D ISSE NTIVE ARC HIV E “Hip Hop is creating something from nothing” -Cit. Kurtis Blow Project by: Liliana Prevedello
Break-dancers in Washington Square Park, circa 1984
CONTENTS
1. Research & Analysis
4. Structural
I n t ro d u c t i o n
B uil d ing s tructure
B re i f i n te r p reta tio n
3. Proposal
Te cto nic s e ctio n 1: 50
E p h e m e ra & mis s ion
Context pl a n 1: 500
2. Thinking & Process
Site sectio n 1: 200
Driv i n g c o n c e p ts
Long se ctio n 1: 100
S i te a n a lys i s
Cli e n t a n a lys is
U N S u s t a i n a b le d eve lo pme n t G o a ls
Lin a B o B a rdi : con ce p tu a l pre ce dent Mas s i n g & c ontex tu a l re s p on s e S o l a r a n a lys i s
Ver t i c a l o rga nis a tion & circu la tion Flo o r p l a n d eve lop me n t
Adjaye a s s oci ates: ma te ria lity & light p re c e d e n t Faรง a d e d eve l o pme n t Mate ri a l i t y p a le tte
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Fra me s tr ucture
GA plan s 1: 200
Front el eva tio n 1: 100 Short se ctio n 1: 100
Cent ral s e ctio n 1: 100
E xternal & inte r na l b uil d ing expe r ie nce
B uil d ing d e ta il s 1: 20
5. Environmental He a ting , s ha d ing & ve ntil a t i on st ra te gy ( Winte r ) Co o l ing , s ha d ing & ve ntl a ti on st ra te gy ( S umme r ) E mb o d ie d ca rb o n & ma te rial sou rc i n g Ra inwa te r ha r ve s ting
S o l a r e ne rg y co l l e ctio n
6. Reflections F ina l re f l e ctio ns
INTRODUCTION The Cross-Bronx Expressway
HIP HOP & NEW YORK
The Bronx
Hip Hop is an urban cultural movement born in the South Bronx of New York in the 1970s from the marginalised African American community. In 1956, during the construction of the Cross-Bronx Expressway and the ‘Slum clearance’ program, initiated by Robert Moses, many were displaced from their homes and the Bronx Youth expressed their discontent through this new form of music. In the later years, Hip Hop became a powerful platform where problems of segregated neighbourhoods and discrimination were highlighted in top-hit songs. Streetwear, Graffiti and Break-dancing made their way in downtown Manhattan and soon, this new cultural movement originating from the marginalised, was welcome as a mainstream genre.
Hell’s Kitchen
“ CELEB R ATING A ND BRINGING HIP H O P I N TO TH E H E ART O F
M AN H ATTAN”
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HI P HOP CU LT U R E , NYC B RONX , 1980s
The intent is therefore to create a building that celebrates the cultural significance Hip Hop has for New York, remembering that the genre first started to express the community needs and highlight its problems. The archive will therefore not only be a remembrance of Hip Hop history but will also provide spaces to benefit the community as a “gift to the city” to encompass the true essence of the culture. Most importantly, the Hip Hop archive will be an extension of the public realm where graffiti and musical performances as acts of social activism can happen spontaneously and daily. Hell’s Kitchen is the perfect setting as it represents the “gritty” part of New York still tied to its urban character rather than the monopolised commercial identity.
H I P H OP CU LTU R E: FIGHTING D ISC RIMINATIO N
ROOTS Historically, rap battles, known as “griots” tarted between the slaves as a form of entertainment and expression during hardworking times.
The Origins
19-20th century
JIM CROW Black people who were not allowed to have instruments due to the Jim Crow laws started using the record player and rapping over jazz and soul music beats. 4 | The Hip Hop Archive
SOUTH BRONX Originated in the African American economically depressed South Bronx in New York City, partially in the 1970s. Caribbean immigrants, African Americans and Latinos settled in communities in the Bronx in NYC.
1970s
1959
GAINING SOCIAL VISIBILITY N.W.A with ‘gangster rap’, explicitly rapping about harsh conditions and criminal activities happening in disregarded neighbourhoods. Many of their songs were a trigger for social protest against police brutality.
“HI P HOP IS CR EAT ING
SOM E T HING F ROM NOT HING”
DISPLACED NEIBORHOODS Cross-Bronx Expressway destroyed many parts of the Bronx neighbourhood as well as a program of ‘Slum Clearance’ initiated by Robert Moses. Bronx youth formed a new creative expression, associated with Hip Hop culture.
1986
1972
GRAFFITI & ACTIVISM Graffiti movement started in 1972. In 1975 young people in the Bronx, Queens and Brooklyn were painting all over the cities with strong political messages as a form of rebellion.
UNITING IN PROTEST During the Black Lives Matter protest, iconic Hip Hop songs have become a powerful soundtrack for the protest to express their discontent with racial segregation.
TODAY
1990s
A NATIONAL PLATFORM Hip Hop becomes so widespread the USA becomes a “Hip Hop Nation”. It represents a reflection of the socio-political and widespread sentiment of marginalized and oppressed communities. Streetwear, graffiti and break dancing become a social symbol of protest.
SI TE ALLO C ATIO N SITE 333 W 46th St, New York, NY 10036, USA
Site II | 333 W 46th St New York, NY 10036
SOCIAL CH ARACTER Broadway street
Neighbourhood historically populated by blue-collar workers and immigrants.
0.58
Racial diversity Index
Ethnically diverse and inclusive social context. Hell’s Kitchen is known for the mix of different nationalities, overall, a welcoming environment which reflects many of the elements of Hip Hop.
PLANNING RESTRICTIONS
Clinton district rules ensure the preservation of lowrise buildings in the area. A unique area of New York which still responds to human scale.
Diverse & Inclusive
GENTRIFICATION Developers seeking to redefine the urban and gritty characteristics of the Hell’s kitchen since 1990. An iconic district of the city for it’s social and urban nature.
PERFORMANCE CULTURE
Located on Restaurant Row, known for the presence of many ethnically diverse restaurants.
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Direction of main pedestrian flow
5m walk from times square - Large touristic inflow and social visibility
Low rise & human scale
Proximity to Broadway street, so many artists and performers will live here, creating the perfect setting for a new urban artistic venue.
Vibrant & musical
CONTE XTUAL ANALYSIS S O CI A L I N CEN TI VES M a nh a t t a n N eed s
Pu b lic S o cia l we lfa re ce nt re s
“Statements of community district needs and community board budget requests2021�
INITIATIVES I. Providing IT resources which can be beneficial both for the Hip Hop music production and public
Lack of of public social welfare and councelling centres in the area (All are private).
II. Provide spaces for learning and informing- Public rentable areas for events of social activism III. Initiative to provide free mental health support in the building.
P H YSI C A L CON TEXT Residential
Commercial Hybrid between commercial and residential- Providing spaces in the building which target both tourists and solid support for the existing community.
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GREEN SPACES
NOISE ASSESSMENT
Limited green spaces around site- Possibility of creating a new leisure green oasis to invite community use.
Proximity to touristic destination makes street very noisy and busy by nature. Therefore, it is appropriate to create a public performance space for day and evening hours.
SITE ANALYSIS TWO BOUNDING WALLS
EXISTING VEGETATION
Site between two walls opens opporunity for graffiti as a core of the Hip Hop cultural movement.
The trees have been on site for the last 10 years. Working with the back of the site to preserve the trees can open an opportunity for a community leisure garden.
SHADOW ANALYSIS
The diagram was taken from an average of the Equinoxes.
The site, despite being in NYC is not majorly overshadowed by any adjacent building. This offers an opportunity for the creation of a pleasant public realm. The N-E and N-W corner are shadowed during evening and morning hours, providing an ideal location for the archive and the recording studios.
EXISTING CAR PARK Historically, Hip Hop parties happened in car parks of Harlem and the South Bronx. The intent is to preserve this external public realm and open and flexible to give a space for these Hip-Hop parties to happen again but in central Manhattan. HARD LANDSCAPING
Preserving existing hard landscaping as a celebration of “street materiality� and to facilitate the possibility of street dancing.
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Hip Hop street dance, 1970s, Bronx, New York
CLIE NT ANALYSIS R ACISM & D E S C R I M I NATI ON I N A ME R I C A
TH E DISENFRANCH ISED High rates of disenfranchised people in the black community are directly linked to the topic of police brutality and prejudice towards this ethnic group. HIP-HOP ACTIVISM People who unjustly lost their right to vote lost the ability to represent themselves. Through Hip Hop they find an alternative way of expressing their political and social beliefs, making their voices heard, thus, regaining partially a form of self-representation.
SEGREGATED NEIGH BOURH OODS
The phenomenon of racial gentrification pushes the non-whites towards redline neighbourhoods. There is a clear correlation between race and house owning statistics.
HIP-HOP ACTIVISM The building will welcome people who seek for a platform for social activism to debate this topic and highlight this social issue through the power of voice and music. Not only through music but through meeting hubs and events space.
PEOPL E A F F EC T ED BY IL L EGA L AC T IV IT Y
Shayanne Gal, Andy Kiersz. “26 Simple Charts to Show Friends and Family Who Aren’t Convinced Racism Is Still a Problem in America.” Business Insider, Business Insider, 8 July 2020, www.businessinsider.com/ussystemic-racism-in-charts-graphs-data-2020-6?r=US&IR=T.
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People who have been involved in these activities in the past and are willing to speak out about it, expressing the struggles of living in these daily realities.
WOMEN’ S RIGH TS
In Hip Hop music videos, the figure of the female has often been sexualised. The building will address this phenomenon through architectural statements such as unisex toilets and the events/ talk space.
DISSENTIVE ARCHIVE Breif Interpretation
LEARNING
INFORMING
“Gift to Hip Hop”
“Gift to the City”
Physical storage of Hip Hop vinyl with explanations behind the meaning of the lyrics in relation to community issues.
ARCH I VE
130 m2
A timeline of Hip Hop history and the impact it had on the city. The exhibition space will provide free record players where people can listen together or individually (with headsets) to the vinyl from the archive.
200 m2
E XH I B I T I O N
P UBL IC CO MM UN IT Y SPACES
•Space to host talks (e.g. Ted Talks) about segregation, gender and discrimination issues • Community space will be a flexible activist platform where any emerging social issue can be highlighted
150 m2
EXPRESSING Additional facilities for the community
“Gift to the Artists”
RESOURCE ROOM (IT & STUDYING ROOMS)
•Free rentable renting studio at the disposition of the local community
•Incentive for young artists to express social issues through the power of music • Echo their voices through the internet (with IT spaces at disposition in the building) and in the performance space on the lower level
70 m2
RECO RD ING STUD IO S
150 m2
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Rooms with free-accessible computers which can be used as resource for the community and artists to publish their songs online.
PU B L IC OPEN PER FOR MA NC E S PAC E
250 m2
COUNSELLING ROOMS
Disinfranchised, Economically disadvantaged in segregated neighbourhoods who need psychological and emotional support .
70 m2
ARC HIV E & TH E E P H EMER A PUBLIC VINYL ARCHIVE My archive wants to celebrate vinyl and the record player as the two elements which gave birth to Hip Hop. Instead of being stored away, the collection of vinyl will be open to the public. They can open them and listen to them in the exhibition space under the guidance of a “vinyl librarian” who will teach them how to handle them with proper care. There will also be an additional room to store vinyl which will only be put on display. This room will be north-facing and kept at an 18 ° temperature.
TEMPERATURE & HUMIDITY NEEDS The ideal temperature for human comfort and vinyl storage is 20-21°. Both exhibition and vinyl archive will have to be completely dark and kept at a humidity of 40-45%.
During the Jim crow laws, black people who were not allowed to have instruments used the record player to make music and started rapping over jazz and soul music track. Therefore, inventing a new way to make music. The archive celebrates the Vinyl as the start of everything.
“Hip-hop is creating something from nothing”Kurtis Blow
BUILD I N G M I SSI ON & SPACES HEAL COUNCELLING OFFICES
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JIM CROW LAWS (1830-1965)
I NFORM
EXPRESS
COMM UNITY HUB S & IT RESOURCES
RECORDING STUD I O S & PERFORMANCE PI A ZZ A
TARGETING UN SUSTAINABLE DEVELOPMENT GOALS
3. Providing support through counselling hubs for those who need psychological and emotional support and are suffering from discrimination/harassment. (Women / Desinfranchised / People of colour)
4. Giving resources such as IT rooms & events spaces where social issues can be discussed. Educating people on discrimination through the powerful tool of Hip Hop that can attract large audiences. 5. Representing women and giving them a platform to outspeak their experiences with discrimination and harassment.
7 & 6. Powering building through sustainable renewables such as solar power and rainwater collection. 9. Using recycled and recyclable materials which the building is achieved through the use of steel and corten. Sourcing materials on a local scale in order to reduce the embodied carbon values and transport energy. 11. Designing a building dedicated to empowering the marginalised communities of New York through the power of music.
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DRIVING CONCEPTS
P R EA M B L E
PERFORMANCE
LINGERING
Celebrating Hip Hop as a cultural and political movement born from the streets. Creating a space where performances can happen spontaneously within the pedestrian realm.
Creating “inhabitable amphitheatre steps” where people can linger during the day. Showing that Hip Hop originates from a united community that wanted to express in an artistic form the issues of the neighbourhood.
Jan Gehl, Global leader in people centered urban design: “It is not enough merely to create spaces that enable people to come and go. Favorable conditions for moving about in and lingering in the spaces must also exist, as well as those for participating in a wide range of social and recreational activities.” - “Life between buildings”, 1987
“Wherever people stay for a while, they seek out places along the edge of a space”- Jan Gehl Ampitheatre and community garden as the edge space.
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DRIVING CONCEPTS
SOCIAL/ POLITICAL STATEMENTS Site between two walls, one wall will be covered and the other will be celebrated with the art of graffiti.
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LINKING MUSIC TO COMMUNITY
PRIVATE VS PUBLIC
To target public needs (open and livable spaces) and community needs (private and safe). I decided to divide the building into two volumes connected by “the music bridge”.
Creating two public realms- One for Hip Hop to express political and social themes through the art form and one private green oasis for the community.
CONCEPTUAL PRECEDENT Mu s e u m o f Ar t of S ão Pau lo Assis Chate aubriand | Lin a B o B a rdi | 1947
Building for flexibility and allowing people to express themselves
The precedent has been chosen for it’s social and political architectural value which also wants to be achieved in the Hip Hop building.
Defining a new public realm using negative space (continuation of existing street)
Creating a Piazza & scooping pedestrians in from main street. 14 | The Hip Hop Archive
Bold statement through it’s use of colour, negative space and structural support system.
Public piazza becoming a political statement (giving it importance with ampitheatre steps)
MASSING & CONTEXTUAL RESPONSE B uil d i ng h e i gh t
Aligning the height of the building mass to the adjacent residential buildings as a symbolic expression of closeness to the community. Graf fi t i & p e rforma nce
Cutting the building mass to celebrate the existing wall site as a canvas for “graffiti” to express socio-political messages 15 | The Hip Hop Archive
Publi c realm
Fu nct io ns
S o la r ga ins
Creating a central public space open to the street. Opening up the possibility for spontaneous performances.
Dividing spaces into two volumes representing the two main elements of hip hop: the music and the community.
Raising upper level of left block to maximise solar gains for sun energy collection.
A s af e s pace
A m p h it h e a t re
Brid g e
Creating a private safe garden space for the community (in contrast with the front public space dedicated to attracting pedestrians)
“Hip Hop was born on the streets”- Celebrating the street as a stage by creating an amphitheatre looking onto the street where the performances will happen.
The public building (dedicated to music) and the private community building are connected by the symbolic bridge of music. This will act as the lighting rig for performances and as the backdrop light show.
SOLAR ANALYSIS & DESIGN MOVES Minim ising a rt ificia l ligh t
M o rni n g W i n te r Eq u inox
Afternoon Winter Equinox
Rooms which require most hours of daylight (Counselling rooms, Resource room and meeting hubs will be placed on the left block) to minimise the use of artificial sunlight. Minim ising so la r ga ins
M o rni n g S p ri n g Eq u inox
Afternoon Spring Equinox
The most energy-intensive rooms of the building will be the recording studios (using on average 80KW electrical energy per day). To further minimise their energy use, they will be located on the right block as it is the area on site which gets the least sunlight. Similarly, the only exposed wall of the archive on the ground floor receives shadows cast by the adjacent front wall during evening hours. S o la r Ene rg y Roof of left block is raised one storey higher to maximise solar gains for roof solar panels.
M o rni n g S u m m e r Eq u inox
M o rni n g Au t u mn Eq u in ox
Afternoon Sum m er Equinox
Afternoon Aut um n Equinox
S h a d e & At m o sp h e re Bridge will also become a shading device for the ampitheatre steps so that people will be able to inhabit and linger both during the day and during the night. The private garden is placed on the area on site which receives more shade for it to become a pleasant and secluded oasis during the summer where people can stay for longer.
VERTICAL ORGANISATION PUBLIC VS PRIVATE
Public
CIRCULATION ACOUSTICS
SPACES
Private
Public spaces are placed on the ground floor for better engagement with public. Private spaces are on the upper floors for privacy & noise reduction.
Noisy
Quiet
Counselling offices
L3
Isolated and private. Placed on the most upper floor for privacy and noise isolation.
Rec. Studio & Resource room
L2
Placed on the upper floor for acoustic isolation from main street and performance space.
CIRCULATION CORES Two circulation cores will be provided to maximise the efficiency of circulation. The left building will have dedicated stairs and elevator accessing spaces of community use, whilst the right building will be for public use.
Meeting & events spaces
L1
Private entrance for the community at the back, yet still directly accessible from the street. On lower floors as these rooms will get noisier when in use. Exhibition & Archive
L0
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Spaces were designed for direct engagement with the street. Will also become the noisiest.
SERVICES This will also provide the opportunity for two service cores with two dedicated ventilation systems on the roof to ensure efficient ventilation throught the whole building.
GROUND FLOOR DEVELOPMENT FUNCTION
ACCESS & ENTRANCE Main pedestrian flow Tourist Access
Community Access Staff access Main Entrance
L EV E L 0
• Exhibition and archive need to be on the ground floor to directly invite public in: a physical incentive to learn about Hip Hop culture
• Representing music as the building plinth to all community resources happening on upper levels LIGHTING Archive and exhibition connected as interacting with the vinyls is an integral part of the exhibition experience. Artificial daylighting
• Double insulation and draft lobby entrance will be provided for vinyl archive in order to maintain constant humidity and temperature of 20°.
Solid wall
Natural Daylight
Glazing
PUBLIC / PRIVATE Public (controlled)
ARCHIVE Private staff entrance as the archive will be public accessible when the vinyl librarian is present.
Public
EXHIBTION
MUSIC DIPLAY / SHOP
FIRST & SECOND FLOOR FUNCTION
ACCESS & ENTRANCE
DAYLIGHTING Natural Daylight
Entrance to private building
Glazing
Entrance to public building
L EV E L 1
• Events numerous
space topics
used to affecting
talk the
about the community
Meeting Hubs
• Free rentable & flexible meeting rooms used to organise performances, talks or other community activities in the building.
Events space South facing windows to maximise solar gains during winter. (see pg. 48 for shading devices)
• Private back entrance with connection to the private garden to give a sense of unity and privacy- “A safe and intimate space yet active and dynamic”.
Natural Daylight
Private circulation core
L EV E L 2
Public circulation core
• Private and quiet rooms. IT/ resource rooms are connected to the recording studios so that artists can benefit from computers to publish their songs/ edit their covers...etc. Similarly, the community can use these rooms to interact with the artists • Placed on upper levels as both rooms need a degree of privacy and acoustic isolation
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Dim light
IT ROOMS
REC. STUDIO
Overheating from IT devices in recording studio needs to be controlled through the location on site (to receive more shadowing) and a limited amount of glazing. Psychological studies have also shown that darker recording studios help calm and relax the artist and boost creativity. However, some glazing will be included to minimise the amount of artificial light to save energy.
BRIDGE & THIRD FLOOR FUNCTION
VIEWS IN & VIEWS OUT
• Central piece of building: People from the street can see the unison of the community suspended above the performance avenue.
‘ART ISTS HU B’ L EV E L 2 • Creating a hub which connects with recording studios and IT/ resource room to allow the community to interact and socialise with artists (strengthening the Hip Hop community)
• From the inside of the bridge one can admire from a key perspective the three main external spaces: the graffiti wall, the performance piazza and the private community garden
• Suspension for lighting rig illuminating performance happening on the piazza FUNCTION
ACCESS & ENTRANCE
Private circulation core Roof access
DAYLIGHT
Natural Daylight
L EV E L 3
• The most intimate space of the building which is located in the most isolated part of the building.
COUNSELLING ROOMS
• Accessible only from one core to guarantee privacy and isolation of the spaces
• On the upper floor the space recieves more light. Block placed back to obstructing wall so every office can recieve natural daylight.
MATERIALITY & ARRANGEMENT PRECEDENT Sm i t h s on ian N at ion al M u seu m of African Ame rican Histor y and Culture | Ad jaye As s o ci a tes | Wa s h i n gton DC, USA
Light & symbolism I have explored this precedent in relation to its symbolic use of light. During the daytime, the dappled light shadow seeks to create an atmosphere of comfort: One does not feel fully exposed to the outside world as with a fully glazed facade, but rather in a protected and healing environment.
During the night, the perforated facade illuminates the building like a box containing the building as a “special object”.
“The openness to light is symbolic for a museum that seeks to stimulate open dialogue about race and help promote reconciliation and healing. “- Ad j aye A sso cia te s
Horizontality & Monolithic material celebration
Symbolic vertical layout of floors The verticality of the floor represents a historical journey through the building: from history to present. Similarly, the arrangement of spaces will have a vertical symbolism of public to private- communal and isolated. Moreover, as the African American History holds as a Plinth the present, the Public realm of the Hip Hop building holds as a Plinth the community resources.
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FACADE DEVELOPMENT MATE RIALITY
PL AYING WIT H L IG H T
“Hip Hop is creating something from nothing”. From the South Bronx it penetrated the urban fabric to highlight social issues. It has converted the USA into the “Hip Hop Nation”. The building will be designed with materials that are resistant in time to express the resiliency Hip Hop.
I have chosen Corten for the building cladding as it reflects the essence of Hip Hop of forming its beauty in harsh weather conditions. The rust on Corten is what makes the material beautiful for what it is, also as it ages through times. It is thanks to the resiliency of the community, metaphorically, their protective “rust shield” that Hip Hop was born in the first place.
Exploring the concept of playing with the density of the material (Using solid or mesh to create different denities of light)- Dividing the facade into multiple modules with different densities. SOLID & PERFORATED was the final selected pattern.
CONTEXT MATERIALITY Corten ages through time with brown/ orange and grey tones which blend with the adjacent terracotta or brick clad buildings.
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Understanding how to create patterns of light to create the scenic atmosphere of the archive.
DAY ATMO SPHE RE
T h e Fa ca d e
Light penetrates inside the building to create a calm and healing atmosphere N I G HT ATMO SPHE RE
The facade will be a hybrid of perforated, placed on top of the glazed areas, and solid panels. The perforations of the panel will create an emotional experience in the community spaces where one goes to find comfort and hope. Whilst discussing problems of activism, one is continuously surrounded by this beautiful “rust” which acts as a shield of protection and privacy from the outside world: the focus in that moment is what is being discussed in the room, rather than the frenetic New York atmosphere.
Light penetrates on the outside through the perforations to create a spectacular atmosphere for the performances. 23 | The Hip Hop Archive
During night time the Archive becomes a “lightbox” where the light shines through the perforations to illuminate this corner of restaurant row, where Hip Hop brought a new light of hope to the marginalised.
MATERIAL PALETTE P RI M A RY
SECON DA RY
INTERNAL FINISH ES STEEL
ASHCRETE
Steel structure used for long spans required in building (music bridges and flexible community spaces). The building acts as a backdrop to what is the front main performance space and “graffiti canvas wall”. A steel frame allows the building to achieve this light effect.
A sustainable alternative to regular concrete: a by-product of coal combustion, that substitutes cement with fly ash. Uses 97% recycled materials. (Easily accessible on a local scale- see pg. 49). This material is used to ensure the durability of the amphitheatre steps which for the next 100 years will be “inhabited” and stepped on daily. Moreover, the use of concrete is a continuation of street materiality, therefore, where Hip Hop was born: “on the streets”.
Sustainable structural measurements are discussed on pg. 49. CORTEN
CORK INSULATION
Easily recyclable and requires minimum maintenance due to its great level of self-protecting atmospheric resistance.
Chosen for its excellent acoustic insulation properties as the building is designed to be very noisy on the outside.
VEGETATION
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Wall finishes for community rooms to covey a feeling of warmth and saftey. Also used for sound absoption properties, ideal for the events space.
CORK INSULATION Exposed cork insulation in recording studios for acoustic buffer.
It has a low embodied energy value and is easily acessible locally. (pg. 49) OUTSIDE
Used for community garden on Level 1. Gives sense of leisure and relaxation I want to express in the private garden.
TIMBER PANELS
Long-wave radiations reflected back inside
INSIDE Glass transmits short-wave radiations
Heat loss is minimised through Low-E coatings of surface glazing
CARPET
LOW- E COATING TRIPLE GLAZING Used for all windows of the building to prevent heat loss in building and increased U-Value minimises energy loss.
Used in recording studios, counselling offices and Resource room as an additional acoustic buffer.
Context Plan 1:500
1:500
0
10
20
30
40
50
Level 0 1:200
1.2
2
3
1
4 9
5
7
6
8
10
KEY
11
1:200
0
4
8
12
16
20
1. Public Vinyl Archive 1.2. Private Vinyl Archive 2. Pump Room 3. Exhibition 4. Pump room 5. Toilets 6. Cleaning closet 7. Service core 8. Draft lobby 9. Storage room 10. Foyer/ Modern music display room 11. Performance space
CONTEXT VIEW
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L0
EXHIBITION SPACE
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L0
Level 1 1:200
2
3
1
4
5
6 7
KEY
1:200
0
4
8
12
16
20
1. Flexible meeting rooms 2. Service core 3. Community garden 4. Draft lobby 5. Service core 6. Toilets 7. Events/talks space
COMMUNITY GARDEN
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L1
COMMUNITY ROOM: AN ACTIVISM VENUE (L1)
L1
Level 2 1:200
3
4
2
1
6.1 5
6
7
6.1
0
4
8
12
16
20
9 KEY
10.1
1:200
8
10
10.2
1. Recource (Free-IT) room 2. Cleaning closet 3. Toilets 4. Service core 5. Artist’s Hub 6. Recording studio A 6.1 Vocal rooms room 7. Service core 8. Service room (Eg. Electrical) 9. Toilets 10. Recording studio B 10.1 Instrumental 10.2 Vocals
BRIDGE: THE ARTIST’s HUB
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L2
Level 3 1:200
5
5
3
4
2
1
7 6
KEY
1:200
0
4
8
12
16
20
1. Counselling office A 2. Counselling office B 3. Counselling office C 4. Waiting space 5. Service core 6. Roof with solar panels 7. MVHR system
SITE SECTION 1:200
1:200
0
4
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8
12
16
20
FRONT ELEVATION 1:100
1:100
0
2
4
6
8
10
LONG SECTION 1:100
1:100
0
2
4
6
8
10
EVENING PERFORMANCE
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L0
CENTRAL SECTION 1:100
1:100
0
2
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4
6
8
10
SHORT SECTION 1:100
1:100
0
2
4
6
8
10
BUILDING STRUCTURE FACADE- EXTERNAL WALL STRUCTURE
OSB Board (12mm)
Roof Structure (2° Incline)
Vapour barrier
Cork insulation (150mm) OSB Board (12 mm) DPM
Building Envelope
Cladding metal Corten panels
Metal rail cladding system (fixed to beam structure on every floor) Corten panels (seamless fixing) - 1.6 x 1.2 m
Steel structure
Pile foundations
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GRO UN D F LOOR 12
*All floors follow the same grid. Key plans for strucrure are shown below.
12
8
37
10
12
5
FRAME STRUCTURE A steel frame building has been chosen for the long structural spans in the building design. Reflection on reducing embodied carbon of this material will be made later in the report.
18
10
S ECO N D F LOOR
12
8
15
12
12
5
*Additional support
5
truss
19
10
15
17 LEGEND Components
Primary
Service core
Steel structure lift
Secondary Columns
BRIDGE STRUCTURE Bridge will be connected to main structure. Supported by an exposed warren tuss for the 16m span.
Furthure calculations would be required to precisely define element dimensions. Estimare given to be 1.5m in depth with 100mm steel elements.
TECTONIC SECTION 1:50
D.4
D.3
D.2
D.1
BUILDING DETAILS 1:20 AXONOMETRIC CONCRETE STAIRCASE CONSTRUCTION
D.1 STAIRCASE- GROUND- WALL DETAIL C-C
A.1
Ground Floor
C
Staircase void 150mm Void
*Independent building
structure
from
PRODUCED BY AN AUTODESK STUDENT VERSION
2. Polished Screed 80mm 3. Heating pipes (40-55mm cover) 4. Rigid Insulation 150mm 4. DPM 5. Concrete slab 200 mm 6. Sand binding 50mm 7. Hard core 150mm 8. Concrete pile foundation
L- Bracket fixed on concrete step for rain protection
Concrete steps placed on top of the load bearing walls
A.2
C
(III) 150mm gap between main wall and concrete stair wall for rain gutter drainage system- See Detail D.1
Gutter (140 mm) in 150mm void between concrete stair structure and external building wall. Supplementary rain protection given by Lbracket (see A.1)
PRODUCED BY AN AUTODESK STUDENT VERSION
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(II) In-situ concrete loadbearing walls following main geometry of the stairs (300mm deep sitting on pile foundation)
BUILDING DETAILS 1:20 D.3 INTERMEDIATE FLOOR- EXTERNAL WALL DETAIL
*A
*A
External archive wall will be provided with double insulation (Extra 150mm) to guarantee the thermal efficiency of the space. See D.1 full wall structure
D.1 BRIDGE- INTERMEDIATE FLOOR JUNCTION
*Bridge floor detailed to minimise thermal loss (continious insulation through floor and building fabric). * Bolted connection between beams and columns to ensure future recyclability of steel elements.
A
A B
B
D-D
D
D
1. Laminated zinc roof cladding 2. Screed (40mm)- (2 ° Incline) 3. DPM 4. Cork insulation (150mm) 5. Vapour barrier 6. OSB Deck (18 mm) 7. Steel decking 8. Universal beam (406 x 140 x 39mm) 9. Service zone 10. C-profile bracket supports 11. Ceiling plasterboard finish
A-A
B-B
Intermediate floor 1. Carpet floor finish 2. OSB Deck (20mm) 4. Cork insulation (150mm) 4. Vapour Barrier 5. OSB Deck (20mm) 6. Steel decking 7. Universal beam (406 x 140 x 39mm) 8. Ceiling service zone 9. Ceiling plasterboard finish
External Wall
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
D
1. Carpet finish 2. OSB Deck (18 mm) 2. Cork insulation (150mm) 3. OSB Deck (18 mm) PRODUCED BY AN AUTODESK STUDENT VERSION 4. Steel decking 5. Universal beam (406 x 140 x 39mm) 8. Service zone 9. C-profile bracket supports 10. Ceiling plasterboard finish
1. Corten rain screen panels (10mm) 2. Metal rail cladding system 3. Support bracket 4. DPM 5. OSB rigid board (12 mm) 5. Cork insulation 150mm 6. Vapour barrier 7. OSB rigid board (12 mm) 8. Universal column (406 x 140 x 39) 9. Wall wervice zone 10. plaster board finish
PRODUCED BY AN AUTODESK STUDENT VERSION
D
PRODUCED BY AN AUTODESK STUDENT VERSION
D-D
PRODUCED BY AN AUTODESK STUDENT VERSION
D.4 BRIDGE ROOF JUNCTION DETAIL
HEATING, SHADING & VENTILATION WINTER STRATEGY
Inlet fresh air
Air tightness and temperature control
MVHR
Extraction of stale and damp air
Areas of the building which need to be particularly airtight as they need to be kept at specific temperatures have been supplied with draft lobbies. (Archive, Recoding studios & Exhibition). Using double doors will allow better control of the room temperatures and humidity, thus saving energy. These will also provide the benefit of sound insulation needed for recording studios.
Recording studios
MVHR routes places in service core on every floor next to elevators (see plans) for every floor to have fresh air supply.
Stale, hot air from toilets, IT & pump rooms
MVHR
Fresh & heated air from MVHR redistributed in key spaces throught building
DRAFT LOBBIES (See also GA Plans L-0,L-1,L-2) HEAT PUMP
Key spaces in need of solar gain during winter placed south.
HEAT PUMP
Exhibition/ Archive
MHR CORES
Ventilation: During winter, the building will be fully mechanically ventilated through the MVHR system. Every room will be supplied with an air extractor and a fresh air inlet (both as far as possible from each other) which will be connected to every floor through the service core. The building will also be supplied with demand control ventilation to save energy (Inlets only open ar certain humidity level to discharge stale and hot air). Heating: Heating for the building is supplied by ground source heat pump (placed in the ground level pump room in proximity to the service core), in combination with the MHVR system. Moreover, rooms in need of solar gains (Meeting rooms, community building‌ etc.) are south facing.
MVHR routes going in service core connecting every floor to air vents.
On Plan
On Roof
COOLING, SHADING, VENTILATION: SUMMER STRATEGY SUMMER BYPASS Inlet fresh air
MVHR
Extraction of stale and damp air
Counselling rooms all provided with openings for single sided ventilation (feasible- 4m max span)
MVHR routes places in service core on every floor next to elevators (see plans)
Natural cross-ventilation in meeting rooms (feasible12m span room)
HEAT PUMP
Key community spaces supplied with natural ventilation strategies (see plans).
Level 3 Counselling Hubs (Max. 4,5 meters depth) Single-sided ventilation Manually-openable windows
Additional Cooling effect by double skin facade (see pg. 48)
Ventilation: Due to high summer temperatures and pollution levels in New York, most spaces will be mechanically ventilated through summer by using MVHR with summer bypass (filtering air without recovering heat). The option of natural ventilation is however integrated into the design as a supplementary ventilation system. Spaces in the community building (meeting, counselling, IT and artist’s hub) are supplemented with manually openable windows. Openings are designed for cross and single-sided ventilation.
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Natural Ventilation Community-use rooms which can benefit from natural ventilation during the summer are all placed on North-West block to benefit from natural ventilation currents.
Cooling: Ground source heat pump used as a heat sink in summer, discharging hot air into the ground and providing cooling for all building floors. Additional cooling is given by the double skin façade and shading devices (see pg. 48).
Level 2 IT/Resource room (9 meters depth) Corss ventilation Manually-openable windows
Level 1 Flexible Meeting Hubs (11 meters depth) Cross ventilation Manually-openable windows
SHADING DEVICES
VENTILATED DOUBLE SKIN FACADE
Perforated Facade
An additional cooling effect are also brought by the double skin facade.
Most of the south facing rooms (events space, meeting hubs, IT and counselling rooms) need privacy and reduction of glare. Automatic internal blinds will also be provided to further control glare.
Horizontal Shading Device Bridge will be equiped with a retractable overhang which will slide out of the roof during summer days. The overhang will be 1.1m to shade the entire 3.5m glazed facade.
SUMMER During summer, the 150mm cavity between building and corten panel and the insulated wall, creates an air chamber which allows the overheated air to flow through and be expelled at the top of the building.
The stack effect is therefore given by the difference in temperature between the outside air and the air formed in the 150 mm cavity (the air chamber) which creates the airflow movement. WINTER During extreme weather conditions, it acts as a barrier for extreme temperatures, winds, and sound. This decreases the amount of thermal bridge in the building, thus, improving the building’s thermal efficiency.
The air flux in the cavity also has a function of transpiration of the facade and decrease of the humidity factor. Air chamber formed by cavity Protection from extreme weather conditions reducing thermal bridges
Outdoor Blinds
Air Flow movement given by stack effect
On the bridge south facade, automatic external roller blinds will be integrated as a shading device. During summer the blinds will lower depending on the angle at which the sun hits the glazed facade of the bridge. With more time, the option for a vertical shading device could have been explored.
OUTSIDE
INSIDE
Outside-inside temperature difference
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https://www.researchgate.net/publication/312040800_Double_Skin_Facade_Effect_on_Thermal_ Comfort_and_Energy_Consumption_in_Office_Buildings
SOURCING MATERIALS REFLECT IO NS
BU IL DIN G M AT ER I A LS Steel Structure transported by truck from: Nucor Steel Auburn embodied carbon= 0.73 kgCO2e/kg density = 7800 kg/m3 requirement = 12 m3 embodied carbon = 68,328 kgCO2e Corten embodied carbon= N/A density = 7800 kg/m3 requirement = 600 m2
Cork insulation transported by truck from: embodied carbon= 0.19 kgCO2e/kg density = 200 kg/m3 requirement = 310 m3 embodied carbon = 11,780 kgCO2e
Triple glazing embodied carbon= 65.5 kgCO2e/kg requirement = 190 m3 embodied carbon = 12,445 kgCO2e
In-situ concrete foundations transported by truck from: American Coal Ash Association, N.Y, (Company which uses fly ashmore sustainable alternative to normal concrete) embodied carbon= 0.112 kgCO2e/kg density = 2400 kg/m3 requirement = 143 m3 embodied carbon = 38,430 kgCO2e In-situ concrete staircase transported by truck embodied carbon= 0.112 kgCO2e/kg density = 2400 kg/m3 requirement = 53,2 m3 embodied carbon = 14,300 kgCO2e
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Embodied Carbon (KgCO2e)
REDUCING EMBODIED CARBON
In-situ concrete staircase
From these results, the steel frame structure has the highest level of embodied carbon. In order to reduce these levels certain provisions will be undertaken:
In-situ concrete foundations Triple glazing
(Electrical furnaces)
Cork insulation Steel Structure
0
10,000 20,000 30,000 40,000 50,000 60,000 70,000 80,000
Steel production methods differ between BOS (oxygen furnaces) and EAF (Electric furnaces). The latter is the most sustainable method as it uses from 90-100% recycled steel scrap. Similarly, when the building will be dismantled, the steel members will be fully recycled for the next construction. S OU RC ING A PPROPR IAT E LY
American Coal Ash Association (123 km)
Nucor Steel Auburn (245 km)
NYC
All materials will be sourced locally within the state of New York. In particular, concrete and steel which are the materials with the highest level of embodied carbon (see map).
In order to reduce the embodied carbon value for the steel components, they will be sourced locally from the company “Nucor Steel Auburn”. They produce steel using EAF technology “by recycling over 1 billion pounds of scrap steel every year”. Components will therefore be transported by truck.
RAINWATER HARVESTING NYC RAIN
R E D U CING OPE R AT I O NAL CAR BO N
Roof 1 Roof 2 ° Pitch
Consistent precipitation patterns through the year means that rainwater collection becomes an effective system to supply water for the building.
Rainwater collected by gutter Rfrigeration rec. studio
Need in building: • Rain water collection will be used to supply water for toilets and services
Toilet Flushing
Irrigation private garden
• Irrigation for back private garden
Rainwater collected by gutter
Roof 2 Roof 2 ° Pitch
Rainwater brought to places of interest throuh tubes in service core (All vertically stacked)
Rainwater cistern
BLOCK B
Underground cistern with filtering system
Rain Water Collection The large area of the two roofs will allow to collect a good amount of water which will be transported, by the gutters, to an underground cistern incorporated with a water purifying system.
To�let Flushing
Rainfall per year (mm) x roof area (m2) x efficiency (90%) x runoff percentage coefficient NYC rainfall is around 1144 mm per year Roof 1
1144 mm x 140 m2 x 90% x 90% = 129,729 L
Supplementary AC
129,729 x 15% collected rain per year = 19,459 L tank Roof 2
Rainwater cistern
BLOCK A
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1144 mm x 200 m2 x 90% x 90% = 185,328 L
129,729 x 15% collected rain per year = 27,799 L tank
SOL AR ENE RGY CO LLEC TIO N I N T E G R AT I O N O F S O L A R PA N E L S South-West direction of the site allows a large exposure to sunlight, meaning it is an effective use to integrate it as a renewable in the design. The roof is as tall as the adjacent buildings to prevent overshadowing. Considerations To maximise the power gain from solar panels, the building will be designed with easy access routes to the roof top. (Access from Level 3). The inclination of the panels can be adjusted depending on the season. Optimum solar panel angels for season: These tilts will be manually adjusted for each season. New York Latitude | 40.7128° N, 74.0060° W
R E D U CING OPE R AT I O NAL CAR BO N
E S T I M AT E O F P O W E R O U T P U T G E N E R AT I O N Solar panel watts x average hours of sunlight x 75% = daily watt-hours (75% accounting for all variables that reduce solar power efficiency i.e. snow, pollution, etc.) Usable roof area for panel installation Roof A (80 m2) - Roof B (130 m2) Total= 210 m^2 Day with MINIMUM hours of sunlight 21 December (5 hours) 600 x 5 x 75% = 2250 daily watt hours
2250 / 1000 = 2.25 Kilowatt hours per solar panel (Approx. solar panel area) = 2.4 m2
210 m2 / 2.4 m2 (area of solar panel) = 87 solar panels
Winter 26 ° | Spring / Fall 49 ° | Summer 72 °
Total Kilowatts produced per day 87 x 2.25 = 195 KW
Day with MAXIMUM hours of sunlight
Level 3: Access point for both roofs
20 June (9 Hours)
Solar panel tilt
KEY Roof 1: Access from counselling rooms. Crossing bridge to arrive to roof (further safety measure to be studied). Roof 2: Access from main staircase core
600 x 9 x 75% = 4050 daily watt hours 2430 / 1000 = 4.05 Kilowatt hours per solar panel Total Kilowatts produced per day 84 x 4.05 = 340 KW
CONCLUSIONS The electronic equipment of recording studios use roughly 10 KWH and will be running approx 8 hours a day (Total of 80KW per day needed). This means that the solar panels will provide enough energy for these to be fully powered by solar energy, as well as the remaining facilities in the building, such as the need for artificial light both in the archive and exhibition space. Overall, the building could probably run all of its electrical power by solar energy. Sourcing of solar panels
In order to reduce embodied carbon levels for the transport of solar panels, these will be locally sourced. New York based companies such as “Long Island Power Solutions” and “EmPower Solar” provide solar panel that produce a power of up to 600 watts.
F I NAL RE FLEC TIO NS
I believe the project would be an enrichment for the vibrancy and urban character of Hell’s Kitchen and Restaurant role. During the crit, the proposal was complimented for its strong emphasis on bringing the community together both through the architectural form and function of spaces. Overall, the Hip Hop archive celebrates what the power of music represented for the marginalised but also offers the initiatives for the building to be an activism catalyst for the future.
The building is also designed to be long-lasting and with durable materials which are resilient both to weather conditions (i.e. Corten) and intense pedestrian use (i.e. Ashcrete). Moreover, close attention has been made to select materials which can be sourced locally, and which have more sustainable alternatives. The overall intent was reduced as much as possible both the embodied and operational carbon of the building. If I were to continue this project, I would focus on adopting a bolder elevation for the bridge structure. For example, I would explore the possibility of substituting the automatic external blinds with a kinetic façade consisting of vertical shading elements integrated with a light show. An interesting point of exploration to further reduce the embodied carbon of the building would be to design a steel frame which uses components of existing buildings that are being dismantled. In this respect, I have adopted several principles so that my steel frame could be re-used for future projects, such as using bolted instead of welded connections and using long lengths for project flexibility. However, the use of standard rather than skewed connections would have been more appropriate for reuse purposes.
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RE FRE NC E S
Books Gehl, Jan. Life between Buildings: Using Public Space. Island Press, 2011. Websites “Nucor Steel Auburn, Inc.” CenterState CEO, www.centerstateceo.com/business-directory/nucor-steel-auburninc-8004. Shayanne Gal, Andy Kiersz. “26 Simple Charts to Show Friends and Family Who Aren’t Convinced Racism Is Still a Problem in America.” Business Insider, Business Insider, 8 July 2020, www.businessinsider.com/us-systemic-racismin-charts-graphs-data-2020-6?r=US&IR=T. “Corten Steel.” What Is Weathering Steel, Where to Buy Corten Steel, offersteels.com/corten-steel/. “Amrita Shergil Marg House: Bedmar and Shi.” Archello, archello.com/project/amrita-shergil-marg-house. “Cnc Cutting Decorative Metal Screen Patterns Used For Garden Dividers Decoration - Buy High Quality Carved Metal Decorative Screen,Garden Privacy Screen,Decorative Metal Screen Patterns Product on Alibaba.com.” Www.alibaba. com, www.alibaba.com/product-detail/CNC-cutting-decorative-metal-screen-patterns_60687517562.html?spm=a2700. details.0.dpinterest.697a8c3eaXIP1A. “Transport to 1980s NYC: A Photo Collection.” The Bird Feed Nyc, thebirdfeednyc.com/2014/05/18/transport-to-1980s-nyca-photo-collection/. George, Nelson. “How Hip-Hop Transformed New York.” The New York Times, The New York Times, 16 Apr. 2018, www. nytimes.com/2018/04/16/t-magazine/hip-hop-music-1980s.html. “Wind Roses from Airports around the World - Graphics or Raw Data Tables.” Wind Roses from Airports around the World Graphics or Raw Data Tables | NOAA Climate.gov, www.climate.gov/maps-data/dataset/wind-roses-airports-around-worldgraphics-or-raw-data-tables. “Types of Solar Panels.” TurbineGenerator, 27 Mar. 2018, www.turbinegenerator.org/solar/types-solar-panels/. Concealed Blinds in Windows, Gables and Skylights, www.blindspace.com/. “[Hot Item] Motorized Electric Battery Operated Insulated Windproof and Waterproof Shade Fabric Outdoor Roller Blinds.” Made, m.made-in-china.com/product/Motorized-Electric-Battery-Operated-Insulated-Windproof-and-Waterproof-ShadeFabric-Outdoor-Roller-Blinds-910128735.html. “Warm-a-Glass, Double Glazing, Pilkington K, Low Emissivity, Low E.” Windows Today - Information Resource for Double Glazing Replacement Windows, UPVC / PVCU, Wood and Aluminium, www.windowstoday.co.uk/warm_a_glass.htm. (Pg. 50) “Weather Averages New York, New York.” Temperature - Precipitation - Sunshine - Snowfall, www.usclimatedata. com/climate/new-york/new-york/united-states/usny0996.(Pg. 48) https://www.sciencedirect.com/science/article/abs/pii/ S1364032117306950 (P.g 48) Marra, Alessandra. “Facciate Ventilate: Ecco Come Funzionano.” Edilportale, 21 Jan. 2016, www.edilportale.com/ news/2016/01/focus/facciate-ventilate-ecco-come-funzionano_49820_67.html#:~:text=In estate infatti la facciata,svolgendo anche la funzione di.
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