 2007 Completion date: 2011 Gross internal floor area: 5,232m2 Structural Engineer: Ramboll UK The building is constructed from in-situ concrete and these provide the load bearing walls. The walls have resisting forces on them from the water and ground. Through my building as I have designed a basement I will also have forces from the ground acting upon the concrete retaining walls of the basement, however the walls above ground level will not have these forces acting on them. I have therefore used this aspect of the construction of the Hepworth gallery in the construction of my basement level, but not in the rest of my building. The Hepworth uses a series of load bearing walls and columns as its primary structure. I will be using columns and beams instead of walls as my primary structure. This is due to the fact that the Hepworth used in situ concrete walls to create large open spaces within the building, without the insertion of supporting columns interrupting the spaces, and through my building I want to express the materiality of the structure, choosing to expose my supporting columns. The Hepworth uses augured concrete pile foundations, constructed as continuous flight auger, reinforced with concrete strip foundations due to the poor soil conditions right on the waterâ&#x20AC;&#x2122;s edge. This is similar to my design as there are poor soil conditions in Venice due to the land relationship with water. I will also be using concrete pile foundations, but I will be reinforcing my foundations with a retaining concrete raft slab, instead of strip foundations, due to the height of my structure.` The areas with the largest spans are supported by creating in-situ concrete beams that run from wall to wall giving more support to the floors. My building will incorporate in situ cast concrete columns and beams as my primary structure.

AT3 PRECEDENT RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Load bearing walls and piles

Pressure on retain walls from river

Pressure on retain walls from earth Forces exerted onto structure

Structural walls and columns

Beam structure

Foundations

Process of excavating ground for pile foundations

Loads transferred to strip foundations

Strip foundations tranfer loads to piles

For every action there must be an equal and opposite reaction

AT3 PRECEDENT RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Construction Precedent

The Hepworth Gallery 1. Sheet piles driven into ground to retain river 2. Provide safe area to work. 3. Prevent subsidence of soil into river 4. Ground fully excavated behind retaining sheet piles 5. Continuous flight auger piles bored into ground. 6. 600 mm foundation slab laid along to be created river bank 7. In-situ 400 mm concrete base laid forming shape of the basement floor. 8. In-situ 300 mm retaining concrete walls built. 9. Can withstand pressure from earth and river. 10. Concrete columns formed above position of piles below to form base for ground floor 11. Block walls formed to support lifts above. 12. Soil removed, used to infill around basement walls 13. Second retaining sheet piles, built to stop soil erosion by river to bank 14. Continuous Agural piles drilled to form foundation support for rest of building 15. 400 mm foundation slab laid around perimeter of building 16. In-situ concrete slab laid forming outline of building 17. Ground floor staircases installed 18. In-situ 300 mm concrete exterior walls formed with opening for windows and doors 19. Ground floor columns poured on top of piles and columns below. 20. Ground floor block work walls formed around lift shafts 21. Concrete beams between columns created 22. Concrete supporting beams placed between spans to add support 23. Precast concrete slabs laid on top of beams 24. Post tensioned floor laid in area of largest span with out support from ground floor. 25. Rest of floors in-situ concrete floor laid 26. Concrete staircase installed to first floor 27. In-situ concrete external walls continued up to final height of building 28. First floor columns poured above columns on ground floor 29. Block work walls erected around lift shafts 30. In-situ upper parts of walls poured supported on columns creating final roof line 31. External works carried out in line with ground floor height two meters above water level. 32. Bridge connection over river craned in, in prefabricated sections 33. Prefabricated roof trusses craned and bolted into precast slot in the in-situ concrete 34. Roof construction 35. Roof Lights installed 36. Glazing and doors installed in rest of building 37. External landscaping finished off 38. Sheet piling removed

AT3 PRECEDENT RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Sheet piles driven into ground to retain river

Continuous flight auger piles bored into ground.

In-situ 300 mm retaining concrete walls built.

600 mm foundation slab laid along to be created river bank

Concrete columns formed above position of piles below to form base for ground floor

Continuous Agural piles drilled to form foundation support for rest of building

In-situ concrete slab laid forming outline of building

Concrete beams between columns created

Roof construction

Building Complete

AT3 PRECEDENT RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Assembly + Disassembly Precedent

The Hepworth Gallery The building is assembled using form work and concrete pour top achieve the in-situ concrete materiality. This does however mean that the disassembly process would require demolition due to the methods of construction. The building could be recycled as concrete aggregate, and the use of concrete has a long life span for the building. The use of concrete was a design imperative of the Hepworth Gallery. For my building I will be able to consider the assembly and disassembly qualities of my construction, as most of my facade will be covered in perforated steel panels, which means that the exterior finish of the building will not be seen. Process of in-situ Concrete construction: 1. Bore Holes 2. Form Work 3. Augured Piles 4. Concrete Strip 5. Form work 6. Poured Concrete 7. Infill 8. Screed 9. Reinforcing Grid 10. Poured Concrete 11. Form work 12. Poured Concrete

AT3 PRECEDENT RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

1. Boreholes

2. Formwork

3. Augured piles

4. Concrete strip

5. Formwork

6. Poured concrete

7. Infill

8. Screed

9. Reinforcing grid

10. Poured concrete

11. Formwork

12. Poured concrete

AT3 PRECEDENT RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Facade Precedent

Broadcasting place Quarten Steel panels I have also looked at alternatives ways to the de Young Museum of how I can fix my steel panel system to my building. Broadcasting place use a series of bolts and hooks to attach the panels to the exterior structural insulated panels (SIPs) as tertiary structural walls. As the panels are solid and not perforated SIP panels were used as a fast, cheap and effective construction method for the building. I will also be fixing my panels through a hook system attached to my external tertiary structure walls as well. However I will not be using SIPs as my design imperative is to use a concrete structure with a steel facade, however the details of the facade fixing system of broadcasting place has allowed me to draw the details of how my panels will also be attached.

AT3 PRECEDENT RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Site, Access + Acoustics

Site My site sits next to the old industrial building, which as part of my master plan will become a public building. It also lies on pedestrian access routes and a neighbourhood area, incorporating the idea of public space and gardens. Access My site sites on two major pedestrian pathways. As part of my master plan my site, and island, will be pedestrian only zones with no car transport. Acoustics Noise levels requisite to protect public health and welfare against hearing loss, annoyance and activity interference were identified today by the Environmental Protection Agency. Levels of 55 decibels outdoors and 45 decibels indoors are identified as preventing activity interference and annoyance. These levels of noise are considered those which will permit spoken conversation and other activities such as sleeping, working and recreation, which are part of the daily human condition. Noise levels for various areas are identified according to the use of the area. Levels of 45 decibels are associated with indoor residential areas, hospitals and schools, whereas 55 decibels is identified for certain outdoor areas where human activity takes place. The level of 70 decibels is identified for all areas in order to prevent hearing loss. 85 dB and higher - prolonged exposure will result in hearing loss 90 dBA - no more than 8 hours per day (examples - lawn mower, truck traffic, hair dryer) 95 dBA - no more than 4 hours per day 100 dBA - no more than 2 hours per day (example - chain saw) 105 dBA - no more than 1 hour per day 110 dBA - no more than ½ hour per day 115 dBA - no more than ¼ hour per day (preferably less) 140 dBA - NO EXPOSURE TO IMPACT OR IMPULSE NOISE ABOVE THIS LEVEL (examples - gunshot blast, jet plane at takeoff) Neighbourhood - During waking hours 55 dB Neighbourhoods - During sleeping hours 45 dB Classrooms - during teaching sessions 35 dB Hospitals - during waking hours 45 dB Hospitals - during sleeping hours 35 dB My building will incorporate elements of offices, hospitals, public waiting spaces, public gardens, classrooms and a surgical theatre. As my building sits within a public site, and will therefore have to counteract noise decibel of 55dB during waking hours and 45dB during sleeping hours. I will achieve this through proper insulation and material choice. My building itself will generate noise of around 45dB during waking hours and 35dB during sleeping hours. The nearest residential building to my site is 49m away. Taking into account temperature, humidity, distance and the decibel rating that my healthcare building will generate, the resulting sound decibel pressure at the closest residential building will be -0.1dB. This means that my building shouldn’t impact the locality of my site. http://www.masenv.co.uk/noisecalculator2?d=4.7,2.5,0,24.5,24.5&l=1000,45,100,100,100,100,100,100,100,100 &G=1

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Access routes through my site

Noise decibel ratings

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Solar

Solar Analysis As my first building (highlighted on diagram 4) is an existing building on site, my intervention will not affect the sun paths at all. However, this building does affect the adjacent buildingâ&#x20AC;&#x2122;s right to light. The south west facade of the adjacent building is almost completely overshadowed by my building and therefore cannot receive any natural lighting. Both of these buildings occupy the industrial site on my master plan, and used to be a cement factory. The adjacent building was used as the storage house for the cement factory, and therefore did not need any natural lighting. However, through my master plan I have repurposed the industrial site, meaning that the old storage hall for the cement factory may now become a public building, and the facade may need to be opened up to allow natural lighting. As all of the buildings in Chioggia are high density top lighting may be a more efficient way of naturally lighting these buildings. The positive of the position of my building in relation to the adjacent storage hall means that it can act as a solar shade as the facade of the adjacent building faces south west, and could cause over heating if there is to be a lot of glazing designed onto this facade due to the high temperatures and climate of Venice. My intervention will not affect the existing conditions. For my second design I created a new build on the site adjacent to the industrial site. I used this site as it receives maximum insolation through both the summer and winter seasons ( as can be seen by the composite solar plans diagrams 9-11) The same buildings as my first project have the same rights to light, and I have positioned my building so that it creates as minimal impact as possible on the surrounding buildings. As I have designed a tower construction as part of my scheme I have located this towards the north of my building so that it does not cast shadows over the rest of my site. I have set the building footprint south of the surrounding buildings so that the tower does not then affect the solar gain and natural lighting to them. During the summer seasons for all hours of the day my proposal will not overshadow any other buildings, however during the winter seasons my building will unfortunately overshadow the building located to the north of my site. I chose not to move my building further south on my site as I feel that it would have then been too close to the waterâ&#x20AC;&#x2122;s edge, and increases risks of flooding, as well as blocking access along the waterâ&#x20AC;&#x2122;s edge. The design of my facade is based on the conceptual idea of exploring the domain between public and private spaces, as well as technically allowing maximum natural lighting into my spaces within my building. My facade will consist of perforated steel panels that will bolt onto my building allowing natural lighting into the space, as well as maintaining patient privacy. My programming is also derived from trying to achieve natural lighting into all of the spaces. Spaces such as the waiting area and reception area will be naturally lit through a large double height glazed curtain wall. Spaces such as the staff office and nurses station will be naturally lit through floor to ceiling windows, however these spaces will also have the facade bolted to the window frames to maintain privacy of the staff. The treatment rooms will be naturally lit through light tubes running through the staggered walls of the first floor to allow natural lighting into the ground spaces. The corridors will be lit through top lighting and skylights, as well as recessed floor to ceiling windows in the building envelope to stream light into the spaces.

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Shadow paths Existing site Jan 1000

Shadow paths Existing site Jan 1300

Shadow paths Existing site Jan 1600

Shadow paths Existing site June 1000

Shadow paths Existing site June 1300

Shadow paths Existing site June 1600

Shadow paths Composite plans Jan & June 1000

Shadow paths Composite plans Jan & June 1300

Shadow paths Composite plans Jan & June 1600

Shadow paths Proposed site Jan 1000

Shadow paths Proposed site Jan 1300

Shadow paths Proposed site Jan 1600

Shadow paths Proposed site June 1000

Shadow paths Proposed site June 1300

Shadow paths Proposed site June 1600

Shadow paths Composite plans Jan & June 1000

Shadow paths Composite plans Jan & June 1300

Shadow paths Composite plans Jan & June 1600

Natural ventilation diagram

Buildings with rights to light

My two design proposals

54 degrees

Sun angle June

Sun angle Jan

Perforated Steel facade precedent

13 degrees

Perforated Steel facade precedent

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Wind, Temperature, Humidity + Weather

Wind Analysis The buildings in Chioggia have a high density urban plan and are built very close together, each affecting one anotherâ&#x20AC;&#x2122;s right to natural lighting from their elevation views. However they have been designed in a way to create ventilation routes through the streets naturally cooling the area, instead of lighting it, which is very relevant to the climate of Venice. I have also designed my master plan in this way, looking at the natural ventilation strategies as a priority for the context. The wind generally blows NE through Chioggia, with the buildings positioned perpendicular to this directional force, allowing wind to travel through the streets, but without causing wind tunnels as it would if the buildings were positioned parallel to the wind direction. Through the summer months the wind remains quite steady and average, however during the winter season the wind becomes more directional and stronger in force as well. This means that I must consider and design for stronger wind loads during the winter season. My building is orientated so that the wind can flow around my building, rather than hitting a perpendicular elevation. This reduces the overall wind loads on the structure of my building. Over the course of the year typical wind speeds vary from 0 mph to 12 mph (calm to moderate breeze), rarely exceeding 22 mph (fresh breeze). The highest average wind speed of 6 mph (light breeze) occurs around April 7, at which time the average daily maximum wind speed is 12 mph (gentle breeze). The lowest average wind speed of 3 mph (light air) occurs around January 2, at which time the average daily maximum wind speed is 7 mph (light breeze). Beaufort Scale The average wind speed on a daily mean in Chioggia is 3 mph. 1-2 rating on the Beaufort scale 1mph - 7mph Light air - Light breeze Sea Conditions: Ripples without crests - Small wavelets and crests of glossy appearance but not breaking. Land Conditions: Smoke drift indicates wind direction. Leaves and wind vanes are stationary - Wind felt on exposed skin. Leaves rustle. Wind vanes begin to move. Maximum recorded wind speed was 54mph, reaching 9 on the Beaufort scale. 47-54mph Strong gale Sea conditions: High waves with crests that roll over. Dense foam is blown along the wind direction. Large amounts of air borne spray reduce visibility. Land conditions: Some branches break off of trees and small trees are blown over. Construction and temporary signs are blown over. In comparison with the national average the wind forces in Chioggia are more directional and stronger. This means I will take this direction and maximum and minimum wind speeds for Chioggia into consideration as well as the Italian average. Temperature Analysis Chioggia has a warmer climate on average than the national average, also receiving more sunlight hours. I will harness this sun into making the most of natural lighting that is available in the area. Due to the higher temperatures I will have to ensure that my building does not over heat with insolation. Weather Precipitation Over the entire year, the most common forms of precipitation are moderate rain, thunderstorms, and light rain. Moderate rain is the most severe precipitation observed during 43% of those days with precipitation. It is most likely around April 15, when it is observed during 24% of all days. Thunderstorms are the most severe precipitation observed during 27% of those days with precipitation. They are most likely around July 15, when it is observed during 24% of all days. Light rain is the most severe precipitation observed during 20% of those days with precipitation. It is most likely around November 15, when it is observed during 9% of all days. During the warm season, which lasts from June 4 to September 13, there is a 36% average chance that precipitation will be observed at some point during a given day. When precipitation does occur it is most often in the form of thunderstorms (58% of days with precipitation have at worst thunderstorms), moderate rain (24%), and light rain (16%). During the cold season, which lasts from November 22 to March 5, there is a 33% average chance that precipitation will be observed at some point during a given day. When precipitation does occur it is most often in the form of moderate rain (51% of days with precipitation have at worst moderate rain), light rain (24%), drizzle (9%), and moderate snow (7%). Snow The likelihood of snow falling is highest around February 3, occurring in 5% of days. Either snow rarely accumulates at this location or snow depth measurements are unavailable or unreliable. Humidity The relative humidity typically ranges from 51% (mildly humid) to 93% (very humid) over the course of the year, rarely dropping below 36% (comfortable) and reaching as high as 100% (very humid). The air is driest around July 29, at which time the relative humidity drops below 58% (mildly humid) three days out of four; it is most humid around September 28, exceeding 90% (very humid) three days out of four.

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Wind diagram in section

Wind rose diagram for Italy - Average

Wind rose diagram for Chioggia - Average

Wind rose diagram for Chioggia Jan

Wind rose diagram for Chioggia Feb

Wind rose diagram for Chioggia March

Wind rose diagram for Chioggia April

Wind rose diagram for Chioggia May

Wind rose diagram for Chioggia June

Wind rose diagram for Chioggia July

Wind rose diagram for Chioggia Aug

Wind rose diagram for Chioggia Sept

Wind rose diagram for Chioggia Oct

Wind rose diagram for Chioggia Nov

Wind rose diagram for Chioggia Dec

Wind diagram Existing site

Wind diagram Proposed site

Wind diagram showing how the wind directly affects my building

PRESSURE

SUCTION

Wind diagram showing Suction and Pressure

Average Temperature graph and sunlight hours for Italy Average Minimum Temperature Average Maximum Temperature Record Minimum Temperature Record Maximum Temperature

Average Temperature graph and sunlight hours for Chioggia Average Minimum Temperature Average Maximum Temperature Record Minimum Temperature Record Maximum Temperature

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Water Analysis

Nearby Bodies of Water Diagram 1 shows the lagoon in the region of Veneto. Also shown is the two distinct bodies of water, the Adriatic sea and the lagoon itself. Highlighted on the map is the channels that have formed in the marshy ground over time to which the tides follow. Diagram 2 shows how the lagoon functions, there are three inlets into the lagoon that allow the flow of tidal sea water . This happens twice a day, flushing the lagoon with sea water. It is one of the richest natural environments for birds, fish, and plant life in the Italian region. Diagram 6 Areas of fresh water in the lagoon. Diagram 7 Areas of high concentration of salt water within the lagoon. Diagram 8 The main dynamic waterways of Chioggia Diagram 9 The static waterways of Chioggia Due to my site’s direct relationship to the water the nearby bodies of water may pose a flood risk to my site, which I will have to accommodate for through my design.

Drinking Water Sources Diagram 3 shows how the cistern-well-system worked, filling up from storm water and allowing residents to access clean water after being filtered through layers of sand. Diagram 5 shows how the cistern works. Rainwater would be collected in drains either side of the well head, it would then filter through the sand to the bottom collection cistern where it could be brought up in copper buckets to be drunk safely. There was the problem of the cistern being polluted from outside salt water so it was lined with clay as a waterproof layer. Chioggia does not have it’s own cisterns due to it’s close proximity with the mainland, and therefore obtains clean drinking water from there. My building will be connected to the cistern network in order to obtain clean drinking water. Drainage Surface and Foul Diagram 4 shows how water is drained from the street level to the canals, then out to sea. It also shows how the sewage system works, all waste is sent to a septic tank to be treated with treated effluent being let out into the canals. Some canals are filled over and left still working to improve flow of water in and out. My building will also be connected to the sewage network within Chioggia, however I am also incorporating a rainwater harvesting system within my building to use as grey water for flushing toilets etc.

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Diagram 1 Nearby bodies of water

Diagram 2 Lagoon inlets

Diagram 3 Cistern well system

Diagram 4 Section showing drainage and sewage system

Diagram 5 How a cistern works

Diagram 6 Areas of fresh water in the lagoon

Diagram 8 Dynamic waterways in Chioggia

Diagram 9 Static waterways in Chioggia

Diagram 7 Areas of salt water in the lagoon

My site relationship to water

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Flooding Analysis

Flooding Analysis Diagram 1 is showing how Venice intends to combat the ever increasing flood risk. The zero level represents the median tidal level in Venice in 1897. The +23cm represents the median tidal level in 1942. The +73cm represents the ‘common’ high tidal level and its effects can be seen by the seaweed line on the walls of the embankments. The +120cm level represents the level in which Venice is rasing where possible its paving to combact the increase in tidal levels. The three diagrams show the flood risk for Chioggia. Flooding +1m: The Eastern island of Isola dei Saloni, where my site is located, would be completely flooded, difficulty getting around, disruption to markets, food, and retail services, sport centre completely flooded, docks flooded. Flooding +2m: major disruption to food services, roads to mainland flooded. Flooding +3m: 80-90% flooding flooded, major disruption to homes, retail, food, transport services. In comparison to flooding in an area of Venice. Flooding + 1metre 1m: noticeable rise in water level, embankments breached, canals swell, little disruption to harbours in north. Approximately 10% of area effected. Flooding + 2metre 2m: significant disruption to streets, flooding occurs on ground floor of most buildings within immediate vicinity of water. Limited public access. Flooding + 3metre 3m: substantial flooding. Approximately 30-40% of area effected. Very limited public access. Infrastructure failing. If there was a rise in sea level, it is clear from the diagrams and predictions that Chioggia will be much worse affected, probably due to it’s flat terrain. This is something I will take into account when designing. The diagrams at the bottom show how the Venice Lagoon protects itself from flooding. The MOSE system has been developed and is still under construction to protect Venice and other cities from high tides. From a soft engineering point of view, the lagoon defences have received many criticisms from restricting the lagoon’s natural flow. The diagram is showing how the system works; the barrier fills with seawater and as a result is in a horizontal state. When there is a flood risk, the barrier is pumped with compressed air, causing buoyancy that raises the barrier. There are 76 separate barriers that can flex to prevent any rigidity breaking them with strong waves. It takes 35mins to rise and 15mins to sink. Monthly Rainfall Chioggia receives a steady rate of precipitation throughout the year; lower than the national average in the Winter seasons, but higher than the national average in the Summer seasons. I will have to accommodate for rainfall in my design. I will incorporate ideas of rainfall and weathering effects in my steel panel facade design. I will be including a rainwater harvesting system within the butterfly roof aspect of my design.

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Chioggia Flood risk +1m

Chioggia Flood risk +2m

Chioggia Flood risk +3m

Venice Flood risk +1m

Venice Flood risk +2m

Venice Flood risk +3m

Location of the MOSE project

How the MOSE project works

+120cm

+73cm

+23cm +0cm

Diagram 1 How Venice combats Flood Risk

AT3 SITE RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3 Monthly precipitation graph for Italy

Monthly precipitation graph for Chioggia

Ground Conditions + Foundations

Ground Conditions The buildings of Venice are constructed on closely spaced wooden piles. Most of these piles are still intact after centuries of submersion. The foundations rest on the piles, and buildings of brick or stone sit above these footings. The piles penetrate a softer layer of sand and mud until they reach a much harder layer of compressed clay. Submerged by water, in oxygen-poor conditions, wood does not decay as rapidly as on the surface. Most of these piles were made from trunks of alder trees, a wood noted for its water resistance. Due to the nature of the marshy land that Venice settlements were built, the Venetians drove wooden piles down into the marshy ground to provide a solid base. On top of these piles were two sheets of board then a layer of stone. The land that the Venetian palaces stand on is not very firm because it is made of waterlogged mud. To make the foundations of the palaces more stable, the traditional Venetian building system consisted in driving wooden poles (about two and a half meters long and 25 to 30 centimeters in diameter) into the terrain to pack the soft layers below. This technique was guaranteed for the long term: the poles do not decay over the centuries because they do not come into contact with the air, and are therefore not attacked by bacteria. As it is my design imperative to use a concrete construction I will be using concrete pile foundations, still keeping true to Venice, as well as being the most appropriate type of foundation in these ground conditions. The reasons I will be using pile foundations are large design loads from my tower construction and poor soil at shallow depth. The concrete piles which I will be using will be circular in cross section, and reinforced with rebar as well as prestressed. Foundations relying on driven piles often have groups of piles connected by a pile cap (a large concrete block into which the heads of the piles are embedded) to distribute loads which are larger than one pile can bear. Due to the poor soil conditions of Venice I will be reinforcing the pile foundations with an in-situ concrete slab laid on top. This will allow more stability for the building on the site. My piles will be driven into the ground using the ‘wet boring technique’ as a result of the close proximity of water to the land, leaving the ground damp. Wet Boring is where a boring machine using hollow bore rod excavates ground for pile foundations using a pressurized jet of water or drilling fluid. The bore head can be angled and steered by rotating the bore rod. A locating sonde (transmitter) can be placed behind the bore head for guidance. The method is normally used for smaller diameter, shorter installations. The pile foundations that I am using are four round concrete piles connected by a concrete pile cap, each 300mm in diameter. The building loads will travel down my structural columns and through the pile cap, transferring the load to the concrete piles and to the ground. Basement Excavation I will be incorporating a basement construction within my design in order to house the mortuary and the heating and cooling plant equipment. I chose to place this programming underground as the mortuary needs to be a cold place with no heating, which would suit a basement space. The heating and cooling plant equipment should also be placed underground as I am using a ground and water source heat pump in order to heat and cool my building. There are many ways to construct a basement excavation. Cofferdam construction A cofferdam may be defined as a temporary box structure constructed in earth or water to exclude soil or water from a construction area, such as for foundation or basement works. Open excavation Where the site is open and ground can be excavated around the basement construction. Sheet Steel Piling Used to retain areas through basement construction. Perimeter trench excavations This is used where there are buildings or street in the proximity. The method is to construct a series of retaining all in trench, section by section, around the site perimeter ,leaving a centre Called “dumpling” When the perimeter walls are in place, excavation may start at the centre of the dumpling, until exposing a section of the wall. Then the wall may be side supported by struts, shoring or soil anchor etc., again section by section in short length, until the excavation is all completed. Diaphragm wall excavation This method need to construct a reinforced concrete retaining wall along the area of work. Because the wall is designed to reach very great depth, mechanical excavating method is employed. A guide wall is constructed. Then Excavation begins for the diaphragm wall. Excavation is supported using bentonite slurry. The reinforcement is inserted and concrete poured to create the retaining wall. Ground water can be kept out either permanently such as for long term waterproofing for a basement, or temporarily such as to ease work during excavation. Due to the close proximity of my site to water, ground water may become a problem through the construction of my basement. I will use the diaphragm wall construction technique for my basement excavation as this already holds a quality of water proofing to the construction. In addition, ground water can be further control by the use of the following arrangement: 1. Sump pumping 2. Well point systems 3. Shallow or deep-bored wells 4. Horizontal ground water control 5. electro-osmosis method The most widely used method to water-proof a basement is to provide a cavity to the wall of the basement. The ground water leaks into the basement can then be collected through concealed channel to a sump pit and remove by pumps. AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Drawing of wooden pile system in Venice

Diagram showing the process of wet boring

Diagram of loads transferring through structure to the ground

Diagram showing typical Venetian foundations

Diaphragm Wall basement excavation

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Materiality

Materiality Concrete Structure - Columns and beams placed on a grid system Public garden spaces landscaped around the building including deciduous trees to provide shading for heat gain due to the large amounts of glazing used Perforated steel panel facade Ceilings and walls - Wet skim plaster over Duplex Plasterboard to provide monolithic surfaces that can easily be cleaned and resist vapour and airborne infection Glazed panels in the handrails Also known as Vapour Barrier Board. Duplex Plasterboard is standard plasterboard with a backing of foil to resist water vapour and add some extra insulation. Duplex plasterboard can also be used as a reflective insulator when the foil backing is facing into a cavity. This type of plasterboard cannot be fixed using adhesive, so take this into consideration when choosing it. Duplex plasterboard is available in the standard sheet size, as well as the smaller size of 1800mm x 900mm. Thicknesses range from 9.5mm to 12.5mm. Strip lighting fixtures and down lights to provide a sense of place - important to a health care facility Paved exteriors for easy access Outdoor seating areas under tree canopies Large curtain glazed wall systems Block work concrete exterior walls to provide insulation and provide the tertiary structure for the facade system Precast concrete floor slabs, providing bracing within the column and beam structure Precast concrete butterfly roof - for drainage as part of a rainwater harvesting system Interior metal stud walls, with additional rigid insulation and acoustic wool to provide extra acoustics to maintain patient privacy. Rigid insulation to maintain heat within the building. For my windows I will use a laminated glass with a minimum thickness of 0.76mm. This provides many advantages to my building, including: • acoustic insulation - achieving sound insulation of 25dB-50dB • Uv protection • Solar controlled coated glass • Double glazed to reduce overheating in the summer season and provide heat insulation in the winter season • the glazing will be tinted, but not reflective as the facade provides the privacy that this would achieve; also reflective glass could cause glare to surrounding buildings • Provides additional strength to the building resisting seismic and wind loads • Fire resistant - the lamination on the glass prevents fire from spreading I want to use a lot of glazing throughout my building to create a public open space as a design imperative. The use of glazing must be considered sensitively, due to the concept of patient privacy. I will therefore incorporate a cladding system over the large areas of glazing in order to maintain the public private divide. As I am exploring the domain between public and private spaces I have decided that my cladding system will be perforated panels, allowing restricted vies both in and out, conceptually exposing the divide between public and private spaces. My structure consists of concrete columns and beams. I have chosen a concrete construction as a contrast with my library building that I designed first. I send the existing concrete facade as part of my intervention for this scheme, and employed an interior structure composed of steel. As contrast is a running theme throughout my project I have also contrasted the materiality of these two schemes. The library concept was about constructing a new intervention within the old, whereas I have chosen to contrast this with the healthcare centre exposing the new materiality, whilst still be sensitive to the historical culture of the area, using concrete construction.

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Render showing the building without the steel facade Concrete blockwork exterior walls

Example image of perforated metal facade

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Structural Response

Foundations It is essential, due to the ground conditions of Venice, to use pile foundations. As it is a design imperative for the project I have constructed the foundations as concrete pile foundations. These are also more stable than the typical wooden piles used throughout Venice and Chioggia, meaning that they can be spaced further from each other, whereas Venice typically constructed 6-8 wooden piles 200mm-300mm in diameter per square metre of building. Under slab installation guidelines Level hard core and blind with sand Install damp proof membrane and lap into damp proof course Cut and fit insulation; thickness to achieve required U-value Lay a polythene vapour control layer (VCL) over the insulation to minimise the risk of condensation forming at insulation/slab interface. Lay concrete screed to required finished floor level and smooth over. Primary Structure The concrete columns and beam structural system will be cast in situ. The columns will be poured with the foundations concrete slab which sites on top of the pile caps and concrete pile foundations. At the base of the column, â&#x20AC;&#x2DC;starterâ&#x20AC;&#x2122; bars will project from the supporting member. Reinforcement, main vertical bars and horizontal links, will lap with starter bars for continuity and the concrete is poured over these rebars. The construction of the beam will require formwork for its sides and soffit. The beams will be connected to the columns using a steel bolt and bracket system. The beams will then also be cast in situ. This type of structure was chosen as opposed to an in situ cast load bearing wall construction due to its environmental impact. Although concrete itself is not a sustainable material, there are ways in which concrete can be assembled and disassembled for the reuse of the material, or recycling. Concrete construction was chosen as opposed to steel or wood as part of my design imperative. Secondary Structure As a design imperative the floor slabs in my building will be made using precast concrete slabs. Floor units are produced off-site in a factory and erected on-site to form robust structures, ideal for all repetitive cellular projects. This will be the best way to construct my floors, due to the grid system of the columns and beams, meaning that precast slabs will be a standard size to fit the grid pattern. This offers factory quality and accuracy, together with speed of erection on-site. Although wooden joist flooring may be a more sustainable option, with easier assembly and disassembly in the case of under floor service repairs, I have used a concrete construction as my design imperative. Using pre cast slabs instead of in situ pour concrete makes the assembly of the flooring easier, and also disassembly in the case of under floor service repairs. Using concrete slabs also improves the thermal massing of the building, retaining natural solar heat and creating less need for mechanical heating. The main advantages of precast concrete floors are:1. Elimination of the need for formwork except for nominal propping which is required with some systems 2. Curing time of concrete is eliminated therefore the floor is available for use as a working platform at an earlier stage 3. Superior quality control of product is possible with factory produced components Tertiary Structure The tertiary structure of the building are concrete blockwork exterior walls filled with rigid insulation. This structure exists to keep the climatic elements out of the building, as well as existing as the structure to hold up the external perforated panel facade. The exterior walls will not be seen underneath the perforated panel design, and therefore do not need to be beautiful in appearance. This makes the concrete construction easier and cheaper as there is no need to consider the finish of the wall. Where the panels are positioned in front of the large floor to ceiling windows, there will be a steel frame bolted to the frame of the window, which will act as an external structure to hold up the facade. Perforated Steel Panels All perforated steel panels will be constructed through a prefabricated computerized system, much like the construction of the copper panel system for the de Young Museum. The panels will be cut to the required panel size (3300x1800) then punched and perforated using a computerised system. The panels will be attached using a hook system and bolted into place for stability and security. The panels will be fixed to the exterior tertiary structure of the building. I am using steel panels instead of the copper panels used by the de Young Museum. I have made this design decision based on both conceptual and technological imperatives. Conceptual in the sense of the contrast between materiality in the two buildings I have designed. Technologically through the idea of copper run off problems of the building, and due to my location could cause the Venetian Lagoon to pollute with copper run off, killing fish as well. Therefore I have decided to use steel instead of copper.

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

NON STRUCTURAL Perforated steel panel facade system

TERTIARY STRUCTURE External concrete blockwork walls. Tertiary structure to support the facade system.

PRIMARY STRUCTURE In situ concrete beams resist lateral forces and carry loads to the columns

PRIMARY STRUCTURE In situ concrete column system transfers loads to the ground

SECONDARY STRUCTURE Pre cast concrete floor slabs resist bracing of the structure

PRIMARY STRUCTURE LOAD BEARING WALLS Concrete retaining wall at basement leve;

PRIMARY STRUCTURE FOUNDATION SYSTEM Concrete foundation slab to reinforce concrete piling in the poor silty sandy ground conditions

PRIMARY STRUCTURE FOUNDATION SYSTEM 300mm Diameter Round Concrete Pile foundations spaced four piles to one concret pour pile cap.

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Bracing, Loading + Structure

Primary Structure and Principle Spans The primary structure consists of a series of structural concrete beams bolted and attached to concrete columns placed on a structural grid of 7200mm span. This means that the largest span the building will conform to this grid pattern, spanning 7200mm. There are some spans which only cover half grids, meaning that the principle span will always be 7200mm. The columns transfer the loads to the pile caps and the concrete pile foundations, also forming the primary structure. Secondary Structure The secondary structure of the building will be the precast concrete slab floors. These will transfer loads to the beams, which transfer the loads to the columns eventually transferring the loads to the ground through the pile caps and concrete pile foundations. Bracing The building will be braced through the secondary structure; the pre cast concrete flooring. As the pre cast slabs sit on top of the beams of the primary structure They will stop any lateral movement between the beams and the columns, causing a rigid and braced structure. Bracing is important as without it the building will not be able to resist loads or forces, as shown in the diagrams below. Concrete creep is a deformation when the solid material begins to move slowly or deform permanently under the influence of stresses. This can be counteracted with the use of reinforcement and adequate bracing. Loads Structural loads or actions are forces, deformations, or accelerations applied to a structure or its components. Dead loads are static forces that are relatively constant for an extended time. They can be in tension or compression. My building will contain dead loads of the structure, such as the pre cast concrete floor slabs, the concrete columns and beams. These will be dead loads in compression under the force of gravity. Live loads are usually unstable or moving loads. These dynamic loads may involve considerations such as impact, momentum or vibration. The main live loads experienced on the building will be the people moving through it, as well as medical equipment which could be mobile and moved to different spaces. Load assumptions for a hospital building, measured in uniformly distributed loads (UDL). A uniformly distributed load (UDL) is a load which is spread over a beam in such a way that each unit length is loaded to the same extent. Live load assumptions Imposed load: Hospital ward 2kN/m2 UDL with a concentrated load of 1.8kN Operating theatres/ Xray rooms/ Utility rooms 2kN/m2 UDL with a concentrated load of 4.5kN Kitchens/ Laundries 3kN/m2 UDL with a concentrated load of 4.5kN Corridors/ Aisles/ Stairs (subjected to wheeled loads) 5kN/m2 UDL with a concentrated load of 4.5kN General Roof 0.75kN/m2 UDL Plant Roof 7.5kN/m2 UDL Dead load assumptions Self weight and super imposed dead load Underfloor heating and screed 2.4kN/m2 Ceiling and services 0.5kN/m2 Finishes 0.25kN/m2 Due to increased servicing in operating theatres, an additional loading of 0.4kN/m2 should be applied to superimposed dead loads in these areas. Wind Loads Wind forces can cause damage to buildings that arenâ&#x20AC;&#x2122;t structurally sound or braced efficiently. Damages from wind forces include -uplift forces pushing upwards can cause damage to roof structures -shear loads horizontal loads which can cause tilting or racking -lateral loads horizontal loads which can cause over turning through pushing and pulling pressures.

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

When wind loads come into contact with buildings there are two forces that are applied and should be accounted for through the structural system - pressure and suction. Wind loads can be calculated using a formula. Wind Load/Force (F) = Area of face (A) x Wind Pressure (Psf) x Drag Coefficient (Cd) x Exposure Coefficient (Kz) x Gust Response Factor (Gh) Wind Pressure = 0.00256 x v2 where v = the average wind speeds. For Chioggia this is 3mph The drag coefficient is 2.0 for long flat planes, ie the face of a building Exposure coefficient = (z/33)^2/7 where z is the height of the ground to the midpoint of the building = 20m Gust response factor = (0.68+60)/(h/33)^2/7 where h is the height of the building = 40m Force = 400m2 (A) x 0.02304 (Psf) x 2.0 (Cd) x 0.5247 (Kz) x 358.0148 (Gh) = 3456.4

Internal live load diagram

Primary structure columns

Primary structure beams

Secondary structure pre cast concrete floor slabs

Tertiary structure external walls

Live Load snow diagram

PRESSURE SUCTION Wind load diagrams

Dead loads structure diagram

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3 Structure without bracing

Effects of lateral loads, eg wind loads RACKING

Effects of dead loads CONCRETE CREEP

Example of bracing system

Exploded axonometric of how my building will be braced

Construction Sequence

Exploded Axonometric Assembly and Disassembly The assembly of my building has been designed so that is can be quickly and easily constructed on site, using precast concrete slab flooring, factory made off site and then assembled on site using boat cranes, in keeping with typical Venice construction. The assembly of the basement will be through dynamic wall excavation and in situ pour concrete. The main issue I will face with the assembly of the basement is waterproofing as the ground conditions already retain water due to the close proximity with the canals in Chioggia. I will be using damp proof courses through the assembly of the basement excavation, as well as treating the concrete to make it waterproof. This can be done by combining the waterproofing product with water and applying it to the surface of concrete resulting in a catalytic reaction that forms non-soluble crystalline fibres within the pores and capillary tracts of concrete. This seals the concrete against moisture penetration. The disassembly of the structural aspect building would require a lot of energy input as it would have to be demolished. However the concrete could be crushed and recycled and used as concrete aggregate. It may have been more sustainable to use a panel system much like the facade to provide the structure for the building so that it could be disassembled in a more sustainable way, however I have used concrete as a conceptual response, as well as a technical response to my project. I have used concrete in the most sustainable way, using pre cast slabs and blockwork which could easily be assembled and disassembled. The disassembly of the facade system would be much easier due to the hook and bolt system that it uses. The steel can then be recycled or reused quite easily by melting it down to recycle it, or re-forming it for reuse.

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Tower construction same as base building using column and beam primary structural elements with concrete floor slabs and tertiary structure concrete walls. Pile foundations for the tower element are dug deeper to accomodate for the height of the building.

Facade system continues up the tower in the same construction method as the base building

Large floor to ceiling glazing panels continue up the tower construction

Butterfly pre cast concrete roof construction sits on top of angled concrete beams for support. Roof pitch angled for rainwater harvesting

Large floor to ceiling laminated glazed windows installed into the exterior walls for maximum natural lighting and natural heating methods

First floor construction same as ground floor construction sequence

Secondary structure pre cast concrete floor slab placed over ground floor for first floor construction

Ground floor construction complete

500mm thick metal stud interior partition walls erected containing insulation for acoustical properties

Tertiary external wall structure erected to provide a supporting framework for the facade system

In situ pour column and beam construction as primary structural elements. Secondary structural pre cast concrete floor slabs placed over and bolted to the beam structure

In situ cast concrete foundation floor slab at ground level

Concrete retaining walls cast in situ for the basement construction using diaphragm excavation In situ pour concrete foundation slab to reinforce to pile foundations beneath 300mm round concrete piles wet bore excavated into the ground on site according to the structural grid system. Pile caps placed over every four piles. Penetrating two metres into the ground under the base of the building, 3 metres under the basement construction, and 15 metres under the tower construction

Structural elementf of the building at completed stage

AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Environmental Strategy

Overall Environmental Strategy • The use of concrete structure through my building is not the most sustainable material, in terms of it’s ease of assembly and disassembly processes, as well as the ease of recyclability. • However the use of concrete is a design imperative of mine, and therefore will aim through my construction methods to make the concrete as environmentally friendly as possible. • I will aim to use substitute aggregates for the mixture of the concrete. Certain substitute aggregates, such as glass, can help reduce the cost of concrete, especially if aggregate is in short supply. As Chioggia has a poor economy, this would be beneficial to the community, keeping construction costs as minimal as possible. • Concrete construction is typically considered high in cost, even though the material prices are relatively inexpensive. The expense usually comes from the labour required for concrete construction, however due to the different economical climate in Chioggia labour is much cheaper, therefore reducing the cost of construction significantly. • I aim to reuse a lot of the concrete from the buildings that would be demolished as part of my master plan. This concrete could be crushed and used as the substitute aggregate, especially for the concrete retaining walls of the basement construction as the finish of this material is not important. • Use of any recycled material helps to keep that material out of landfills. Recycling practices also can decrease the environmental impact of obtaining / manufacturing the material from virgin resources. • There are no protected trees or species on my site that I have to take into consideration, however I will be planting deciduous trees for their shading properties to minimise over heating through the large areas of glazing. The trees I will be using are Alder trees. These grow really well in European climates like Venice and Chioggia. • The building is fully DDA compliant and registered under the considerate constructors scheme • The use of large areas of glazing to maximise natural day lighting • Rainwater harvesting system • The tower is a heavy weight concrete construction to maximise thermal heat retention for passive heating and cooling methods • Monolithic interior wall and floor finished to minimise risk of infection and create infection control with as little maintenance as possible • Ground and water source heat pumps used to power under floor heating due to the location of the site and proximity to water • Under floor heating elements used to heat and cool the building as required Bioclimatic Strategies, Passive Active Equipment • • • • • • • • •

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Reduced air leakage and thermal bridging Rigid insulation for heat retention Concrete construction for thermal massing and heat retention Under floor heating elements allow both heating and cooling of the building through the ground and water source heat pumps Ground and water source heat pumps used due to the location of my site and it’s proximity to water Large glazed curtain walling heats the space Planting of deciduous trees maximises solar gain through winter seasons and minimises solar gain through the summer seasons, using its leaves as a natural filter for heat gain Rainwater harvesting system Brown water reclaim system for flushing of toilets

Rainwater harvesting system

Render of concrete construction

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Environmental Strategy

Energy Conservation, Generation and Emissions • As part of my master plan design the site housed an abandoned warehouse building, completely disused, and structurally un safe. This allows my proposal on this site to be built on a brown field site, maintaining green field sites for the use of public space and gardens. • Precast and prefabricated concrete flooring slabs reduce cost time and labour • The minimal construction time saves on costs as well as energy and CO2 emissions. • The building is close to pedestrian access routes and local amenities. • Reduced air leakage and thermal bridging imperative for infection control and maintaining sufficient pressure within health care spaces • Insulation above the building regulations • Energy efficient lighting • Natural lighting from large curtain glazed wall systems as well as large floor to ceiling windows • Low flush toilets • Brown water reclaim system for toilets through rainwater harvesting system and butterfly roof construction collecting water in the central gutter • Efficient factory production techniques of precast slabs are much less wasteful and installation is less disruptive on site. • Double glazed window throughout allow for heat control Energy Food and Fuel Sources The map shows the farmland around the venetian lagoon, subsequently where most of Chioggia’s products come from. Goods are imported and exported using the waterway transport system. The second map shows where Venice gets its power from and from what sources the energy is produced. Several Co-operations have their Italian base in the Porto Marghera and Mestre. Enel Spa have set up the world’s first Hydrogen powered station in Fusina, south of Mestre indicated in the diagram. It is responsible for the generation of 16MW of power and has the ability to provide electricity for approximately 10000 homes. ESSO and Exxon Mobile both operate Petrochemical facilities in the Porto Marghera. 50 storage tanks are present both on the mainland and on some of the designated man made islands. The Edison and Marghera Levante Coal powered power plants are two of Venice’s oldest power supplies. All power (gas and electricity) gets to Venice via internal pipelines and overhead wires on the Viaduct, Ponte dela Liberata. A section showing how the power is distributed around the city, it travels underneath the pavements and over bridges just like the pedestrians. User Comfort and Control • • • • • • • • • • • • • •

Patients should have a clear understanding at all points in the building of location Abolish the feeling of being lost for user comfort Large areas of glazing create open warm spaces through natural lighting and heating Public garden areas create open spaces for reflection, waiting and contemplation Patient privacy within the treatment rooms for user comfort Nature and artwork can provide a positive patient experience and create a greater sense of well being Easy navigation through the building, long wide corridors with smaller spaces leading from these. Much like the axial syntax theories I used while design my master plan Cellular rooms with similar layout as not to feel unfamiliar Speech Privacy Lockable doors Solid partition walls Greater attention to acoustics Colour can give a sense of orientation, sense of place and can affect the mood of patients Both mechanical and passive heating and cooling systems for user comfort

Waste recycling and conservation of resources • Disposable surgical instruments. Unfortunately these will have to be disposed of on landfill as medical waste, however in terms of infection control disposable instruments are much more sterile • Dedicated programming for waste disposal holdings and clean and dirty utilities. Separate secure are with lockable access. • Sharps bins should be located in treatment rooms and operating theatres. These should be wall mounted and near the area of use • Separate access for the removal of medical waste • The facility must comply to waste management regulations such as Health and Safety regulations and the COSHH code for safe removal of substances harmful to health • The rainwater harvesting system will reuse waste water to maintain a brown water flushing system for the WC facilities in the building • The use of concrete will help to conserve wasted heat and retain this for passive heating and cooling Lifespan and Potential for recycling • As the building is built from a concrete structure this will ensure the longevity of the building. • As a healthcare facility in Chioggia it is important that the building is designed with the intention of standing for a long time • Concrete has a life span of around 100 years • The steel facade has a lifespan of 100 years if the environment is free of heavy moisture and corrosive chemicals with out significant decay. • Concrete can be recycled by crushing and reusing as aggregate • The steel facade can be recycled or reused

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Farmland around the lagoon

Energy sourcing

Running of services in Venice and Chioggia

Under floor heating system

Access for deliveries and waste removal

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Programme

My building is unique in its programme as there is no building function to compare it to. I have used elements of accident and emergency departments, hospital wards, other hospital departments and healthcare facilities. The building is a centre to educate the community about emergency health care for the community, incorporating both a public health service as well as a teaching school. For a hospital building the internal design operative temperature in an air conditioned facility is 17-25 degrees, dependent of the space requirements. The Noise rating is 30 NR Lighting lux is between 100 - 1000 lux dependant on space requirements. Ventilation fresh air requirements are 10 l/s per person. Air supply to a space is calculated by multiplying air changes per hour by the volumer of the space. All space sizes are minimum requirement Treatment and consultation rooms 1 20m2 each Single bed modules These spaces double up to be treatment rooms with beds, consultation rooms or private waiting spaces with beds. Lighting Lux: 300 lux Temperature: 23-25 degrees celcius Summer 22-24 degrees celcius Winter Humidity: 20% - 60% Air Changes per Hour: 8 - 12 Sound Reduction levels: 45dB 2 Cleaners Store 8m2 The space does not need to be naturally lit and shouldnâ&#x20AC;&#x2122;t contain windows for privacy and security issues. Lighting Lux: 200 lux Temperature: 24 degrees C Humidity: 45% - 60% Air Changes per Hour: 4 Sound Reduction levels: 35 dB 3 Waiting Space This space is naturally lit by a double height curtain glazed wall system Lighting Lux: 20 - 50 lux Temperature: 24 degrees C Humidity: 20% - 60% Air Changes per Hour: 4 Sound Reduction levels: 50 dB Admin Offices 4 These spaces are located at the perimeter of the building to allow natural lighting into the building through large floor to ceiling windows. Lighting Lux: 300-500 lux Temperature: 24 +/-2 Summer 20+/-2 Winter Humidity: 40% - 70% Air Changes per Hour: 8 - 12 Ventilation supply: 1.3 m^3/s Ventilation extraction: (clean) 1.15m^3/s (dirty) 0.15m^3/s Sound Reduction levels: 40 dB Porters Office / Store 5 This is located between the treatment rooms overlooking the waiting space to allow for easy access and transportation of wheelchairs Lighting Lux: 300-500 lux Temperature: 24 +/-2 Summer 20 +/-2 Winter Humidity: 40% -70% Air Changes per Hour: 6 - 10 Sound Reduction levels: 40 dB Security Hub 6 Lighting Lux: 300-500 lux Temperature: 24 +/-2 Summer 20 +/-2 Winter Humidity: 40% - 70% Air Changes per Hour: 6 - 10 Sound Reduction levels: 40 dB

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

7 Resus Rooms One resus room will be fully equipped for paediatrics Lighting Lux: 300 lux Temperature: 23-25 Summer 22-24 Winter Humidity: 20% - 60% Air Changes per Hour: 8 - 12 Sound Reduction levels: 45 dB 8 Basement Houses mortuary and planting Humidity: 45% - 60% to reduce damp 9 Internal Garden Space Natural Lighting Temperature: 24 degrees C Humidity: 20% - 60% Air Changes per Hour: 8 - 12 Sound Reduction levels: 50 dB Relatives Room 10 Lighting Lux: 300 lux Temperature: 24 degrees C Humidity: 20% - 60% Air Changes per Hour: 8 - 12 Sound Reduction levels: 50 dB Pastoral Care 11 Lighting Lux: 300 lux Temperature: 24 degrees C Humidity: 20% - 60% Air Changes per Hour: 8 - 12 Sound Reduction levels: 50 dB 12 Chapel Lighting Lux: 500 lux Temperature: 24 degrees C Humidity: 20% - 60% Air Changes per Hour: 8 - 15 Sound Reduction levels: 50 dB 13 Pharmacy Lighting Lux: 300-500 lux Temperature: 24 +/-2 Summer 20 +/-2 Winter Humidity: 40% - 70% Air Changes per Hour: 6 - 10 Sound Reduction levels: 40 dB

Scrub Room

Mobile Equipment Store

Circulation Space

Clean Utility Disposal Holdings

Cleaners Store

Circulation Space

WC Operating Theatre

Anaesthetic and Patient Prep Private Circulation Space

Internal Garden Space

Pharmacy

Circulation Space

Circulation Space Treatment Rooms

Chapel Secutrity Hub

Circulation Space

Internal Garden Space

Pastoral Care

Treatment Rooms Circulation Space Waiting Space

Relatives Room

Internal Garden Space

Resus Room

Porters Office and Store

Private Circulation Space Access to Basement

Reception Area

Resus Room

Staffroom / Nurses Station Admin Office and Medical Archive

Circulation Space

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Programme

Waiting Space 1 This space is naturally lit by a double height curtain glazed wall system Lighting Lux: 20 - 50 lux Temperature: 24 degrees C Humidity: 20% - 60% Air Changes per Hour: 4 Sound Reduction levels: 50 dB 2 Testing Laboritories Lighting Lux: 500 lux Temperature: 20+/-2 degrees C Humidity: 30% - 40% Air Changes per Hour: 8 - 12 Sound Reduction levels: 45 dB 3 Digital Imaging Suite Lighting Lux: 300-500 lux Temperature: 24+/-2 Summer 20+/-2 Winter Humidity: 20% - 60% Air Changes per Hour: 10 - 15 Sound Reduction levels: 50 dB 4 WC Services The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues Lighting lux: 200 lux Air changes per hour: 10 5 Anaesthetic / Patient Preparation Room Lighting Lux: 500 lux Temperature: 18 - 22 degrees celcius Humidity: 20% - 60% Air Changes per Hour: 10 - 12 Sound Reduction levels: 50 dB 6 Operating Theatre Lighting Lux: 1000 lux Temperature: 18-22 degrees celcious Humidity: Relative 20%-60% Air Changes per hour: 14-28 air changes per hour Ventilation Supply: 11.77 m^3/s Ventilation supply must be greater than the extract in order to maintain a positive pressure differential between the operating theatre and the surounding sub sterile areas Pressure: +5pa positive pressure differential between surrounding spaces Sound Reduction levels: 50 dB

7 Scrub Room Lighting Lux: 300-500 lux Temperature: 24+/-2 Summer 20+/-2 Winter Humidity: 20% - 60% Air Changes per Hour: 10 - 15 Sound Reduction levels: 50 dB 8 Staff Room / Nurses Station Lighting Lux: 300-500 lux Temperature: 24+/-2 Summer 20+/-2 Winter Humidity: Air Changes per Hour: Sound Reduction levels: 40 dB 9 Circulation Space Lighting Lux: 200 lux (50 lux at night) Temperature: 22 - 24 degrees C Humidity: 40% - 70% Air Changes per Hour: 4 Sound Reduction levels: 55 dB 10 Store for mobile Equipment The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues 11 Clean Utility 12m2 GF access for deliveries The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues Lighting Lux: 200 lux Temperature: 24 degrees C Humidity: 45% - 60% Air Changes per Hour: 4 Sound Reduction levels: 35 dB 12 Dirty Utility 12m2 GF access for the removal of waste The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues Lighting Lux: 200 lux Temperature: 24 degrees C Humidity: 45% - 60% Air Changes per Hour: 4 Sound Reduction levels: 35 dB 13 Disposal Holdings 12m2 GF access for the removal of waste The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues Lighting Lux: 200 lux Temperature: 24 degrees C Humidity: 45% - 60% Air Changes per Hour: 4 Sound Reduction levels: 35 dB

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Scrub Room

Circulation Space

Mobile Instruements Sore

Operating Theatre Anaesthetic Room / Patient Prep Testing Labs

Digital Imaging Suite

Circulation Space

Void Space Double Height Ground Floor Circulation Space

Clean and Dirty Utilities

Open glazed spaces from natural lighting

Void Space Double Height Ground Floor

Treatment Rooms

Waiting Space

Treatment Rooms

Open glazed spaces from natural lighting

Treatment Rooms

Staffroom / Nurses Station

Circulation Space

Store

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Programme

Second Floor

Sixth Floor

1 Standing Platform This space is naturally lit by a double height windows Lighting Lux: 300-500 lux Temperature: 24+/-2 Summer 20+/-2 Winter Humidity: 20% - 60% Air Changes per Hour: 10 - 15 Sound Reduction levels: 50 dB

Teaching Laboratories 1 Lighting Lux: 500 lux Temperature: 24 degrees C Humidity: 20% - 60% Air Changes per Hour: 8 - 12 Sound Reduction levels: 45 dB

Glazed Floor Slab for viewing

3 Seating Area Lighting Lux: 300-500 lux Temperature: 24+/-2 Summer 20+/-2 Winter Humidity: 20% - 60% Air Changes per Hour: 10 - 15 Sound Reduction levels: 50 dB 4 Circulation Space Lighting Lux: 200 lux (50 lux at night) Temperature: 22 - 24 degrees C Humidity: 40% - 70% Air Changes per Hour: 4 Sound Reduction levels: 55 dB Third Floor Void Space Double height Second floor Fourth Floor 1 IT suite Individual study carrells Lighting Lux: 500 lux Temperature: 20 - 24 degrees C Humidity: 45% - 50% Air Changes per Hour: 15 - 20 Sound Reduction levels: 50 dB 2 WC Services The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues Lighting lux: 200 lux Air changes per hour: 10 3 Circulation Space Lighting Lux: 200 lux (50 lux at night) Temperature: 22 - 24 degrees C Humidity: 40% - 70% Air Changes per Hour: 4 Sound Reduction levels: 55 dB Fifth Floor Lecture Space 1 Lighting Lux: 500 lux Temperature: 22 - 24 degrees C Humidity: 40% - 70% Air Changes per Hour: 4 - 12 Sound Reduction levels: 55 dB 2 WC Services The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues Lighting lux: 200 lux Air changes per hour: 10 3 Circulation Space Lighting Lux: 200 lux (50 lux at night) Temperature: 22 - 24 degrees C Humidity: 40% - 70% Air Changes per Hour: 4 Sound Reduction levels: 55 dB

Laboratory Store 2 8m2 The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues. Lighting Lux: 200 lux Temperature: 24 degrees C Humidity: 45% - 60% Air Changes per Hour: 4 Sound Reduction levels: 35 dB Circulation Space 3 Lighting Lux: 200 lux (50 lux at night) Temperature: 22 - 24 degrees C Humidity: 40% - 70% Air Changes per Hour: 4 Sound Reduction levels: 55 dB Seventh Floor Void Space Double height sixth floor Eighth Floor HR Offices 1 Lighting Lux: 300-500 lux Temperature: 24 +/-2 Summer 20+/-2 Winter Humidity: 40% - 70% Air Changes per Hour: 8 - 12 Ventilation supply: 1.3 m^3/s Ventilation extraction: (clean) 1.15m^3/s (dirty) 0.15m^3/s Sound Reduction levels: 40 dB 2 WC Services The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues Lighting lux: 200 lux Air changes per hour: 10 3 Circulation Space Lighting Lux: 200 lux (50 lux at night) Temperature: 22 - 24 degrees C Humidity: 40% - 70% Air Changes per Hour: 4 Sound Reduction levels: 55 dB Ninth Floor 1 Finance Offices Lighting Lux: 300-500 lux Temperature: 24 +/-2 Summer 20+/-2 Winter Humidity: 40% - 70% Air Changes per Hour: 8 - 12 Ventilation supply: 1.3 m^3/s Ventilation extraction: (clean) 1.15m^3/s (dirty) 0.15m^3/s Sound Reduction levels: 40 dB 2 WC Services The space does not need to be naturally lit and shouldn’t contain windows for privacy and security issues Lighting lux: 200 lux Air changes per hour: 10 3 Circulation Space Lighting Lux: 200 lux (50 lux at night) Temperature: 22 - 24 degrees C Humidity: 40% - 70% Air Changes per Hour: 4 Sound Reduction levels: 55 dB Tenth Floor

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Plant Air Handling Unit

Circulation Space Seating Area Glazed flooring for viewing

Standing Platform

Base building butterfly roof structure

Circulation Space

IT Suite

Circulation Space HR Office

Lecture Space

Lab Store WC

Circulation Space

Circulation Space Finance Office

Laboratories AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Facility Requirements

Ceilings • Voids to allow primary and secondary servicing and access • Non porous material for infection control • No suspended ceilings Walls • • • • •

Smooth hard impervious finish Monolithic Non porous Need to be easily cleaned and disinfected Posters and notices muxt be laminated for easy cleaning

Windows • • • • • • •

Safety glazing Non operable windows with specialist mechanical ventilation 6.8mm laminated glazing for security - especially on the ground floor If openable must overlay a fly screen Blind and curtains must be impervious to moisture Must not comprimise patient privacy Possiblity of obscured glass

Doors • • • •

Self closing Vision panels to facilitate movement and procedure Must be patient private Controlled access to private areas

Floors • • • • • • • • • •

Immpermeable Not affected or degraded by detergents Fire resistance Must be easily cleaned and disinfected Flat surface without pronounced texture Non slip Durable to support machinery Allow wheeled traffic and allow maintainence Sheet vinyl with welded seams Coving required - sheet vinyl runs along the floor and 200mm up the base of the wall to contain spillages, facilitate cleaning and avoid damage. This also allows less joints to build up dust and infection

Store • Dedicated and secure • Single use instruements • Washing to take place under running water - no plugs in sinks Scrub Facilities • • • • • • •

Hands free taps and fawcets Separate basin Disposable towels Wall mounted everything Foot operated waste bins Nail brushes Soap, towel, glove and hand sanitisers - wall mounted

Disposal of waste • Separate secure lockable area • Sharps bins - wall mounted near area of use Work Surfaces • Impermeable • All joints sealed and covered Entrance • Wheelchair access • Floor matting to prevent slips Surgical Instruements • Sterile at point of use • Disposable equipment including suction canister and tubes • Risk assessment required for correct use of PPE

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Images for facility requirements

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

HVAC

The Health Building Notes (HBN) are a series of publications that set the Department of Health’s best practise standards in the planning and design of healthcare facilities. They inform project teams about accommodating specific department or service requirements. The Health Technical Memoranda (HTM) series of publications sets healthcare specific standards for building components - such as, windows and sanitary ware - and the design and operation of engineering services, such as medical gas installations and fire safety requirements. HTM recommendations are reflected in the cost guidance promulgated by the Department as a benchmark for demonstrating value for money in business cases. The FIRECODE tiles of the HTM series contain requirements on trusts that are mandatory. Ventilation Due to the internal conditions that must be satisfied for a health care facility the building must rely on mechanical unit to provide heating cooling and ventilation instead of natural. Ventilation is used extensively in all types of healthcare premises to provide a safe and comfortable environment for patients and staff. More specialised ventilation is provided in primary patient treatment areas such as operating departments, critical care areas and isolation units. As my health care facility requires standard air changes per hour, for example the operating theatre require an air change of 15 air changes per hour, mechanical ventilation will need to be carefully controlled as windows cannot be opened within an operating theatre for infection control of airborne diseases. There must also be a pressure differential of +5pa positive pressure between the operating theatre and the surrounding area. This is due to osmosis of air particles, naturally moving through spaces from areas of positive pressure to areas of lower pressure. Ensuring that the operating theatre is +5pa positive pressure than the surrounding areas ensures that air flow will travel out of the room to decrease the risk of airborne infections. Through my design I have also created the surrounding rooms to the operating theatre of a higher pressure than the spaces which surround these, of +3pa of positive pressure. This ensures that the area surrounding the theatre remains sub sterile and further increases infection control. The temperature of the theatre must be between 18-22 degrees Celsius, with a relative humidity of 20-60%. Due to the precise specification of ventilation in the operating theatres mechanical ventilation is necessary, with standard specifications stating the use of an EN779F7 filter. The design of the facade is such that it clads over windows meaning that there is a restriction on the opening of these. I have designed this way to ensure as little risk of infection as possible entering the building from external airborne infections. Although the number of air changes per hour is a critical factor in hospital design, it is important that the air velocity does not exceed 015m/s for comfort reasons. 14-28 m^3 air changes per hour required for an operating theatre. Within the operating theatre it is important to keep the internal conditions within the boundaries and constant. This means that usually all ventilation strategies are mechanically employed within these spaces. This means that all windows to this space must be sealed to ensure and maintain the controlled airflow. The air handling unit must be sited away from excessive variations in temperature and wind pressure, as well as away from all sources of possible contamination. Heating and Cooling I will be using a water source heat pump to heat and cool my building through under floor heating elements. This is the most efficient way of heating my building and controlling internal conditions. A water source heat pump takes full advantage of my sites close proximity to the water’s edge. Using water as an energy source has a number of advantages when compared to air or ground source: • The heat transfer rate from water is far higher than that in the ground or air. • The flow/circulation of the water source provides constant energy replacement. • The use of a water source removes the need of digging large trenches, often reducing the cost of installation compared to a ground source. Due to the pre cast concrete floor slabs and requirement for no suspended ceilings, it will be quite difficult to run all of my service through the floor and ceilings. I will therefore run my services through the walls of the building. This will also make it easier to access and maintain the services if anything were to break down. The only element that will be difficult to gain access to is the under floor heating if an element breaks in this due to the concrete screed poured on top of it, however this is typical to it’s installation. Year round availability at temperatures of 7-12ºC Water Source Heat Pumps use the same principle as ground source heat pumps in that they take heat from one source and add it to another. They are also considered the most efficient type of heat pump. The difference is that the supply source is a body of water, in this instance, the canals of Chioggia. The heat pump works like a fridge removing heat from the source using a refrigerant which is then compressed and as a result is heated up to around 100 degrees. This heat is then passed on to under floor heating. For every unit of electricity it uses it will create the equivalent of 3 to 4 times that in heat energy. Plant Room The plant room will hold the mechanical systems, such as water source heat pump and rainwater harvesting system. The plant room is located on basement level as it does not require any heating, and maintains the privacy of the space.

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Diagram of underfloor heating

Diagram for pressure of operating theatre

Diagram of ground and water source heat pump

Location of plant room on basement level

Location of plant room

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Lighting + Acoustics

Lighting Illuminance is the luminous flux falling on unit area of a surface. The unit of measurement of illuminance is the lumen/m2 or lux. In the education tower The majority of classroom surfaces should be finished in low chroma, high reflectance materials. This will increase the amount of inter-reflected light which, in turn, will distribute daylight more evenly across the room, and reduce the strength of any shadows and veiling reflections. Classroom 500 lux Laboratory 500 lux Library 300 lux Lecture hall 300 lux Glare control should be applied to windows through lamination of the glass. In the Hospital base building The lighting of hospitals has two main functions. The obvious and most important function is to meet the task requirements in each area of the hospital. Some of the tasks to be carried out will require exacting levels of visual performance. Lighting can influence human emotions and feelings of well-being. Good lighting will also help promote an air of quality and competence within the hospital. Maximisation of natural day lighting for the well being of patients, staff and students. Careful not to create thermal and visual discomfort through daylighting. Artificial lighting will be fitted with automatic switching on and off to ensure that minimal energy is wasted. Emergency lighting is required for the movement of patients, staff and visitors to a safe location in an emergency. Standby lighting will be required in certain parts of the hospital to enable essential activities to be carried out in the event of a supply interruption. Hospitals normally work to two standards of illuminance for standby lighting. In critical areas, such as operating theatres, the illuminance provided by the standby lighting should equal, or nearly equal 90 percent of the normal mains illuminance. Other non-critical but important areas will require standby lighting to a reduced illuminance, generally to 50 percent of the normal mains level. Where standby lighting is provided by a back up generator, there will always be a break in the continuity of supply as the engine runs-up so a battery back-up with a minimum of 3 hours capacity to power the lamp(s) should be provided to cover the start-up period and to cater for the possibility that the generator fails to start Wall colour and construction is key through lighting design to ensure that colours and decorations do not cause difficulty in assessment. Lighting in operating theatres is generally suspended from the ceiling, however this does cause issues for dust collection and infection control. It is favourable to have ceiling mounted lighting but this could be done using a reflective system to direct light to the operating table. One of the principle spaces in my building is the theatre viewing gallery above the first floor operating room. This space allows students to watch surgeries as part of the teaching facilities in the education tower. Because of the idea of students viewing the theatre I have constructed a glass floor slab. This will also allow natural lighting into the operating theatre space below without the risk of glare or privacy issues from windows on that level. Movable task lighting easy to clean. Acoustics • Sound insulation of internal partitions is linked to the degree of privacy that is necessary, and the need to reduce noise from other rooms • Rain noise should not result in undue disturbance in internal spaces • Audible alarms intended for staff should be located such that they cause minimum disruption to patients • Appropriate sound insulation needs to be set for each room. Noisy activities should not interfere with the need for quiet in adjacent rooms. • Private conversations should not be overheard. The right to privacy for hearing-impaired patients and staff has been taken into account • Speech acoustics • Additional insulation has been constructed within the metal stud internal partition walls in order to increase acoustic capability • Insulation is laid within internal floor slabs also for acoustic properties • Acoustic panelling cannot be used due to the risk of infection control • Open windows can affect room-to-room sound insulation and lead to privacy problems if external areas are accessible by staff and patients. The windows in my building will be unopenable anyway due to infection control and restrictions of the facade system in private spaces.

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Examples of Hospital lighting

Natural daylighting example. Sulight floods through large areas of glazing.

Artificial lighting. Ceiling mounted suspended and concentrated ligh.

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Fire Strategy

There are three elements to if re protection: - Inhibit combustion of materials (in if rest instance) - Prevent the spread of fire - Allow time for occupants to escape Building Population It is estimated by European statistics the around 40% of a population make at least one visit to emergency health care facilities. My building will be servicing the population of Isola dei Saloni as well as the Old Town of Chioggia. This is a population of around 40,000. 40% of 40,000 = 16,000 16,000 patients per year. 52 weeks per year 16000/52 = 308 Around 308 people per week will visit the facility. 7 days per week 308/7 = 44 Around 44 people will visit the facility per day. It is estimated that each patient will bring a visitor, somebody who may have driven them to the centre. The average of the total establishment of nurses is one nurse per 1520 patients per annum. 16000/1520 = 10.5 There will be 11 Nurses stationed at the facility. There will be around 50-70 students using the educational facilities and shadowing nurses in the facility. There will be 46 staff working in the building, these will be in the pharmacy, admin office, the HR offices and the finance offices, as well as the porters and security staff. There will be 2 surgeons on site in the building. The total population of the building is around 200 people. The fire strategy must comply to this building population. Access and Egress All access to the building will be either pedestrian or water transport. Emergency services in Venice all use high speed boats to access areas. The location and orientation of my site means that it is easily accessible to emergency vehicles from the water in the event of a fire. Access for emergency services is incredibly important in my scheme in order to allow ambulance access to the healthcare facility. I will be designing a docking station as part of my scheme in order to allow easier access for parking and turning. The building can be easily accessed from 86% of the perimeter wall in the event of emergency service access, although the ambulance service has a separate access point from the main entrance. Due to the linear design of the building there are two fire assembly points, both where vehicle access is available. Compartment Zones Any duct work penetrations in the compartment walls and ground floor slab, except to corridor, protected by fusible-link dampers.

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Public Access Ambulance Access

Access and Egress

Access area and fire assembly points

Compartment Zones

External fie exits

Compartment walls

Internal fire doors

10m 7m 7m

16m

Travel Distances

AT3 ENVIRONMENTAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

1:50 Section

AT3 CONSTRUCTIONAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Detail Design Roof 1:2

AT3 CONSTRUCTIONAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Perforated Steel Facade

Metal Flashing

Concrete Screed 100mm

External Concrete Wall 300mm

DPM

150mm Rigid Insulation

100mm Rigid Insulation

150mm Precast Concrete Roof

300mm Concrete Angled Beam

Fixing Peg for Plasterboard Wall Finish

12.5mm Plasterboard

Wet Skim Plaster

White paint Finish White 00E55

AT3 PRECEDENT RESPONSE AT3 CONSTRUCTIONAL dE YOUNGRESPONSE MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Detail Design Gutter 1:2

AT3 CONSTRUCTIONAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Steel Facade

Steel Fixing Hook

60mm Concrete Screed

Metal Flashing

Gutter

Support

300mm Concrete Beam

150mm Insulation

150mm Precast Roof Slab

AT3 CONSTRUCTIONAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Detail Design Window Top 1:2

AT3 CONSTRUCTIONAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

White Paint Finish White 00E55

Wet Skim Plaster

Plasterboard

DPM

100mm Insulation

300mm Concrete Wall

Clamp Fixing for Steel Facade

Steel Facade

Metal Flashing

50mm Insulation for Thermal Break

Steel Window Frame

Steel Hollow Beam to fix Facade

Glazing

AT3 PRECEDENT RESPONSE AT3 CONSTRUCTIONAL dE YOUNGRESPONSE MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Detail Design Window Bottom 1:2

AT3 CONSTRUCTIONAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Glazing

Perforated Steel Facade

Steel Hollow Core Beam

Steel Fixing Clamp

Steel Window Framing

Metal Flashing

60mm Concrete Screed Underfloor Heating Elements

150mm Precast Concrete Slab

300mm Concrete Beam

300mm Concrete Column

White Paint Finish White 00E55

Wet Skim Plaster

Plasterboard

100mm Insulation

AT3 PRECEDENT RESPONSE AT3 CONSTRUCTIONAL dE YOUNGRESPONSE MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Detail Design Column to Beam 1:2

AT3 CONSTRUCTIONAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

White Paint Finish White 00E55 Wet Skim Plaster Plasterboard

Fixing Pin

Heat welded sheet Vinyl running up the wall 200mm for Infection Control

50mm Insulation

Fixing Pin

150mm Precast Concrete Slab

Underfloor Heating Elements

150mm Insulation

60mm Concrete Screed

300mm Concrete Column

AT3 PRECEDENT RESPONSE AT3 CONSTRUCTIONAL dE YOUNGRESPONSE MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Detail Design Foundation 1:5

AT3 CONSTRUCTIONAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Steel Facade

300mm Concrete Column

DPM

100mm Rigid Insulation

Steel Fixing Hook for Facade

60mm Concrete Screed with Underfloor Heating Elements Fixing Peg 50mm Hard Insulation 150mm Precast Concrete Slab Breathing Membrane

Pile Capping

DPM

150mm Rigid Insulation

50mm Sand

150mm Hardcore

Concrete Slab Foundation 300mm Concrete Pile Foundations

AT3 PRECEDENT RESPONSE AT3 CONSTRUCTIONAL dE YOUNGRESPONSE MUSEUM LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Construction Sequence

AT3 CONSTRUCTIONAL AT3 STRUCTURAL RESPONSE LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3

Facade system continues up the tower in the same construction method as the base building

Large floor to ceiling glazing panels continue up the tower construction

Butterfly pre cast concrete roof construction sits on top of angled concrete beams for support. Roof pitch angled for rainwater harvesting

Large floor to ceiling laminated glazed windows installed into the exterior walls for maximum natural lighting and natural heating methods

First floor construction same as ground floor construction sequence

Secondary structure pre cast concrete floor slab placed over ground floor for first floor construction

Ground floor construction complete

500mm thick metal stud interior partition walls erected containing insulation for acoustical properties

Tertiary external wall structure erected to provide a supporting framework for the facade system

In situ pour column and beam construction as primary structural elements. Secondary structural pre cast concrete floor slabs placed over and bolted to the beam structure

In situ cast concrete foundation floor slab at ground level

Structural elementf of the building at completed stage

AT3 STRUCTURAL RESPONSE AT3 CONSTRUCTIONAL LAUREN DI PIETRO 33308831 CONTRAST SARAH MILLS AND DENNIS BURR BA3