VESTIS Liliana Prevedello
VE ST IS Noun. , Latin. declension: 3rd declension 1. Clothes 2. Garment, clothing 3. Robe
01
Brief
02
Location
03
Proposal
04
Environment
05
Structure
06
Regs
07
Process
01
Brief
FASHION + ARCHITECTURE
VESTIS
Fashion and architecture are the most basic response to the human need for shelter. In architecture, the definition of shelter is defined at the enlarged scale of the building, whilst in fashion, shelter is defined directly on the individual’s scale protecting the body. Both these arts, at a different scale, search for the ideal proportion, material, pattern and size to suit the user. There is a continuous dialogue between architects and fashion designers: “ Both architecture and fashion are based on structure and shape and turning basic necessities, like clothing and shelter, into art.” - Zaha Hadid “Fashion is Architecture, it’s a matter of proportion”. Coco Chanel On the other hand, our modern world is determined by an alarming climate crisis, and there is an urgent quest for sustainability in both of these art forms. The project aims to unite principles of functionality and sustainability, whilst transforming these into an artistic final product.
Prada Men’s and Women’s Show by AMO – OMA, Milan – Italy
6
THE ENVIRONMENTAL IMPACT IN THE UK
VESTIS
The UK purchases the highest amount of clothing per person in Europe and every year throws away over a million tonnes of garments. Locating the project in London, being one of the world fashion capitals, is the perfect opportunity to raise awareness about the importance of sustainable production. Moreover, Times Higher Education, has ranked the UK as the world’s top destination for fashion students as it is home to leading fashion universities and brands. Therefore, there is the possibility to collaborate with educational institutions and students to shape future generations.
26
Million tonnes of carbon footprint were emitted in 2016 by the UK fashion sector
80%
of the clothes discarded in UK households waste are incinerated
3%
recycled3
[Fig. 2]
How often do people repair their own clothes in the UK? At times
Very often
37%
38%
Oxford Street, Black Friday shopping London, UK
25% Rarely/never
of clothes collected in the UK are
CONSUMER BEHAVIOUR IN THE UK
1/3 said that they buy clothes with the idea that they will use them for a short time.
1/5 said they don’t consider the environmental impact when buying clothes.
1/6 were more inclined to buy new clothes rather than vintage/second hand as “they deserve better”.
Textile landfill UK
7
THE INTENT
VESTIS
In a world dominated by capital-led business models, what are the effective steps the industry needs to make to reduce its carbon footprint impact?
1
EDUCATING ON SUSTAINABLE CLOTHING DESIGN
UP-CYCLING
PROPOSED MODEL: CIRCULAR
Brand & Designer
Brand & Designer
Most of the decisions made during the design process determines weather the garment will be sustainable.
2
CURRENT MODEL: LINEAR
8
Raw Material
Raw Material [Fig. 5]
Up-cycled shirt from Silk Scarf by Burberry
Manufacturing
Manufacturing
Taking old, worn out or damaged clothes to transform them into something new by keeping the original fabric. Retail
Retail
3
[Fig. 6]
RECYCLING
Re-collect
Chemical recycled process by WornAgain
Repair
User
User
According to McKinsey, recycled fibres are an innovation-led disruption likely to become prevalent by 2025. Recycling technologies are still new in the industry and more investment needs to be made, however, they are destined to increase.
Landfill
Donation & collection
The client is keen on investing in these technologies.
[Fig. 7]
Textile Recycling
THE CLIENT + PROPOSAL
VESTIS
9
INSTITUTE OF POSITIVE FASHION (IPF)
THE BRITISH FASHION COUNCIL
A UK institution, part of the British Fashion Council that mainly acts online. It explores environmental aspects in the fashion industry from sourcing, production, waste and so on.
Lead organisation of the IPF, will be the main founder. It is an organisation that promotes the sustainable growth and strengthens the British fashion. Since 1983, it organises the London Fashion Week.
It acts through hosting talks and seminars with global fashion leaders (Including Burberry, Stella McCartney, Virgil Abloh and so on) to encourage a sustainable and green approach. The project will focus on designing a building through which the organisation can act. In particular, the spaces will be tailored to respond to their “Circular Fashion Ecosystem Project”.
PROGRAM & ADJACENCIES
VESTIS
TEXTILE WORKSHOPS (L1 & L2)
DESIGN STUDIOS Private (L1) Open (L2)
10
FUNCTIONAL ROOM (L1 & L2) L1 & L2
BOUTIQUE 4
DELIVERIES/ STORAGE
BOUTIQUE 3
BOUTIQUE 2
BOUTIQUE 1
KEY
CAFE’/ INFORMAL LOBBY RECYCLING PLANT
Functional link Visual link STORAGE
MULTI-PURPOSE HALL
Social Exhibiting Creating
COMMUTER CHANGING ROOMS
REPAIR HUB
BIBLIOTHEQUE
OPEN-PLAN BAR
KITCHEN
GF
OFFICES (L1 & L2)
TEXTILE WORKSHOPS (L1 & L2)
BOH Textile processing & Operations
DESIGN STUDIOS Private (L1) Open (L2)
CORE Learning & Crafting
L1 & L2 FUNCTIONAL ROOM (L1 & L2)
FOH Socialising & Presenting
Informing Processing BOH
THE USERS
VESTIS
11
SPACES VS HOUR USE
-1
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 KITCHEN CAFE’ REPAIR HUB
GF
BIBLIOTHEQUE
General Public
Students
The Ground floor will act as the revenue driven part of the building, where the general public is invited.
Camden has many educational and artcentred universities (CSM, Sotheby’s...etc.). The building will attract new talents.
Main spaces: Boutiques, Exhibition, Cafe’, Bibliotheque, Repair Hub
Main spaces: Exhibition, Cafe’, Bibliotheque, Design Studios, Textile Workshops
FOH
BOUTIQUES MULTI-PURPOSE RECYCLING PLANT DELIVERY BAY CHANGING ROOMS
L1 & L2
FLEXIBLE ROOMS DESIGN STUDIOS
Entrepreneurs
Designers
Brands and start ups can rent out private design studios. They will be able to use the textile processing facilities, as well as the boutiques and exhibition to display their creations.
They can experiment and learn about methods of sustainable fashion production. Main spaces: Design Studios, Textile Workshops, Recycling plant
Main spaces: Boutiques, Exhibition, Cafe’, Bibliotheque, Design studios
TEXTILE WORKSHOP OFFICES
BOH Recycling Specialists Textile recycling companies (I.e. Worn Again, New Cotton Project) will work in the labs, in collaboration with student, to provide design studios with recycled clothing. Main spaces: Recycling plant
Building Staff Full time- employed staff: Boutiques, Cafe’, Kitchen, Bibliotheque, Repair Hub, IPF admin offices. Part-time: Maintenance & Cleaning
02
Location
CAMDEN BOROUGH, LONDON, UK
VESTIS
CAMDEN HIGH STREET
CAMDEN TOWN INTERNATIONAL TRAIN STATION ST PANCRAS The building has the possibility of becoming well connected to a wider global network. This is essential as the client hosts annual events with world-leaders and designers in the fashion industry.
“A melting pot for London’s creative and leisure economy” - Camden Council
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VESTIS
KEY Water
10 min by foot
Site Walking distance
Green areas
Camden town boundary
Railway
Camden High Street Chalk Farm Road
Camden lock markets
Overground
Shopping area
SITE PLAN HIGHLIGHTING CAMDEN TOWN
Chalk Farm
Underground
Central Saint Martins (CSM)- Fashion University
Roundhouse
Stable Markets Camden Road
Re-known for vintage and second-hand shops
Camden Depot area since 1851
Camden Town
n
n
m Ca
“Camden Town Strip”, is marketed as a hotspot for entertainment, cultural diversity and business opportunities, representing the ideal location for a new fashion hub.
de
(CSM) Ranked the best Fashion school in the world
w To
Mornington Crescent
International transport hub
King’s Cross St. Pancras 0 20 50
100
200
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CAMDEN FASHION HISTORY 19TH CENTURY During the 19th Century Camden was one of the most popular places in London where people would come and buy fabrics. ‘Buck Street Market’ and the ‘The Stable Horse market’ in Camden Town were popular places where to buy cheap and simple fabrics. People would buy them and either made clothes themselves or employed dressmakers. Camden also had a variety of clothing shops such as drapers, haberdashers and shoe shops.
MODERN DAYS Nowadays, Camden Market has had a firm presence in fashion history since the 1970s, especially for thrift shopping. By the mid 80-s Camden Market became, according to the Daily Express “the trendiest Sunday hang-out”. The legacy is still present today and the fashion economy, especially second-hand, is still one of Camden’s central assets. The flexibility offered by the “Stable Horse Market” stall and eclectic mix of visitors made the ideal conditions to start a fashion business. Therefore, the ‘Stable Horse Market’ transitioned from selling fabric rolls in the 19th century to having many clothes stalls for alternative subcultures.
VESTIS
16
IMMEDIATE CONTEXT
Morrison’s Supermarket
Juniper Crescent Residences STABLE MARKET ARRIVAL
STREET SHOP FRONTAGE
The Stable Horse Market Grade II listed
Site Chalk Farm Road NW1 8EH Area: 3000 m2
The Roundhouse Grade II* listed
ROUNDHOUSE ARRIVAL
SITE ANALYSIS
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Site Boundary
Site Boundary
VESTIS
CAMDEN COUNCIL CONSIDERATIONS (POLICY CGY3) Offset the building line along Chalk Farm Road to achieve a widened pavement Development with retail and restaurant/cafe’ at ground floor Improve management of public realm/open space Create a gateway and engage with pedestrians and cyclists +3.4
A
Chalk Farm Road +2.7
SECTION A-A 1:500
B Site Boundary
Site Boundary
RESIDENTIAL & RETAIL
A
Site Boundary
EXISTING PFS
Site Boundary
RAILWAY
B
+3.4 +34.0
+2.7
3 Storeys
4 Storeys
STABLE MARKET
5+ Storeys
Noise
EXISTING PFS
Vehicle Access
5m wall building line
Petrol Filling Station to demolish
RAILWAY
EXISTING ONE HOUSRING GROUP PFS
ROUNDHOUSE
Pedestrian Access
Site Boundary
Site Boundary
SECTION B-B 1:500
Site Boundary
Acess Road +28.0
Site Boundary
1-2 Storeys
Chalk Farm Road
+34.0 Acess Road +28.0
Acess Road STABLE MARKET
EXISTING PFS
STABLE MARKET
EXISTING PFS
ONE HOUSRING GROUP
ROUNDHOUSE
SITE HERITAGE THE SITE
HISTORIC STRUCTURES
The site is part of the Camden Good Yard site and was previously home to Camden Goods Station. For over 100 years, the station was at the centre of Camden’s economy as an interchange of goods and industrial development.
The architectural language is characterised by industrial constructions, most prominently formed of light framed structures.
The rails, retaining walls, vaults and tunnels created the conditions for goods interchange, however, when many of the industrial manufacturers departed in the 1960s, they became an element of physical separation between Camden and the rest of the site.
Sometimes, these light framed structures were in timber, as can be seen in the warm interior image of Pickford’s Shed, which was once at Southampton Bridge. Other prominent architectural features are the masonry vaults in the Stable Horse Market and cast-iron curved ribs in the Roundhouse.
The site remained underdeveloped for 30 years, until in the 1990s a PFS, a large foodstore and the housing at Juniper Crescent was proposed. This urban intervention also removed part of the “Great Wall of Camden” to provide a new access route from Chalkfarm road, increasing the permeability of the site. Nowadays, the site is still lacking the social activity and density one would associate with a Camden site today.
Pickford’s A Shed interior c.1846
SITE
Camden Goods Yard, 1889. Industrial Depot
Roundhouse Interior
03
Proposal
“Only with collaboration will we see substantial and radical change, and a sustainable revolution…We must be able to demonstrate wholesale change in attitudes, actions and processes; and allow the UK to become an exemplar for forward-thinking practice in the global fashion community.” - HRH CHARLES, THE PRINCE OF WALES INSTITUTE OF POSITIVE FASHION FORUM 2021
CONTEXT PLAN 1:1500
0
10
30
50
80
120
150
NORTH ELEVATION 1:250 SHORT SECTION 1:250
THE GARMENT On arrival, the fashion hub introduces the visitor with a billowing “garment facade”. The metal mesh acts as a sinuous veil that embraces the body of the building, whilst filtering light.
0
2
5
10
15
20
EAST ELEVATION 1:250 @ A3
0
2
5
10
15
20
WEST ELEVATION 1:250 @ A3
0
2
5
10
15
20
LONG SECTION 1:250 @ A3
REFERENCING THE CONTEXT The vaulted roof references the architectural language of the Roundhouse and Stable Horse Markets. Internally, it defines building bays to further give a sense of direction in an open-plan space. Externally, it becomes an expressive architectural feature, giving a unique and distinct character desired by the fashion hub.
BOUTUQUE 4
BOUTUQUE 3
BOUTUQUE 2
0
2
5
10
15
20
KEY STONE IDEAS
VESTIS
32
THREE CORES
VERTICAL AUDITORIUM
360 ° VIEW
Navigating clearly through the three cores of the fashion industry: social, crafting and production
Fashion is about expressing our identity through clothes. The idea of “to see and to be seen” is a main driver of the project.
Anywhere you are in the building you get a glimpse of another activity, promoting the cross-contamination of ideas and creative exchange.
The movement of people and functions is celebrated by placing key circulation and activity spines to over-look the main hall
THE PREMISE: THE THREE ASPECTS OF CONTEMPORARY FASHION
SUSTAINABLE TEXTILE PRODUCTION
CRAFTING & EXPOSING
VESTIS
SOCIAL AVENUE
33
CONTEXT GF PLAN 1:500 @ A3
VESTIS
34
4
5
1
2 6
3
KEY 1. 2.
Main arrival Stable Horse Market secondary exit 3. Street Cafe’ 4. Existing delivery trucks parking spot
5. Secondary Entrance 6. Private bike parking and breakout area
0
5
15
30
40
KEY GROUND FLOOR MOVES
VESTIS
CONNECTING THE STREET
ACTIVATING MAIN CORNER
Activating the site through permeable and public functions
Activating the main arrival corner through a gathering space: the cafe and social avenue
STABLES INNER STREETS LANGUAGE Extending the inner-street language of the stable horse markets, expressing the idea of a “shopping” arcade
35
BASEMENT 1:250
The basement kitchen serves both the indoor and outdoor cafe’. The 2m level difference between Chalkfarm Road and the South-East corner of the site, means that limited digging will be needed.
2
3 1 4
KEY 1. 2.
Basement Kitchen General building storage (Exhibition, stage props..etc) 3. Void for natural light 4. Food & wine cellar 0
2
5
10
15
20
GROUND FLOOR 1:250 @ A3
1 15 12
11
5
5
5
5
2 6
13
8 17
18
14
3
7
4
10 9
16
19
20
19
KEY Social Encounter Area 1. Main Entrance 2. Social Avenue 3. Open Cafe’ Bar 4. Street Cafe’
School & Education Area 5. Boutique 6. Multi purpose hall 7. Library 8. Repair Hub 9. Clothes donation area 10. Cherry Picker Storage 11. Secondary Entrance
Recycling Area 12. Sanitisation process 13. Mechanical & Chemical Recycling machines 14. Industrial re-spinning 15. Automated textile delivery storage
BOH 16. Commuter Arrival 17. Showers & Changing 18. Plant room 19. Gate key card access 20. Student breakout space and outdoor bike parking 0
2
5
10
15
20
LEVEL 1 1:250 @ A3
3 10
9
1
6
8
4
7
5
4
2
13 6 9 12
1
11
KEY Social Encounter Area 1. Flexible room area with acoustic dividers (Exhibition mode) 2. Void 3. Storage 4. Lounge bridge
School & Education Area 5. Night shutter partition 6. Private design studios (Rentable unit) 7. Void
Textile Workshop 8. Textile machinery (Looms, embroidery, printing...etc.) 9. Textile Archive
BOH 10. Triple height storage unit 11. Plant & Service room 12. Meeting room 13. Admin Offices
0
2
5
10
15
20
LEVEL 2 1:250 @ A3
6 11
3 1
10 7
15 9
8
5
4
2
7 14
13
12
1
10 6
KEY Social Encounter Area 1. Flexible room area with acoustic dividers (Exhibition mode) 2. Void 3. Storage 4. Lounge bridge
School & Education Area 5. Night shutter partition 6. Open plan design studios (extra privacy layer achieved by curtains) 7. Workstations with view on main hall 8. Void
Textile Workshop 9. Textile machinery (Looms, embroidery, printing...etc.) 10. Textile Archive
BOH 11. Triple height storage unit 12. Plant & Service room 13. Kitchenette & staff breakout 14. Admin Offices 15. Roof access point 0
2
5
10
15
20
SOCIAL AVENUE SECTION 1:250 @ A3
The entrance: A multi-functional bay where any event can happen: Expos, Crits, Talks, Presentations. At arrival, you are greeted by an open bar servery, a street cafe’ and a lounge bar.
0
2
5
10
15
20
SOCIAL AVENUE SECTION
6
| NTS, diagrammatic
2
1
3
3
4
5
KEY 7
8
1. 2. 3.
Flexible room: Crit mode Flexible room: Presentation mode Functional room: Expo mode
4. 5. 6. 7. 8.
Main Arrival Social lounge Open bar servery Kitchen General building storage
NIGHT LIFE For Camden’s Night life, the social avenue bay remains open to the public. See chapter 6 for security measures.
CENTRAL HALL SECTION 1:250
The heart: There is always something to see here: clothes being designed, textiles being processed ... and the final product being sold in the boutiques or exposed in a fashion show! 0
2
5
10
15
20
CIRCULATION: THE DAILY FASHION SHOW
VESTIS
47
PANORAMIC VIEW The feature staircase and elevators are located on the central axis to get a view onto both the labs and main hall
A VIEWING DECK
“TO SEE AND TO BE SEEN”
The staircase measures 1.8m. During fashion shows, there is enough spaces for people to walk up and use the steps viewing deck.
Walking up the stairs is like the daily fashion show for the students in the building. A new outfit to show off? You need an iconic setting for a photo-shoot?
The orientation of the stair has also been thought to maximise this.
Use the stairs!
CENTRAL HALL PERSPECTIVE SECTION
| NTS, diagrammatic
1
1 7
7 2
2
6
5
3
KEY 1. 2. 3. 4. 5.
Public design studios Private design studios Bibliotheque Boutiques Multipurpose hall
6. Recycling plant 7. Textile Archive
4
MAIN HALL ACTIVITIES | A VERTICAL AUDITORIUM
Hanging fabric and stage lights from beams
VESTIS
All upper floors: architectural viewing decks
SPEECHES & TALKS
FASHION SHOWS
The viewing deck
Public functions (Boutiques, repair hub, library...etc.) all become a backdrop to the show
EXHIBITION
50
A BLANK CANVAS FOR FUNCTIONS
FASHION SHOW MODE
VESTIS
EXHIBITION MODE
51
DESIGN STUDIOS | ADAPTABLE & FLUID ARCHITECTURE
VESTIS
LEVEL 1 | STUDIO UNITS
LEVEL 2 | THE CURTAIN SHOW
Private design studios are divided into units that can be rented out by entrepreneurs or fashion houses.
The idea takes inspiration from the curtain installation by Mies Van der Rohe and Lilly Reich. In the 1920’s they designed a series of interiors through the use of movable curtains to divide an open plan space.
The possibility for collaboration and flexible spaces is given by dividing the space with acoustic partitions that can be opened up when necessary.
The narrative of textiles in the building is used to create layers of privacy in the open design studios. Students and designers are in control of a fluid and adaptable architecture.
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DESIGN STUDIOS | ADAPTABLE & FLUID ARCHITECTURE
LEVEL 1 STUDIOS
VESTIS
LEVEL 2 STUDIOS
53
CROSS-CONTAMINATION OF IDEAS
VESTIS
OPEN PLAN
BRIDGES
The open plan layout is all about being able to view other’s people creations and being visually inspired.
The bridges that separate the three core spaces become lingering and breakout spaces for students to promote cross-contamination of ideas.
54
LABS & WORKSHOPS SECTION 1:250
VESTIS
56
The Engine: The building is powered by the sustainable production of garments, which is exposed to the public at the end of the atria. Textiles are recycled on the ground floor and re-transformed by specialists and students on the upper levels. 0
2
5
10
15
20
THE RECYCLING PLANT
A
| NTS, diagrammatic
B
C
1
2
3
4
1
5 F
E
KEY Spaces
Machinery
1. 2. 3. 4. 5.
A. Printing & Heat Pressing B. Knitting & Embroidery C. Looms & Weaving
Student Workshops Public textile archive Specialist workshops Specialist Archive Recycling plant
D. Textile sanitisation E. Mechanical/chemical fabric recycling F. Industrial re-spinning
D
TEXTILE JOURNEY
VESTIS
LEVEL 1 & 2 | WORKSHOPS
LEVEL 1 & 2 | DESIGN STUDIOS
Designing patterns
Pattern cutting
Sewing together
Selected by student
Voila’ !
Archive
GOODS LIFT
Worked with loom/embroidery/ printing machine
Re-delivered
ARRIVAL
GROUND FLOOR | LABS
Selected for recycling
GROUND FLOOR | MAIN HALL & BOUTIQUES
Presented in Fashion show/ Exhibition Sold in Boutique Sanitised
Storage
Recycled
Re-spun
Production
Crafting
Retail
59
LANDSCAPING
A-A) ENLARGING THE PEDESTRIAN REALM
VESTIS
60
Flâneur The word derives from the 19th Century in Baudelaire’s writings. He portrays a flâneur as a “well-dressed, modern young man, who strolls through the city without aim.” In Architectural discourse, the word “Flâneur” is used to describe those who are unintentionally engaged with architectural designs that they experience only in passing by. It is a term used especially when designing arcades, shopping malls and retail activities. The intent of the landscape is therefore to engage those who pass by through pockets of visual activities and spaces to linger (benches & street cafes’).
Bike parking stations for public
Extending pedestrian walkway to 4m
2.8m two way cycling route
Bioswales green strip for water retention
Cobble stone & planting to protect from doors opening outwards
Benches outside Boutiques to encourage lingering around building frontage
MATERIAL PALETTE
B-B
A-A
C-C
COBBLE STONE
PAVE’
RUBBER TAR (CYCLING ROUTE)
B-B) STREET CAFE’
C-C) BACK LANDSCAPING AREA
VESTIS
Private BOH breakout spaces for staff and students
Bike station for commuters (area protected by fence)
GREEN WALL The railway retaining wall will be heavily planted to act as a green backdrop to the bibliotheque and repair hub as shown
Cobble stone & planting to protect from bi-fold doors opening outwards Hedge wall street protection Raised wood planks platform (waterproof treated) with integrated drainage
PLANTING
HEDGES
FERNS & SHADE LOVING PLANS
LONDON PLANE TREES
61
VESTIS
62
THE RAILWAY CONTEXT
VESTIS
VIEW FROM TRAIN
63
04 ENVIRONMENT
EMBODIED CARBON
VESTIS
MATERIALS
KEY CONCEPTS APPLIED FROM LETI
Concrete Use- Basement & foundations Carbon footprint- High Sustainability- Low maintenance
Primary Structure
Timber Use- Structual gluman frame & CLT decks Carbon footprint- Negative Sustainability- 100 % Recyclable
External Skin
Simplicity of linear spaces allow for flexible future reconversion.
EASE DISASSEMBLY Using bolted over welded connections through entire building
BUILD LESS Maximising open plan space for coworking, minimising use of material in building cellular spaces External Skin
Polished concrete Use- Floor finish Carbon footprint- High Sustainability- Low maintenance, needed for high foot and cart traffic
Localised plants in building allow for easy future re-conversion
Ensuring facade can be 100% recyclable by not adding additional tints
Glass Use- Facade Carbon footprint- low Sustainability- Highly reusable, 100% recyclable Acoustic aluminium liners Use- Facade Carbon footprint- low Sustainability- Highly reusable, not tinted, 100% recyclable
I.e. Timber for primary structure
ADAPTABILITY: LONG-LIFE LOOSE FIT
RECYCLABLE MATERIALS Selecting materials that can be mostly recycled and re-purposed.
Aluminium Use- External cladding Carbon footprint- Medium Sustainability- Not tinted, left to original colour to be 100% Recyclable Aluminium Lath Use- External cladding Carbon footprint- Medium Sustainability- 100% Recyclable, not tinted
CARBON FOOTPRINT Minimising Carbon foot print by using medium, low or negative impact materials.
66
4.5m
REGULAR GRID Designing with a regular grid to allow for loose fit Floor-to-floor height of 4.5m to allow for flexible future re-conversion.
OPERATIONAL CARBON
VESTIS
DESIGNING FOR REQUIREMENTS Generous roof area will allow for toilets and other water-based facilities to run mostly with harvested rainwater
LOW FORM FACTOR Form Factor= Total heat loss area/ treated floor area High requirement for electrical energy compensated with PV Cells
Brise Soleil effect used to reduce solar gains in summer
= 40500/ 7205= 1.8 Passive house sets the parameter for the ideal form factor below 3.0. Obtaining a 1.8 value shows that the massing provides an effective solution in minimising heat loss.
MVHR active when building can’t be ventilated naturally Atria layout allows to effectively naturally ventilate space and release heat generated by machines and occupants
Intricate textile work require high levels of lux (1000-1500). Light is introduced through roof lights, glazing and appropriate room sizing
67
SUMMER: HEATING, COOLING & VENTILATION Facade structure has mounted Brise Soleil on South for further south solar control
Insulated Okalux glazing used to control thermal gains and glare
Automated operable Roof lights for stack ventilation Automated operable louvre system
Dimensions of expanded aluminium lath are studied to prevent solar gains in summer
Daylight levels can be further controlled on South with automated blinds. Automated operable windows with C02 detectors
Ground Source Heat Pump (GSHP) during summer transfers heat from exhaust building to its refrigerant system and dissipates it into ground.
Room dimensions have been designed with a depth of 8-10m for a 4.5- 4.8m floor to floor height to also achieve single sided ventilation.
At night windows are left open to purge heat
WINTER: HEATING, COOLING & VENTILATION
Dimensions of expanded aluminium lath on facade are studied to allow for solar gains in winter
Thermal Downstands provide further thermal, and in case of fire smoke, control
MVHR active during winter. Stale air from building is extracted from the building and heat is transferred to the incoming fresh air. Thermal Mass in intermediate CLT floor slabs and concrete ground floor slab contribute to release heat during the day and remove it at night
Ground Source Heat Pump (GSHP) reverts it’s system during cold months. Heat is extracted from ground and transferred to building.
Underfloor heating pipes, connected to GSHP, transfer heat to building
OVERALL VENTILATION STRATEGY
VESTIS
SUMMER
CONDITIONS Natural Ventilation Mechanical Ventilation Mixed mode ventilation MVHR Location WINTER
MVHR LOCATION | GF
OFFICES & BOH Offices & BOH have been designed to either work with mechanical or singlesided natural ventilation
LABS, ARCHIVE AND WORKSHOPS Need protection from dust and controlled humidity and temperature levels. These two bays will be mechanically ventilated using MVHR all year round.
All functions that can be fully naturally ventilated are placed in the central portion of building
KITCHEN & STORAGE Will also use MVHR all year round to keep a controlled environment for temperature, humidity and dust.
70
SERVICING
FABRIC DUCTING Services become piece of Fabric shooting through the entire building.
KEY
AIR CHANGE REQUIREMENTS
Air Extract
Textile Workshops Ventilation rate 8 ac/h
Air inlet
Design Studios Ventilation rate 5 ac/h
Textiles enhance the MEP by making them appear softer
Roof air intake
Multi-purpose hall (Atria) Ventilation rate 4 ac/h
DESIGN STUDIOS L2 Volume of design studio wing= 2100 m3 Air changes= 5 ac/h Air speed in ducts= 5m/s 2100 x 5 = 10500 m3/h r> 2.9 m3/s 2.9 / 5 = 0.58 m2 Radius> ~ 0.4 m DESIGN STUDIOS L1 Volume of design studio wing= 350 m3 Air changes= 5 ac/h Air speed in ducts= 5m/s
100% Recyclable
A 66% less energy used in manufacture
350 x 5 = 1750 m3/h r> 0.5 m3/s 0.5 / 5 = 0.58 m2 Radius> ~ 0.2 m WORKSHOPS Volume= 1240 m3 Air changes= 8 ac/h Air speed in ducts= 5 m/s 4396 x 4 = 9920 m3/h r> 2.7 m3/s 2.7 / 5 = 0.54 m2 Radius > 0.4 m *Discussions with MEP consultants required to reduce duct size in certain building areas
B
34% Less emissions
Greenhouse
The building is supplied with two localised plant rooms (A&B). Supply A serves the labs, workshops and design studios. Supply B serves the front social avenue.
50% Less water used during manufacture
LIGHTING STRATEGY
VESTIS
72
LUX LEVELS
LIGHTING REQUIREMENTS
Offices | 300-500 lux Storage house | 300 Lux Textile production & crafting| 1000-1500 lux Social Avenue (presentation rooms) | 400 lux Circulation | 150-200 lux Plant Room | 150 lux Textile Archive | 150 lux Zoning Functions with higher lux level requirements are placed on perimeter to maximise natural light exposure
Artificial lighting
SITE CONSTRAINT
Artificial lighting required in spaces that need protection from direct UV light: chemical recycling and archive area. Public spaces (Exhibition, Library, Cafe’) are lit with automatic sensors to respond to the required artificial lighting levels and limit artificial lighting when not needed. Lighting controls will be user-operated in all other education, presentation, archive and production spaces. 8.5m
Winter solstice sun
Summer Solstice sun
The building lies 8.5m away from the bottom right edge of the railway wall to avoid risk of overshadowing spaces.
DAYLIGHTING
VESTIS
A-A) SHORT SECTION THROUGH CENTRAL ATRIUM
2. GROUND FLOOR ATRIA
1. DESIGN STUDIOS
The proportion of glazing and head-ceiling height (44.5m) in the design studios guarantee that the space will be well lit to carry out intricate sewing, cutting, embroidery... etc.
1
B
Light reaches ground floor through top lit roof. Light is diffused through Okalux insulated glazing, preventing glare and over-heating.
2
1
B-B) LABS & SPECIAL CONDITION REQUIREMENTS
3. WORKSHOPS
Other recycling & re spinning processes are places on the outer wings of the building to have access to light and be visible to public
3
5
3
4
6
4
A 5. ARCHIVE MATERIAL
Both natural and synthetic and textiles fabrics are susceptible to UV degradation. The central core of the labs will act as an archive space for the textiles.
B
4. VISIBLE PROCESSES
Looms, embroidery, dyeing and printing machines are all activities that require light (same room height proportion used for design studios)
A
6. RECYCLING
Certain recycling processes use chemicals that need protection from natural light.
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FACADE SHADING STRATEGY
VESTIS
A
PATTERN SELECTION
SOUTH FACADE
When metal is treated as an expanded sheet, it provides a Brise Soleil at void scale. This 3-Dimensional lath will be used to shade the East, South and West façades.
Horizontal Brise Soleil added as part of south structure to prevent solar gains in summer
The “Notre Dame” pattern is the most effective.
SAMPLE STUDY <60° SUN ANGLE
Above 60° (Summer sun angle), the building is completely shaded by the expanded metal lath. Therefore this will be used as the maximum angle of incidence to calculate the ideal void dimension.
45° SUN ANGLE (WINTER)
When at a lower angle, 45° In winter, light is allowed to pass through the facade, allowing for direct solar gains.
INCLINATION TREATMENT By inclining the facade (approximated 2°) the brise soleil effect is maximised and the voids in the expanded metal lath increase, overall, resulting in less use of material
74
FACADE SHADING STRATEGY
VESTIS
B
EAST FACADE
C
WEST FACADE
C
To highlight the central atrium on the facade, the environmental strategy changes as vertical louvres
APPROXIMATING MESH WIDTH
A
B
East / West Facade
The calculation was made using the winter and summer solstice sky angle. EAST & WEST | 20 mm SOUTH FACADE | 40mm NORTH FACADE| To preserve the transparency on the North, flat metal mesh will be used. NOTE| To guarantee heat gain mitigation, further thermal modelling studies with consultants need to be made to prove facade efficacy.
42 °
H
H
South Facade
60 ° H
75
ACOUSTICS: ZONING STRATEGY
VESTIS
KEY Strategic buffer zones WORKSHOPS
SOCIAL AVENUE
STUDIOS
High intensity Medium intensity Medium-low Threshold treatment Movable acoustic panels Street noise
Movable acoustic panels
Buffer zone between offices and workshops
Higher intensity noise in workshops confined closer to BOH area
THRESHOLD TREATMENTS
Mesh absorbs sound from street & railway
Cores act as buffer between design studios and social avenue
GLAZING SPECIFICATIONS
FABRIC DUCTS For the vibration from the workshop to not be transmitted to design studios through the floor slab connecting the studios, an acoustic insulation break runs at threshold line (see key)
Fabric ducts absorb sound meaning that no acoustic attenuators are needed for exposed services.
1 1
2
1
For internal partition glazing, Saflex acoustic glass will be specified
2
3mm glass PVB plastic interlayer (acoustic attenuation)
76
ACOUSTICS: BUILDING FABRIC
VESTIS
VERTICAL PARTITIONS INTERMEDIATE WALLS
1
Corrugated aluminium acoustic liners
2
Rockfon acoustic insulation
1 2
3
CLT Panel
3 2
Internal CLT Partition walls are clad with rockfon acoustic panels and corrugated aluminium acoustic liners. The perforated metal sheet is a resonant sound absorbent and combined with acoustic insulation it becomes an effective sound barrier. Circular Economy Corrugated aluminium liners are used for acoustic purposes in many industrial sheds, the building will try to use as many reclaimed panels from sheds around the London area.
B
A
1
HORIZONTAL PARITIONS INTERMEDIATE FLOORS
ROOF BUILD UP
CLT decks act as an exposed ceiling. Having an asporption coefficient of 0.3 it reduces the reverberation time.
Exposed white Rockfon acoustic insulation panels (absorption coefficient 0.8) mounted onto CLT deck reduce reverberation time.
Upper layer is composed of PIR insulation to attenuate sound from floors above.
Acoustic separation panels
77
ENERGY GENERATION
VESTIS
PV CHOICE The machinery inside the building to carry out activities such as sewing, weaving and so on will require a considerable amount of electrical energy daily. Therefore, the large roof area will be used for solar harvesting.
78
ROOF PROPORTION STUDIES Winter Solstice The 1.5m arch height was selected as externally it does not overshadow it’s adjacent geometry and internally the visual effect of a curve is evident. The 1.5 multiple stems from the proportion of the 4.5m floor-floor height.
1.5m Height
3m Height
Traditional Arch
SOLAR MEMBRANE To adapt the curvature of the roof, a PV solar membrane will be installed for solar harvesting. ENERGY CALCULATION Roof area= 2700m2 | Solar panel size= 1.5m2 | Needed area for 1kWp (Watt Peak) is 9m2 Thus, the energy annual output is 300kWp, and 300,000 kWh Schools, depending on their size have an electricity usage between 1,433,075kWh to 195,221. Therefore, it is clear that solar harvesting can have a significant impact on total energy saving https://climatebiz.com/average-peak-sun-hours-united-kingdom/
WATER MANAGEMENT
VESTIS
RAINWATER COLLECTION Rainfall per year (mm) x roof area (m2) x Efficiency (90%) x Runoff Percentage Coefficient (90%) From approved document G Area= 2700 m2 Rainfall per year (mm) = 690 mm Runoff coefficient= 90% Filter efficiency= 90% 2700 m2 x .69 m/ year x 0.9 x 0.9 = 1509 m3 1509,000 L / yearly 1509,000 L / 365 = 4000 L daily The occupancy of the building is between 800-900 people. If 4L are needed to flush a toilet, this means daily 1000 people can use the toilet. Most likely most of the water requirement needed for the building is supplied through roof harvested water. Collected gutter rain water Redistributed rainwater (W.C’S & Kitchen) Core location Vertical drainage points
RAINWATER COLLECTION The drainage pipe runs vertically in front of the column, perpendicular to the gutter leading to underground water tank, accessible though outside pavement hatch. Water tank location
79
THE FABRIC CERTIFIED PRODUCTS Crittal, an established trusted British provider currently offers on the market “CUIN insulating glass units” with the following U-VALUES: (Double Glazed IGU) 0.4 W/m2K (Triple Glazed IGU) 0.2 W/m2K https://www.crittall-windows.co.uk/services/cuin-insulating-glass/
Roof build up Area| 2205 m2 U-value | 0.12 W/m2K Heat Loss | 264 W/K
Okalux Roof Glazing Area| 630 m2 U-value | 0.4 W/m2K Heat Loss | 264.6 W/K
The facade uses 60% glazing which could involve problems with heat loss.
HEAT LOSS COMPARISON Glazing Facade Area= 2160 m2 Common double glazing U-value | 0.8 W/m2K Heat Loss | 1728 W/K Double glazing CUIN IGU U-value | 0.4 W/m2K Heat Loss | 864 W/K External Envelope Area| 948 m2 U-value | 0.4 W/m2K Heat Loss | 264.6 W/K
Triple glazing CUIN IGU Area| 2160 m2 U-value | 0.2 W/m2K Heat Loss | 420 W/K
Triple glazing CUIN IGU U-value | 0.2 W/m2K Heat Loss | 420 W/K MONETARY CONSIDERATIONS An implication for the client is that using CUIN glass, a more sophisticated material, would imply an elevated cost, assumed to be +25% above average market cost. However by comparing energy savings; Double glazing CUIN IGU | 50% Triple glazing CUIN IGU | 76%
Ground floor slab Area| 2754 m2 U-value | 0.128 W/m2K Heat Loss | 352 W/K
There is a clear scope for saving money, in the long term on the operational building cost.
ALTERNATIVE ITERATIONS
VESTIS
ROOF TREATMENT
REAL-LIFE SCENARIO The amount of heat loss could be significantly reduced by using triple glazing CUIN units. As established during tutorials, only through thermal modelling studies, provided by specialist consultants, we could understand whether the current proposal can effectively control heat loss and gains. The architectural feature of the billowing facade is best expressed in it’s current format. However, In the scenario where thermal modelling studies would show that the amount of glazing had to be decreased, the following design compromises would be introduced.
81
A-A
Metal hollow section placed at joists intervals to support net system. Refer to DETAIL B “ROOF SKYLIGHTS”, Chapter 06Structure
If glazing area on roof had to be minimised, an alternative option could be to reduce the glazing by creating a slit that solely highlights the stair at the bottom of the atrium. This would reduce the amount of glazing on the roof from 30% to 15%. An additional net system could be installed on top of the roof skylights as illustrated in the detail A-A.
PANELISATION SYSTEM Vertical solid stud wall panels alternating with glazing units. This would reduce the amount of glazing from 60% to 30%.
05
Structure
STRUCTURAL HIERARCHY
FOUNDATIONS
VESTIS
PRIMARY STRUCTURE
Concrete pile foundations + Load-bearing tanked concrete basement wall
Glulam timber frame, CLT Cores, Concrete ground floor slab
SECONDARY STRUCTURE
TERTIARY STRUCTURE
CLT decks+ Secondary roof joists
Steel facade fixing
84
EXPLODED ISOMETRIC
VESTIS
85
CLT cores placed in three key points for structural stability
Concrete pile foundations
Secondary concrete wall offset from main basement wall to bring in light from above Trench concrete basement for rigidity and waterproofing purposes
STRUCTURAL GRID 1:250 @A3
1
2
3
4
5
6
VESTIS
7
8
9
10
11
12
13
14
15
16
17
18
19
A
B
C
D
KEY
FUNCTIONALITY & FUTURE RE-USE Glulam Column Grid
Moment connections Directional span
CLT cores Primary beams
Beams providing lateral stability
The generosity and orthogonality of the site allowed for a simple and repetitive structural grid. The 10m span is required for long spans in the labs, workshops and design studios, meanwhile, the 5m span gives more structural stability. As advocated by LETI, designing with long spans and modular elements allows for the structure to be easily recycled into new projects at the end of its lifetime.
86
STRUCTURAL STABILITY | WIND LOADING
VESTIS
87
N
w
E
S
LONDON WIND ROSE
WIND STABILITY As the wind is predominantly running parallel to the facade (South-West prevalent), lateral beams have been designed to be 650mm x 450mm to provide more lateral stability. CLT cores also assist in the rigidity of the structure. Moment connections take load both vertically and horizontally, therefore, preventing the need for cross bracing.
FACADE
VESTIS
B-B
BAY ELEVATION | NORTH FACADE
FACADE AXONOMETRIC
88
BUILDING ENVELOPE BUILD-UP
VESTIS
1 2 3 5
4
6
7 8
B-B Cladding Facade Build-Up 1. 2. 3. 4.
Vapour Barrier 120mm Rockwool insulation 10mm cement board Breather Membrane
5. Rain-screen cladding system, on secondary Metsec structure, with 50mm thermal insulation in cladding track system 6. Aluminium panel 7. Circular hollow section (140mm diameter) 8. Thermally broken window unit
89
FACADE STRUCTURE
VESTIS
Maintenance mesh route
Screw fastening fixing clips
Metal aluminium mesh panels
A-A
450mm gap baseline- minimum required for maintenance
20mm diameter base fixing
90
CONNECTION & PRECEDENT
CONNECTION ISOMETRIC A-A
VESTIS
STRUCTURAL PRECEDENT
2
3
1
1. Bolted circular hollow section (140mm diameter) joined with ellipse cut 2. Screw fastening fixing clips 3. Circular hollow section connecting facade frame to 200mm CLT slab (*See details)
House for Music and Music Theatre of the University for Art in Graz (KUG) Architects: UNStudio
91
CONNECTIONS: “BUILDING SEAMS”
VESTIS
5
3 1
6 2
4
BEAM- COLUMN CONNECTION 1
650X450 Glulam Beam
2
4
150mm shadow gap
5
Steel Flitch plate connection with internal bolting
3
450X450 Glulam Column
Day joint connection (For intermediate screed layer and polished concrete floor finish)
EXPRESSING THE SEAMS The connection of the primary structure in architecture is like the seam of a dress, the weaving together of the structure. To express the delicacy of these seams, the heavy primary structure is connected with light steel flitch plates leaving a shadow gap.
“The buttons” Exposed bolted connection
“The zipper” The cross flitch plate (6) is aligned with the day joint (5) connection creating a seam between the horizontal and vertical structure.
92
A DELICATE TOUCH
VESTIS
7 6 1
5
2
3
4
1
ROOF CONNECTION 1
5
650X300mm Glulam Beam
2
Steel Flitch plate connection with internal bolting
300x150mm Secondary timber joist, white lacquerer finish
3
450X450 Glulam Column
6 Steel bracket, L-profile
4
150mm shadow gap
4
7 C Channels (angle varying depending on curvature)
2 3
GROUND FLOOR CONNECTION DRY CONNECTIONS
1
All of the timber structural elements will use dry connections to facilitate the dismantlement and re-purpose of the structure at the end of its lifetime. These types of connections also ease the process of disassembly.
3
450X450 Glulam Column Concrete floor
2 Rectangular base flitch plate 4
Cross steel flitch plate bolted into column (pinned connection)
93
DETAIL SECTION 1:100@A3
VESTIS
A
B
94
C
D
F
E
G
H
I
0
J
2
5
10
ROOF DETAILS 1:20 @ A3
VESTIS
A. ROOF-SKYLIGHT
B. ROOF BUILD UP
•
• • • •
• • • •
40mm Insulated Okalux glazing framed by VELUX modular system Zinc mullion capping protection Waterproof treated batten Vapour barrier 300mm x 650mm arch beam
• • • •
C. ROOF-EXTERNAL WALL DETAIL • • • •
• • • •
40mm Zinc Capping Aluminium cladding Breather membrane Rain-screen cladding system, on secondary Metsec structure, with 50mm thermal insulation in cladding track system 10mm rigid cement board 150mm x 150 mm Metsec attached to primary structure Vapour barrier 650mm x450mm beam
95
PV Solar Membrane 40mm Zinc Cladding Breather membrane 12mm Plywood sheeting 150mm thermal insulation Vapour Barrier 150mm CLT deck 120mm PIR acoustic Insulation panel
D. OPERABLE LOUVRES • • • • •
90mm metal operable louvre system Breather membrane 10mm PIR insulation 150mm x 150mm Metsec 150mm Rockwool insulation
INTERMEDIATE FLOOR DETAILS 1:20 @ A3
VESTIS
E. HANDRAIL DETAIL
F. EXTERNAL WALL
•
• • •
• • •
20mm perforated metal acoustic liner panel 50mm Rockfon acoustic insulation panel 90mm aluminium handrail support frame 20mm rigid plywood board bolted to intermediate floor and handrail frame
• • • •
G. INTERMEDIATE FLOOR SLAB • • • • • •
10mm polished concrete floor finish 80mm Screed Underfloor heating pipes & electric boxes 50mm Acoustic insulation 80mm Thermal insulation 150mm CLT deck
40mm Aluminium Cladding Breather membrane Metsec rain screen rail structure 50mm insulation 15mm rigid cement board 150mm Rockwool insulation Vapour barrier
H. INTERMEDIATE WALL • • • • •
20mm corrugated aluminium acoustic liners 50mm Rockfon acoustic insulation 150mm CLT wall 50mm Rockfon acoustic insulation 20mm corrugated aluminium acoustic liners
I. GROUND FLOOR SLAB
J. GROUND FLOOR SLABDOOR DETAIL
• •
•
• • • • • •
15mm Polished concrete floor finish 80mm Screed with underfloor heating pipes & Electric boxes DPM 100mm Rigid Insulation Vapour barrier 230mm reinforced concrete slab 50mm sand blinding 150mm Compacted Hardcore
96
• • • • •
Paving lays to fall away from building threshold Slot drain channel Rigid waterproof treated insulation Engineering blocks DPM Thermally broken window unit
ROOF DETAILS @ A3
VESTIS
LONG SECTION 1:50 @ A3
B
A
DETAILS 1:20 @ A3 B. ROOF SKYLIGHTS • 40mm Double glazing • Silicone sealant (between Okalux roof-lights glazing) • Metsec C-Chanel (Profile determined by roof curvature angle) • 150mm x300mm secondary timber joist
A. ROOF-GUTTER • Aluminium gutter capping with integral insulation • 300mmx 200mm Aluminium gutter • Breather Membrane • 50mm insulation • Vapour barrier
VELUX MODULAR SYSTEM The roof glazing system will be composed of a faceted modular Velux operable rooflight system
97
06
Regulations, CDM, Security
PART B: FIRE SAFETY FIRE PROTECTION MEASURES Smoke Downstands Put all around the atrium for thermal and smoke control
100
VESTIS
FIRE DISTANCES Due to the dimensions of the building and the occupant capacity, the fire strategy will need to be engineered. According to BS999, Table 11, for a building typology A1 the maximum two way travel distance should be 65m. This distance applies when minimum fire protections are provided, such as sprinklers, alarms. The atria will be fully protected with fire curtains in case of fire.
Sprinklers & other provisions
Ground Floor
Sprinklers and extinguishers are provided throughout the entire building. An automatic fire detection and voice alarm will be integrated.
Internal Fire Spread (Linings)
35m
32m
Timber elements will be be treated with fire-retardants and all glazing used separating the atrium with cellular spaces will be fire rate. 36m
15m
Escape doors All fire escape doors have been calculated to be 1.8m wide based on the occupant capacity.
Level 1 (Same applied strategy) for Level 2)
43m
ADDITIONAL STAIRS The possibility of integrating two additional stair cores has been considered in the alternative of a fire engineered solution, to reduce the maximum escape distances to 45m for a non fire-engineered strategy .
30m
32m
15m 55m
20m
Key Fire curtains
Fire Compartment
Smoke downstands
Fire protected cores
As the recycling lab could fall under higher risk category, the entire area is fire compartmented
PART M: ACCESS & USE
A
G C
C E D F B H
SITE ACCESS
CIRCULATION
SANITARY PROVISIONS
(A) Parking space is not provided as part of the scheme as there is an existing car park and loading bay in the proximity of the site
(C) Two lifts measuring (2.2x2.2m) and (2.9x2.5m) can accommodate for a passenger in a wheelchair as well as the movement of goods between floors (Carts, stage props…etc.)
(E) All toilets cores are designed to include a disabled toilet.
(B) Cycling routes and parking spaces are provided in the part of the building (BOH landscaping), where commuters also have a direct access to showers and changing rooms.
RAMPS (H) There are no ramps in the scheme of more than 1:20 slope
(D)All corridors and passageways have a minimum dimension of 1.5m or more, depending on the pedestrian and goods traffic
(F) The building is equipped with appropriate changing places (including toilets and showers) on Ground Floor with appropriate dimensions for those requiring assistance in the room.
VISUAL CONTRAST & GLASS MANIFESTATION (G) Taking this scheme further, detailed studies of visual contrast and glass manifestation with specialists would be required.
PART K - PROTECTION FROM COLLISION IMPACT
STAIRS All fire and utility stair comply with stairs regulations. Rise is 150mm and tread is 250-300mm. All landings widths comply with standards. The main hall feature stair is not fully compliant as the first two steps are open for aesthetic reasons. This will be classified as “feature stair”. To protect people from landing corner edge, a feature bench is added.
VESTIS
HANDRAILS
BALUSTRADES
Handrails comply with the stipulated standard (40mm diameter) and are 900mm high.
Balustrades along the atria are also 900mm are per minimum required and there is no gap greater than 100mm.
102
CDM
BEFORE CONSTRUCTION •
• •
VESTIS
MAINTENANCE STRATEGIES INTEGRATED IN DESIGN
CDM Manager and Principle Designer are appointed during early stages and will work closely with construction and design team to control risk through every stage. Site hoarding is assembled and site offices are set up inside the secure boundary site. Checks for ground contamination during site preparation as site was previously occupied by a petrol station
DURING CONSTRUCTION •
• • •
Site access is through a check-in office. Site manager must be at all times aware of people on site. All visitors must be with the manager at all times. Construction workers must wear harnesses and safety equipment at all times Construction only takes place during working house to limit noise impact on surrounding residential complexes. Temporary guarding is installed along the intermediate floors perimeter to prevent workers from falling
450mm gap for maintenance route (minimum requirement)
ROOF CLEANING
FACADE & GLAZING CLEANING
A fall arrest anchor is placed at regular intervals on the roof to allow for safe cleaning. Toughed glass will be specified for skylight cleaning. The gutter is designed to be load resistant and can be used as a maintenance route. Harness must be worn at all times.
Minimum distance kept from the outer envelope of the building immediate and the mesh facade is 450mm, the minimum required for maintenance access.
The building has a dedicated storage area for a cherry picker that will be used for internal maintenance of the atria.
103
NIGHT TIME SECURITY
As the social avenue will be open throughout the night and students will have access to the design studios 24h, measures have been integrated into the building to combine night life with school life.
KEY CARDS
NIGHT SHUTTERS
STAFF & ROPES
Students will access the school at night primarily through the secondary entrances using a key card.
Perspex clear shutters will drop down along the middle line of the bridge on all floors, securing the school from external intrusions at L1 & L2. GF is equipped with glass barriers accessible by key card.
Staff will be located along the social avenue and ropes will be put out at night in key access points Staff Ropes
THE ICONIC EVENING HANG-OUT TRIO
VESTIS
THE STABLES
‘Camden Town is London’s trendiest Sunday hang-out’ ‘many of Britain’s top designers started out with stalls here’. - Daily Express
THE ROUNDHOUSE
07
Process
1. ADDRESSING THE SITE & ESTABILISHING INTENTS
VESTIS
THE ATRIA & THE SITE After re-visiting the site, and the Stable Horse Markets, I understood that my building had to continue with the idea of covered street atria. This would allow me to easily host fashion shows as well as create spaces that overlook into each other. The purpose of the massing options was to understand how to achieve the permeability that Chalkfarm road needed with the atria.
RUNWAY
PERMEABILITY
WEAVING FUNCTIONS TOGETHER
108
2. DESKTOP REVIEW
THE VERTICAL AUDITORIUM During the crit, the atria typology was confirmed to be ideal for the purpose I was trying to achieve in the building and addressing the site. I was advised to step the atria in section to further push the idea of a vertical auditorium and possibly add more variations of geometries in plan. As for the roof, the fluidity was appreciated for my building typology.
VESTIS
109
3. EMBRACING CLARITY
VESTIS
THREE CHANGING SECTIONS
BROKEN DOWN
AM I OVER-COMPLICATING IT? At this stage, the building had three different sections. The broken-down geometries was in conflict with the linearity of the site and created a series of non-optimal spaces. I felt I had to take a step back and strip down my building to the essential of what it should be: a functional machine for fashion, a blank canvas animated by the activities and the students. A CLEAR DIAGRAM
110
4. INTERIM REVIEW
VESTIS
PROPOSED OPTION PREFERRED OPTION
“CLEAR DIAGRAM, MAKE IT TACTILE” I was considering how the building in section could respond to the industrial nature of the site by using a steel truss roof. The execution did not feel too suited for a Fashion hub. The critics were highly positive about the arching roof, recalling the stables, and advised me that the next step should be to think about materiality and the general atmosphere. The simplicity of the plans and the diagram of the building was thought to be clear, however, the architecture had to be more fluid in terms of facade and roof form to express the delicacy of fabric and fashion.
111
5. WHAT’S THE FEELING?
VESTIS
OR RATIONAL & PITCHED?
SHED OR MUSEUM?....FASHION HUB! During this time I thought about the feeling of my building. Was it a rational industrial shed for the production of clothes? Would it suit a rational pitched roof? The building is more of an exposition of processes, crafting and learning. It should have the practicality of a machine, the atmosphere of a museum and the informality of a school. I experimented with timber as a more tactile material to achieve the added layer of warmth that a learning space needs.
SINIOUS & EXPRESSIVE
112
6. TECTONIC REVIEW
THE APPEARANCE The critics were pleased with the balance of timber and metal finishes that recall the industrial nature of the area. The facade was well-received to recall the idea of textiles and creating a dynamic street frontage. The advice was to maximise the proportion of air and lightness by extending the roof glazing.
VESTIS
113
7. THE PUBLIC EXPERIENCE
GROUND FLOOR 1:250
THE SOCIAL AVENUE AND THE PEDESTRIAN EXPERIENCE The arrival corner was initially an open public plaza, however, it did not really add much to the activity or the architecture of the building. The breakthrough of the “Social Avenue” came along. The nature of the building did not require a formal entrance, but rather, an informal public space that could give added functional value day and night. With these considerations, the narrative of street cafe’, flâneur and student breakout spaces became a reality.
VESTIS
114
8. FINAL THOUGHTS The most valuable lesson that I learned in this project is the elegance and effectiveness of simplicity. I started this project going through multiple iterations where I was trying to break down the building form to achieve something complex and diverse. The building started to make sense once I was able to transform every move into a diagram, with no overcomplications. Simplicity is a skill that requires true levels of knowledge and expertises. I believe architects have the responsibility in giving the user a clear sense of navigation and a sense of space throughout the building. With more time, I would explore the intricacies of the façade and exploring how the mesh could have different patterns to express better the sense of weaving fabric. Throughout the project I searched and experimented with facade samples, however, I realised that a detailed studied would require façade specialists and more advanced visualisation skills. I understood that the built environment is a collaborative world; as architects we craft emotions and experiences but truly, in order to push boundaries and take things to the next level, we need the help and collaboration of other professions, maintaining an awareness of our own limits. As I embark on my career I will take with me many of the lessons that I have learned with this project, and of course, the unforgettable years at the University of Bath. Thank you to my tutor, Toby Jefferies, for all your valuable teachings. The Journey has been incredible.
VESTIS
115
“Acknowledge the elegance of simplicity” - GIORGIO ARMANI