GROUND MUSEUM OF CANVEY ISLAND integrated technology report
LYUBA PEKYANSKA UNIT 7
TUTORS: SHAUN MURRAY YORGOS LOIZOS TECHNICAL TUTOR: GEORGE WADE
CONTENT PAGE: 1. RESPONSE TO BRIEF 2. SITE ANALYSIS AND CONTEXT 2.1. introducing the site 2.2. plnning restrictions 2.3. geology analysis 2.4.access and movement 2.5.history of the site
3. CONCEPTUAL STRATEGIES 3.1. museums of london 3.2 classification of museums 3.3 materials 3.4. terraforming the site 3.5.basic design strategy 3.6.museums' elements 3.7.precedence 3.8 general museum planning scheme 3.9 initial design sketch
4. DESIGN PROPOSAL 4.1. floor plan level0 4.2.floor plan level1 4.3. long section a-a' 4.4 cross section b-b'
5. STRUCTURAL STRATEGIES 5.1.precedence 5.2.structural strategy
6. CONSTRUCTION STRATEGIES 6.1.precedence 6.2. detail drawing 1 6.3. detail drawing 2
7. ENVIRONMENTAL STRATEGIES 7.1. heating 7.2.lightning
8. BUILDING REGULATIONS 8.1.fire safety 8.2.disabled access and movement 8.3 principals of circulation in exhibition spaces
9. CLIENT AND DESIGN TEAM 9.1.client 9.2.design team 9.3. types of contracts
10. PROCUREMENT POSIIBILITIES AND IMPLICATIONS 10.1.RIBA working stages 10.2.plan of work
U7 2013/2014 Edgelands: On World (Earth) Archive
BRIEF
1. RESPONSE TO BRIEF
Workshop #1 (NYC with Parsons New School- Ed Keller – TBC) Workshop #2 (London – TBC) Y3 Technology With All Design: (Delicate Infrastructures and Mud Slides)
(View of Two Tree Island looking over Southend-on-Sea) viewto of two tree island
looking over southend-on-sea
axonometric view of the terraformed site
Just outside London we journey into the edgelands where reclaimed islands seethes with a network of creeks, whilst the fastest growing seaside resort was devastated by a North Sea Flood of 1951. This is a pioneering site for the petrochemical industry, which has an influential assessment of risk to a population living within the vicinity.
Just outside London we journey into the edgelands where reclaimed islands seethes with a network of creeks,
I am designi
whilst theyou fastest growing seaside resort village, was devastated bythe a North Sea Flood of in 1951. is a pioneering We want to design a new pioneering not unlike gold rush villages theThis second site for the petrochemical industry, which has an influential assessment of risk to a population living within creation of America. But it is not a frontier village for the earth but for technology.
the ground museum of canvey island.
it would have a huge impact on the overall strategy of the village to be designed by exposing a wide range of knowledge not only about the proposed village area but its surroundings as well. in the museum would be archivated different kind of materials and structures that are made from them.
the vicinity.
You will design an archive of the earth, on the earth. It will become a second creation village for We want you to design a new pioneering village, not unlike the gold rush villages in the second creation of frontiers of technology through the speculative fall of man. We aim to exhume a village and use it as a America. But it is not a frontier village for the earth but for technology. space for simulation and as a testing ground for new technologies with the understanding that the human is archive interfaced withearth, the ground design complex architectural You willprogram design an of the on theprogram. earth. It The will students become a will second creation village for frontiers environments the poetic simulationfall of new technologies are yet to find form. of technology with through the speculative of man. We aim tothat exhume a village and use it as a space for
the building design is driven by a site analysis based on the history of the site, the geology of the site and existing materials that could me find around the site.
simulation and as a testing ground for new technologies with the understanding that the human program is
the origin of the design is a terraforming model that creates rich landscape that later on is used for the design strategy of the building.
interfaced with the program. The will Southend-on-Seaʼs design complex architectural environmentspark, with the This year our site willground be in Essex. We willstudents focus along seaside amusement poetic simulationeverglade of new technologies are suburbia yet to find Leigh-on-Seaʼs and the oil that city and of form. Canvey Island. (See map for more detail description.
the designed museum should not be just a static place to visit. the exhibition spaces will be rich and exciting. there would be lots of interactive spaces and the l andscape would be a materials garden to be explored. the aim of the project is to create a place where history and science merge together to develope innovative way of programming spaces and presenting information.
This year our site will be in Essex. We will focus along Southend-on-Sea's seaside amusement park, Leigh-onSea's everglade and the oil city and suburbia of Canvey Island. (See map for more detail description.
2. SITE ANALYSIS AND CONTEXT
INTRODUCING THE SITE plan view, scale 1:20 000
site boundaries
two-tree island
canvey island
the site is located eastwards of london on the themes estruary next to canvey island.
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PLANNING OF THE CHOOSEN SITE
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GEOLOGY ANALYSIS plan and section scale 1:20 000
scale 1:20 000 17
+10
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+20
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A
20 +30
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green belt
oil storage/ gas
school
site of specific scientific interest
seafront entertainment area
employment
green lung
open space/cemetery
extension to hadleigh castle country park
long term employment
long term residential
local government
residential
shopping
community facilities
football ground
the site is located in a green belt zone with a spesific scientific interest, next to the hadleigh castle coutry park.
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claygate member - clay, silt, sands
site boundaries
bouguer gravity anomalies
alluvium
aeromagnetic anomalies
terrace deposits clay and silt
sea level
head clay and silt
section line marshes
sands clay, silt, sands
ACCESS AND MOVEMENT DIAGRAM
HISTORY OF THE SITE
BRICK WORKS CLAY PITS KILNS KILNS site boundaries hadleight country park
railway The easiest way for someone to access the site is by water or by some of the footpaths/bycicle roads. There is no vehicle road that lead to the site. Therefore, the road that lead to the building would be designed to make the access to the museum easier.
vehicleroad road Main vehicle pedestrian and bycicle road access by water hadleigh country park
nv
ca ey
benfleet railway station
london-southend railway line
y
wa
leight-on-sea railway station
fields
west canvey marsh
fields
fields
MARSHES waterside farm
MARSHES SALTINGS
roscommon way
MUD
MARSHES
SALTINGS
eeda site (northwick road)
MARSHES canvey heights
JETTY
MUD
jetty
town centre canvey wick
morrisons long road
the point
charfleets
the paddocks canvey island football club
oikos
1890 back in the days the site used to be saltings surrounded with mud and marches. the thing that made it exciting and useful for the area was the brick factory complex. The jetty that used to connect the river with the factory used to be next to the choosen site.
2014 nowadays the site is covered with marshes and the jetty is still next to it. It is surrounded with fields and other marshes. the brick factory is not there anymore. there are lots of small paths and bike roads that make the site exciting destination for cyclist, tourists and local people.
SITE PHOTOS
ENVIRONMENTAL INFLUENCES ON SITE site plan scale 1:2000
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1 Marshes
Canvey Island
Salvation army jetty
2 Marshes
NNW Yacht Club
N 12
NNE
10
NW
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3
6
WNW
0
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14 13
13 12
12 11
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SW
SE S
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ESE
SSW
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8 14
WSW
proposed site
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ENE
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10 15
16 15
NE
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SSE
the sun diagram shows the movement path of the sun during the four seasons of the year. the sun reaches its highest point during the summer and its lowest point during the winter.
the strongest wind that influence the site during the year comes from WSW and is between 8-10%.
3. CONCEPTUAL STRATEGIES
MUSEUMS OF LONDON There are over 240 museums in London, the capital city of England and the United Kingdom. London and its surrounding area has one of the most rich collection of museums and galleries in the world. They are places that see and examine not only the history, but the modern art, science issues, fashion inspirations and design proposals. 1
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11 1.british museum 2.natural history museum 3.V&A 4.science museum 5.museum of london 6.national gallery 7.national maritime museum 8.imperial war museum 9.london transport museum 10.national army museum
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11.castle point transport museum 12.buckingham palace 13kensington palace 14.tower of london 15.design museum 16.cutty sark museum 17.fan museum 18.fashion and textile museum 19. hms belfast 20.charles dickens museum
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CLASSIFICATION OF MUSEUMS
materials found around the site area
the museums could be classified according to different subjects as shown in the diagram on the right. The GROUND MUSEUM OF CANVEY ISLAND is suppossed to be with a geology approach with a collection driven by local and special interests. The whole project would be supported by private client which would make it private museum.
SUBJECT/ APPROACH
SCIENCE
MUSEUM/ COLLECTION CHARACTERISATION
TYPE OF INSTITUTION
MONOLITHIC INSTITUTION INTERNATIONAL COLLECTIONS
TECHNOLOGY INDUSTRIAL ARCHAELOGY SOCIAL HISTORY
MUSEUM
STATE MUSEUM OF NATIONAL CULTURE
NATIONAL MUSEUM
SPECIAL NATIONAL/ INTERNATIONAL COLLECTIONS
ETHNOLOGY ANTHROPOLOGY NATIONAL COLLECTIONS
PROVINCIAL MUSEUM
REGIONAL COLLECTIONS
UNIVERSITY MUSEUM
LOCAL INTEREST
INDEPENDENT TRUST MUSEUM
ARCHAEOLOGY
MUSEUM
GEOLOGY
GEOLOGY
NATURAL HISTORY HISTORIC SITE
LOCAL/SPECIAL INTEREST
FINE ART
SPECIAL INTEREST
DECORATIVE ART
PRIVATE COLLECTIONS
ART GALLERY PRIVATE
SCIENCE
ARCHAELOGY
HISTORY
ETHNOLOGY
GEOLOGY
NATURAL-HISTORY
steel
tyres
cockle-shells
alluminium
wood
fiber-glass
SMALL MUSEUM PRIVATE MUSEUM
FINE ART
concrete
TERRAFORMING THE SITE
BASIC DESIGN STRATEGY
terraformin model itteration 1 - photos
terraformin model itteration 2 - photos
the basic design strategy for the ground museum of canvey is developed by layering museum floor plans and creating abstract drawing from which I could allocate and pick different building elements and materials that would develope an exhiting, interactive ground museum later on.
abstract drawing made from layering different floor plans of museum, which later on will be used to define shapes and locations of matterials.
my design development started with the creation of the perfect environment for the design later on (terraforming). my terraforming is a layered structure made from different materials inspired from the site and its history. the terraforming is sugesting for a design with lots of layers made from series of materials.
final terraforming model - plan view
plans used for the overlay drawing
MUSEUMS' ELEMENTS these are potential museum elements that could be used for the developing of the exhibition spaces in the ground museum of canvey island.
PRECEDENCE V&A museum
british museum
ceiling detail
national gallery
staircase detail
straw house jeremy till and sarah wigglesworth having different layers of matterials .
arch detail
column detail
arch and column detail
sharp centre by will alsop
column detail
ceiling detail
separating levels of the building by putting them on piles.
ceiling detail
GENERAL MUSEUM PLANNING SCHEME
INITIAL DESIGN SKETCH diagram
Public entrance public entrance
Lecture/ activity room PUBLIC AREAS:
STAFF AREAS AND CONTROLLED ACCESS:
Lobby Information Sales Store Lecture/ activity room Open-access storage Orientation exhibit Exhibit area Commercial activities Library Public toilets
Security lobby Office Workroom Studio Workshop Closed storage Conservation Acquisition Documentation and security Design and production Education and interprertation Staff toilets
Information Sales
Office Orientation Workroom
Closed storage
staff entrance
Security lobby
Staff entrance
Studio Collection storage
Exhibit areas Workshop Expansion
Conservation
Store
Lobby
Open-access storage
Public areas
Exhibit area
Orientation exhibit
Commercial activities 11
Acquisition
Documentation and security
Library and research
Design and production
Public relations and administration
Education and interprertation
public area staff area
Staff areas and controlled access
communal area this is initial design diagram that indicates the approximate occupation of the building spaces.
Entrance
4.DESIGN PROPOSAL
SCHEDULE OF ACCOMODATION scale 1:250
whole building 1500 m2
exhibition space 770 m2
shop
permament exhibition space temporary exhibition space library toilets
115 m2
workshops 160 m2
administration 70m2
administration
exhibition space 170 m2
70 m2
reception offices staff toilets
workshops 160 m2 open-access workshops/storage closed workshops/storage conservation photography studio
cafe 250 m2
shop 115 m2
exhibition space
store display area cash desk
600 m2 boat house 125 m2
cafe 250 m2 kitchen toilets staff room terrace/deck
boat house 125m2 boats storage jetty
FLOOR PLAN LEVEL 0 scale 1:250
FLOOR PLAN LEVEL 1 scale 1:250
1. temporary exhibition space 2. permanent exhibition space 1 3. interactive exhibition corridor room 4 library/ reading room
13 staff entrance
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public entrance
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5.reception 6.staff room/changing room/staff toilet 7.administration 8.closed storage 9.photo studio 10.exhibits labeling and documentation 11.security lobby 12.open storage 13.shop store 14.shop 15.permanent exhibition space 2 16.public toilets 17cafe kitchen/changing room/cafe store 18.cafe 19.cafe deck 20.boathouse
LONG SECTION A-A' scale 1:250
CROSS SECTION B-B' scale 1:250
a'
1.permanent exhibition space 2 2.cafe area 3.boathouse
1.temporary exhibition space 2.interactive corridor/room 3.cafe
b
b'
a
public entrance
3
2
staffv entrance
3
1 1
2
5. STRUCTURAL STRATEGIES
PRECEDENCE
examples of concrete frame building structures.
STRUCTURE PRINCIPALS
key advantages: -cheap -readily available -resistant -mouldable
the main structure is reinforced concrete
the soil is too soft therefore the concrete structure will support better the overall mass of the building
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6. CONSTRUCTION STRATEGIES
PRECEDENCE materials and structures
rusticated blocks' walls
steel sculpture made by Ensamble Studio
norwich cathedral visitors centre NORWICH CATHEDRAL VISITORS CENTRE
rammed walls
in this building I am interested in the principle of constructing the roof.
DETAIL DRAWING A
A
masonry wall to foundation scale 1:10
rusticated stone blocks rugged inner wall covering (stone) floor border leveling unit insulation
floor covering tiles ultraflo screed pipes underfloor insulation
separating layer (bitumen felt) paving flags
construction joint
concrete foundation unit
detail A
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DETAIL DRAWING B
B
steel column to roof and floor scale 1:10
steel bracket
steel roof panel ventilation gap breeded membrane insulation
steel struts
steel tie rod bracing
steel pipe column
floor covering tiles ultraflo screed pipes underfloor insulation
detail b
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7. ENVIRONMENTAL STRATEGIES
HEATING
the building will be heated by underflooring heating system. advantages: -it's cheaper -the whole floor area acts as a emitter for radiated heat -the needed temperature's been achieved quicker -no maintenance needed -the heat could be controled depending on the different needs of the parts of the building
LIGHTNING
the sunlight is accessing the building through glazed walls/ windows and glazed roof panels. the parts of the building that are located with a SE direction would be in their brightest state during the mornings because the sun is in its lowest point during that time of the day.
the sunlight would not access the exhibition spaces at any time of the day. the lightning in there would be controlled by artifical lights that would be adjustable so that they could be directed to the direction needed.
8. BUILDING REGULATIONS
FIRE safety
DISABLED ACCESS AND MOVEMENT handrail on both sides
90-100 90-100
550-650
fir
es af e
100 raised solid kerb at ramp edge
gradient = 1:20 = 5%
ar
ea
35m
ar e
a
300 minimum
in the shown diagrams are indicated all the ramps and elecavators in the building. they are designed according to the building regulations for disabled people so that they could reach all levels of the building.
fe
10m
fir
es a
10m
35m
long section a-a' scale 1:250
in case of fire the main 'fire safe area' is a 10m away from the main fire exit and 35m away from the back of house exit 1.
back of the house fire exit 2 is 35 meters away from fire safe area.
cross section b-b' scale 1:250
PRINCIPALS OF CIRCULATION IN EXHIBITION SPACES
a: open plan
both permanent exhibitions spaces (1 and 2) in the ground museum of canvey are with open-access labyrinth circulation.
9. CLIENT AND DESIGN TEAM
b: core-satellites
c: linear procession
d: loop
e: complex
temporary exhibition space 1
temporary exhibition space 2
a: labyrinth
CLIENT
the client is a local private fisherman and geological organizations supported by the seafood merchants Osborne Bros.
SHELLFISH ASSOCIATION OF GREAT BRITAIN
OSBORNE BROS
BUILDING MATTERIALS FACTORY
FOOD RETAILERS
SMALL RESTAURANTS
SMALL SUPERMARKETS
SHOPS FOR BUILDING MATTERIALS
MATERRIALS SUPLIERS
Osborne Bros's bussines is to sell seafood, especially cockles, in their restaurant which is close to the site or to sell them to small shops and restaurants. interesting part of their business is that instead of throwing away the shells of the cockles they sell them to building materials factories where they make a building material from them.
PHOTOS OF CLIENT'S BUSINESS WORK PLACE CLOSE TO THE SITE
DESIGN TEAM DIAGRAM
DOMESTIC-SUBCONTRACTOR
CONTRACTOR
LEGAL ADVISOR
COST PLANNER
CLIENT
LOCAL COMUNITY INTERESTED IN THE PROJECT
ARCHITECT
LANDSCAPE ARCHITECT
MASTER PLANNER
NOMINATED-SUBCONTRACTOR
NAMED-SUBCONTRACTOR
3D VISUALISATOR
MECHANICAL AND ELECTRICAL ENGINEER
STRUCTURAL ENGINEER
QUANTITY SURVEYOR
CDM-CO-ORDINATOR
GEOLOGIST
the contract choosen for the project is traditional contract(D&C). the construction would start earlier (when a certain level of design requirements is covered) and will go parallel with the design process. there would not be a risk of unpriced design development. the integration with specialist contractors would start earlier as well.
TYPES OF CONTRACT
design and built
develop and construct
CLIENT
CLIENT
CLIENT REP
DESIGN TEAM (prenovation)
D&B CONTRACTOR
TRACO CONTRACTOR
brief
TRACO CONTRACTOR
DESIGN TEAM (postnovation)
KEY FEATURES: -tender (employers requirements) normally based on outline design but can be at scheme design stage -D&B contractor makes proposals and adopts (and completes) the design -tender price can be single action or negotiated (usually through two stages
sequence
10. PROCUREMENT POSIIBILITIES AND IMPLICATIONS
D&C CONTRACTOR
DESIGN TEAM (postnovation)
PROS: -single point responsibility -transfer of speculative risks to the contractor -earlier start on site-design can run in parallel -cost certainty at outset -programme responsibility with D&B contractor (subject to post contract client driven change) -posiible to achieve a guaranteed maximum price (GMP) -tied and tested -original design team can be novated for continuity/security of design
CLIENT REP
DESIGN TEAM (prenovation)
KEY FEATURES: -main contractor appointed early (at stage C or D) -design team novated to main contractor before fixed price is agreed -target cost contract (e.g. NEC3) typicaly adopted -initial appointment made on quality based assessment - pre construction agreement required
CONS: -longer procurement and overall development process (compared to CM/MC) -higher tendering costs for contractors -D&B contractor prices design risk -client losses influence over design control (employers requirements need to be precise clear and detailed) -quality of design and product needs to be closely monitored -novation arrangements can create a conflict on the interest -post contract changes can be more expensive than traditional contracts with bills of quantities -more inflexible route to accomodate change
PROS: -integration of design and construction through collaborative approach -overlapping of design and procurement without the risk of unpriced design development -earlier start on site - design can run parallel -quicker overall process -progressive co-ordination of design with the early integration of specialist contractors
design sequence tendering
brief
CONS: -less cost certainty than traditional/ D&B procurement routes -good option in rising market - potentially not offering best price in a falling market -target cost and programme subject to change if they are not 'robust' -setting the target cost at the right level -requires a collaborative approach from the whole team -target cost contracts (NEC3) REQUIRE extensive administration -loss of design control-design needs to be developed to an appropriate level that is acceptable to the client -pre-selection of the 'right' contractor is key
design tendering
construct
construct
the project's been developed conformable to RIBA plan of work.
OUTLINE PROGRAMME BASED ON RIBA WORK STAGES
weeks
A
appraisal
B
design brief
C
concept design
8
D
design development
16
E
technical design/ planning period
8
F
production information
8
G
tender documentation
H
tender action
construction
J+K
construction period
use
L
use/completion
preparation
design
pre-construction
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 5 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46
4 planning application
6
REFERENCE:
BIBLIOGRPHY:
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ADLER, DAVID, 'METRIC HANDBOOK PLANNING AND DESIGN DATA ' DEPLAZES, ANDREA, 'CONSTRUCTING ARCHITECTURE http://www.osbornebros.co.uk/ 'THE PLAN'
ISSUE43
http://www.architecture.com/Home.aspx technical lectures sourced from moodle technical reports supplied by technical tutor
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