Sanctuary for the Subversive - MArch Project 1 by Matt Wreglesworth

Sanctuary for the Subversive Rachel Alty and Matthew Wreglesworth

USE Atelier Ethos We were encouraged to form individual concepts through thorough site analysis, both of Berlin as a city and the physical location of the site and its constraints. The translation of this concept into a physical form is key to the atelier. The concept should be at the heart of the project, without compromising the functional and technical requirements. Experimentation is important: observing, thinking, dreaming & drawing - making physical models in order to translate ideas into coherent and consistent designs. USE aims to push the boundaries of common thinking in architecture. PS1 focuses specifically on live/work building typologies, in which a dwelling and a place to work is provided in a single scheme.

Personal Reflection During Intensive week, I worked as part of a group of five, allowing us to cover several themes and interests. Difficulties came towards the end of the week as we struggled to focus and refine our ideas, resulting in a final presentation which felt convoluted and confused. I spent the remainder of the project working with Rachel Alty because of our mutual interest in surveillance in relation to Berlinâ&#x20AC;&#x2122;s history. I was initially apprehensive to work in a team, fearing creative differences or conflicting styles, especially being new to the school. Working with Rachel proved to be incredibly rewarding. Every design decision had to be justified along the way which resulted in a solid, legible concept from conception after intensive week through to detailed design. At times this dramatically slowed our design process as every design decision had to be agreed, but this improved as the project progressed. My approach to design is naturally more abstract than Rachelâ&#x20AC;&#x2122;s and I was happy to be reined in slightly for this project as the focus was more on the tectonic aspects of architecture. Iâ&#x20AC;&#x2122;m delighted with our final design as I believe it responds to the history of Berlin as a site as well as the theme of live-work typologies in a thorough and complex way. I also believe it sits well within the ethos of USE as an atelier both conceptually and tectonically.

USE also promotes a community feel within its atelier, encouraging working in groups enabling students to learn from each other. This team feel was kick started at the beginning of the project with a study trip to the Venice Biennale. The trip exposed us to some incredibly creative art pieces and possibly more importantly enabled us to get to know our peers including the more experienced students in their final year.

Intensive Week The intensive week began in large groups. We began by producing large scale mind mappings representing out thoughts about Berlin as well as living and working. This allowed us to develop areas of interest, which for us was to focus on the theme of surveillance with relation to Berlinâ&#x20AC;&#x2122;s recent history. We also began to consider the positives of live-work housing typologies with regards to health, environmental impacts and productivity.

Berlinâ&#x20AC;&#x2122;s Relationship with Surveillance %

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% of people who think governments should not spy on internet and mobile phones -Amnesty International, 2015

Between the end of World War II and the fall of the Berlin wall in 1989, East Germans were subject to an intensive surveillance operation from the Ministry of State Security - better known as the Stasi, designed to â&#x20AC;&#x2DC;protect the party from the peopleâ&#x20AC;&#x2122;. Letters were opened, phone calls intercepted and apartments bugged. The Stasi relied on undercover informants embedded in every level of society and encouraged betrayal of family members. This recent history continues to influence how Berliners live today. It is said that because of previous surveillance, there is a greater level of understanding and respect of the need for privacy. People choose to pay with cash over credit card, keeping what they spend private and making tracking their movements more difficult. In 2013 the city hosted the unofficial Camover games, in which participants destroy CCTV cameras and are awarded points for the number destroyed and their creativity in destruction.

USE Students (2016) Berlin Compendium, Ausgang, Manchester School of Architecture: USE TED. (2017). Hubertus Knabe: The dark secrets of a surveillance state. [Online Video]. 6 August 2014. Available from: https://www.youtube.com/watch?v=IWjzT2l5C34. [Accessed: 22 November 2017].

Perception Experimentation

Our research in Berlin as a site led us to look at surveillance and privacy. Our final experiment in the intensive week was to explore how a sense of privacy could be manipulated through the use of translucent materials and light. A video of this was shown as part of our end of week presentation. The screen-shots below show how depth, colour and texture can be manipulated through material and light.

We presented a conceptual idea of how a live/work home could be imagined on our site in Berlin through the model shown above and the sketch to the right. Utilising the linear nature of the site, a series of confusing obstacles must be overcome to enter the building. A bedroom on the top of a watch tower surveilles the site and the surrounding context. The occupants can see all and are out of reach from intruders. Although a very abstract design, it is clear to see how our final proposal has evolved from this point.

Berlin as a Sanctuary for the Subversive Berlin has become a destination for artists, journalists and political activists who are under threat of persecution from their government. Due to the city’s history with regards to surveillance there is a mutual understanding of the importance of privacy between Berliners. To the right are three high profile people who chose to relocate to Berlin from all over the world seeking greater freedom and privacy.

Laura Poitras, Film Maker/Artist, USA

Ai Weiwei, Multimedia Artist, China

Sarah Harrison, Activist (Wikileaks), GB

Who are we designing for?

Why is this important?

We are designing a safe place for artists and journalists from anywhere in the world who are facing persecution due to the subversive nature of their work.

“The death of one man is a tragedy, the death of a million is a statistic.”

The nature of their work dramatically effects the way these people live - our proposal directly responds to these issues.

The information brought to light by whistleblowers such as Edward Snowden is wide-spanning with figures often on an incomprehensibly large scale.

The building would be run by a non-government, charitable organisation. It is important for the government to be detached from the project due to the increasing, often illegal surveillance which is currently being carried out.

Re-interpreting this information through an artistic medium can help us to understand its significance.

How does the work affect the live?

Extracts from the diary of Laura Poitras, written in 2012-2013 when in contact with Edward Snowden. "Nothing in my life can be kept private" "My work might get shut down by the government." "Literally waiting to be raided." "I might never feel confident that I'm not being watched." "Disconnected for as long as possible. No phone, wi-fi." "I'll go to jail to protect the First Amendment" "I will be destroyed, paranoid, forsaken, unable to sleep, think, love." "If only I could sleep I would be happy in Berlin."

"I might have to seriously consider the idea of going to jail to protect him. I need to make sure that of that happens, the film is completed. It can't happen before."

Threat of Persecution

Paranoia

Self Censorship

Isolation

The subversive nature of their work can result in persecution. Many artists and journalists have gone to jail around the world for producing work that is seen to be anti-government.

Due to the sensitive nature of the work, these artists are not only under threat of arrest, but also being subject to government surveillance.

“As soon as you start to censor yourself, then you leave the path of free speech. So many people now do this in Berlin. They avoid certain expressions. When we have meetings they leave their phones in different rooms. You have already lost your freedom.”

The threat of persecution often means work will be carried out in isolation, due to fear of friends, family and colleagues also becoming government targets.

Laura Poitras found herself on a terrorist watch-list after making a film about the Iraq war. She was stopped, searched and questioned every time she flew and often had her notes and electronics seized.

“It’s not whether or not they’re watching, but the fact that you don’t know if they’re watching. You’ve internalised in some way this authority of the state.” - Laura Poitras, Film Maker, Artist

-Anke Domscheit-Berg, East German Politician

This solitude can be incredibly detrimental to the quality of life, especially when feeling paranoid. This is an aspect we will try to tackle through community living inspired by co-housing and squats in Berlin.

Cadwalladr, C. (2014). Berlin’s digital exiles: where tech activists go to escape the NSA. [Online] The Guardian. Available at: https://www.theguardian.com/world/2014/nov/09/berlins-digital-exiles-tech-activists-escape-nsa [Accessed 22 Nov. 2017] Poitras, L., Sanders, J. & Weiwei, A., (2016). Astro noise: a survival guide for living under total surveillance, New York: Whitney Museum of American Art.

Site Location

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Site Central Station Tiergarten (Victory Column) Reichstag Brandenburg Gate Jewish Memorial Checkpoint Charlie Museum Island Berliner Fernsehturm (TV Tower) Alexanderplatz

1. 2. 3. 4. 5. 6. 7. 8.

Site Supermarket Uzbekistan Embassy Computer Repair Shop Police Station Police Station Katharina Grosse studio Computer repair shop

Blurred buildings on Google Street View near Perleberger Straße The introduction of Google Street View in Germany was received poorly. Many people have chosen to exercise their ‘right to be forgotten’ by instructing Google to blur their homes and businesses.

Site Constraints

The site is single-access measuring 6.0m x 96.5m.

A 2m high listed brick wall runs the length of the site.

The front section of the site contains listed cobbles and therefore can only be subject to minimal intervention.

There is a maximum build height restriction of 22m on the site boundary facing Perleberger StraĂ&#x;e.

Building above single storey height; 3m offset from the boundary wall along the central part of the site is not permitted.

Access must be retained for maintenance of adjacent gardens.

Site Analysis

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It was important to analyse how the site conditions change throughout the year. Trees are a main feature of the site. During winter the site will feel much more exposed, reducing the sense of privacy. In the summer privacy is increased as leaves return, enabling residents to use any external spaces in the building without feeling overly exposed.

Residential buildings in the Moabit district of Berlin are centred around a courtyard typology. This was a feature that we were keen to bring into our design to create light open spaces whilst maintaining privacy and security.

Live/Work Design Principles

Home Dominated

Work Dominated

Equal Status

Working from home Most common typology Domestic scale entrance Wide range of building types: Re-use - Purpose built.

Living in the workplace Non-domestic style entrance Pub/Corner shop/Petrol Station Purpose built or adapted.

Dwelling with adjacent workplace. Both have equal status on the street.

Live-Adjacent

Live-Nearby

Live/Work Spatial Design Strategies

Live-With Most common. Little or no separation between the two functions. Single compartment accessed through one entrance on the street. Either work or home dominated.

Positives: Convenient for young families Economic Negatives: Social Isolation Difficult to separate living and working. Clients walking through personal spaces. Less professional feel

Holliss, F. (2015). Beyond Live/Work: The Architecture of Home-based Work. London: Routledge.

Two compartments: residential and workplace. Accessed through separate entrances. Generally ‘equal-status’ homes.

Positives: Separation between functions. More professional for visiting clients or staff. Possible to share area between live and work. Negatives: (Two functions still reasonably close) Greater space required.

Greatest degree of separation. Contained in separate buildings. Often ‘equal-status’ homes. Positives: True separation of functions. Employees or clients do not have to enter the home. Highly adaptable. External spaces reduce the sense of being imprisoned. Negatives: Two functions still reasonably close. Higher set up cost. Greater space required.

Program development and spatial planning

Diagrammatic Plan & Section

Section

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One of the first exercises we performed was to create a very basic program with the simple themes of public/private and live/work.

Our previous reading into live work typologies indicated to us that a separation between living and working spaces would be beneficial to the residents.

Plan

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It was an obvious design choice to place the most public areas of the building to the street side of the site.

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Adjacency Diagram

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The plan and section diagrams shown above were then developed into this more detailed program. We continued to pursue a layout that utilised the linear nature of the site to emphasise privacy. This became the basis of our first spatial designs. It is clear to see how some connections may have been difficult to form.

Translating the concept into a physical form This conceptual section was produced for our interim tutorial explaining the key ideas behind how the building is laid out. This layout responds to the planning constraints of the site, whilst maintaining a legible concept relating to our thorough site analysis and historical research. The only way to enter the site is to walk through the resident artistsâ&#x20AC;&#x2122; exhibition. This is raised of the ground as to protect the listed cobbles at the front of the site. The building is entered by walking the entire length of the site. This part of the building remains under 3m in height, in-line with German planning law. Conceptual section

To access the work parts of the building, the length of the site must be walked once more. A residential watchtower surveys the site, heightening the sense of security.

This program was further developed through modelling at 1:200 and 1:100 scales. It is clear to see how the building developed in relation to this diagram. The tower reverted to a purer, simple form and the exhibition space moved from an enclosed gallery space to a free to access outdoor area.

Development models at 1:100 and 1:50 were very important for us to understand spatial qualities and to experiment with materiality. The design developed dramatically over the course of the project whilst maintaining the core conceptual principles defined in the intensive week.

Lighting test for studio space, pre-alterations

Lighting test for communal living courtyards and light wells

It was important for us to use light-wells, roof lights and courtyards to provide sufficient daylight. Lighting models were an important design development technique. To maximise privacy we wanted to minimise the amount of openings to the park-side of the site. Entrance/Exhibition space

Facade Experimentation

We also used Sefaira daylight modelling software to further explore daylighting. (See p31)

Final Design Layout/Program The building is designed to provide living and working accommodation for 8 artists and 2 journalists. The building is designed to function in two contrasting scenarios:

1. In everyday circumstances, the building has a clear separation between the living and working spaces. This typology follows Frances Hollissâ&#x20AC;&#x2122; theory of equal status, live-nearby design strategy for a live-work home.

Scenario 1: Live/Work Separation

Scenario 2: Live/Work Combination

Vault

Private Work

Sleeping accommodation fills the tower with views overlooking the site. This references the watchtower typology mentioned in our earlier research. An ability to survey the site from a place of safety adds an increased sense of security.

2. During certain times, the residents will receive highly illegal and confidential information from whistle-blowers or hacktivists. Once these documents are received, the threat of persecution will increase dramatically. The journalists who receive this information will move into the most remote and hard to reach place in the building at the top of the tower. In this scenario, live and work are combined and the room will not be vacated until the information can be released into the public domain. When the journalists leave this room, they may well be arrested. However, if their work reaches the public - they have been successful.

Studio Communal Work

Exhibition

Whistleblower/Hacktivist

Journalist

Artist

Exhibition

Private Living

Communal Living

It is then down to the artists to reinterpret this information in new ways, making it more understandable and accessible to the public.

Courtyards & Light Wells News

Location Plan - 1:2500

Site Plans

Site Plan - 1:500

1. Plant Room

Basement Plan

Ground Floor Plan

1. Exhibition Space 2. Communal Work/Breakout Space 3. Communal Living Room 4. Communal Kitchen/ Dining 5. Lobby 6. Plant Room

1. Studio 2. Plant Room

First Floor Plan

1. Studio Mezzanine 2. Accessible Private Accommodation 3. Bathroom 4. Balcony

Second Floor Plan

Third Floor Plan

1. Private work Spaces 2. Private Accommodation 3. Bathroom 4. Balcony

1. Private Accommodation 2. Bathroom 3. Balcony

Fourth Floor Plan

Vault: 1. Security Lockers 2. Large Item Storage

Fifth - Twelfth Floor Plan

1. Circulation to Live/ Work Room

Thirteenth Floor Plan

1. Circulation to Live/ Work Room

Fourteenth Floor Plan

1. Live/Work Room 2. Bathroom 3. Storage & Laundry

Fifteenth Floor Plan

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

Exhibition Space Private Work Spaces Studio Communal Work/Break-out Space Communal Living Room Communal Kitchen/Dining Plant Room Lobby Accessible Private Accommodation Private Accommodation Vault Circulation to Live/Work Room Live/Work Room

Long Section

Elevation

The street facade of the building is inspired by the blurred buildings on Google Street View, identified in our site analysis. Blurring the physical facade not only ensures the building is disguised, but acts as a symbol of the importance of privacy and anonymity.

Street Elevation

Entrance Corridor

1 2

Communal Living Area/Entrance Corridor

1. 2mm sheet metal parapet flashing, light-grey finish 2. Planting 3.2mm substrate filter mat 50mm expanded clay aggregate fill Vapour permeable membrane 130mm XPS thermal insulation PVC sealant Separation layer Levelling course 50mm to falls 3. 2mm perforated sheet metal, light-grey paint finish Framing Breather membrane (UV resistant) 20mm gypsum fibre board 120mm thermal insulation Vapour control layer 250mm cast in-situ concrete

Controlling Privacy A key aspect to the design of our working spaces is the ability to choose how private an artist wants to be at any particular time. During times of extreme paranoia, it is likely that artists will want to work alone, however it is important to offer communal working spaces to combat the issue of social isolation mentioned previously.

Screen-shot of Edward Snowden with blanket over head and laptop

To maintain privacy during periods of extreme paranoia Edward Snowden would cloak himself and his computer with a blanket to ensure passwords cannot be read.

Studio The studio offers space for artists working with a variety of different media. Large scale paintings and sculptural work will be constructed in the double height area, whilst film making and digital media is situated on the mezzanine.

Using this concept as inspiration, the private work areas of our building contain individual working units, each with a cloaking system installed on the ceiling, allowing the artists to hide away during times of extreme paranoia.

1. 2mm sheet metal parapet flashing, light-grey finish 2. 60mm HPL cladding panel

3. 2mm perforated sheet metal, light-grey paint finish Framing Breather membrane (UV resistant) 20mm gypsum fibre board 120mm thermal insulation Vapour control layer 250mm cast in-situ concrete 4. 60mm Screed with cast in heating system 0.2mm polyurethane membrane 80mm thermal insulation 250mm concrete slab 350mm Service layer

5. 60mm Screed with cast in heating system 0.2mm polyurethane membrane 80mm thermal insulation 250mm concrete slab Vapour control layer 120mm thermal insulation 20mm gypsum fibre board, paint finish

Detail Section Through Studio Space

1:20 Sectional Model of Studio Space

Live-Work Space

Interior view of Live-Work space

In this part of the building, live and work completely merge sleeping, eating and working all take place in the same space. The room is not left until the work is ready to be released into the public realm.

The view from live-work space allows the rest of the building to be monitored by the residents.

The room is influenced by the setting of CITIZENFOUR where Edward Snowden lives in a hotel room for days on end working with journalists and a film-maker to prepare leaked documents for public consumption.

Screen-shots from CITIZENFOUR when Edward Snowden and others work for days on end in a single hotel room

Citizenfour. (2014). [Film] Directed by L. Poitras. New York City: The Weinstein Company.

*See detail section for annotation

Foundation to Parapet Exploded Construction Axonometric (Studio)

Site-wide Exploded Construction Axonometric

Tectonic Strategy

In line with our atelier ethos it was important for the designs concept to be translated through the tectonic strategy. The diagrams to the right show how the two main components of the building have both conceptual and environmental qualities.

Concrete

Security

Thermal Mass

Mesh

Privacy

Solar Shading

Following on from our readings of Frances Holliss, it was decided that we would pursue a equal status design principle with a live-adjacent/live-nearby design strategy. This involved creating a distinctive separation between dwelling and working spaces. The choice of materials is key reinforce this separation. Warm white plaster walls Stained oak flooring Brass detailing Glimpses of exposed concrete

Living

Perforated metal exterior cladding panelling The structural concrete is widely muted in the living spaces with the addition of off-white plaster and stained oak floors to create a warmer more home-like atmosphere. Brass detailing is used to give a subtle sense of luxury and glimpses of the concrete structure are revealed to maintain an underlying sense of security and safety. “Tectonics is to create material realities that reveal narrative meaning. Tectonics is to construct with cultural references.” - Charlotte Bundgaard

Exposed concrete floor Concrete screed floor Brass detailing Perforated metal exterior cladding panelling

Working

The structural concrete in the work areas are left exposed. This uncluttered feel is designed to make spaces of creativity whilst maintaining a sense of solidity and security. “The raw building shows the very essence of it’s constructive nature and challenges the creativity and involvement of the users to compose their own layers of meaning upon what is already there. - Ulrik Stylsvig Madsen Exposed concrete floor Concrete screed floor Stained oak wall panelling

Live/Work

Warm white plaster walls Perforated metal exterior cladding panelling The live/work area sees a combination of the materials which are used elsewhere in the building to reinforce the mixing of the two functions. Here, the concrete screed is taken from the floors of the work areas and the stained oak from the living areas find its way onto the walls.

Bech-Danielsen, C; Christiansen, K; Bundgaard, C; Bo Jensen, T; Stylsvig Madsen, U, Egholm Pedersen, U (2012) Tectonic Thinking in Architecture, 1 edn., Denmark: KADK. Habraken, N. and Teicher, J. (2000). The structure of the ordinary. Cambridge, Mass: MIT Press. Holliss, F. (2015). Beyond Live/Work: The Architecture of Home-based Work. London: Routledge.

Construction Processes and Sequencing

Whole Site

Tower

North Site

Week Site Preparation Excavation Temporary Electric Services Water & Sewer Tap Soil Treatment Foundations In-situ Concrete Structure In-situ Concrete Wall Pluming Electrical Roofing Carpentry Plaster Windows Doors Glazing Cladding Foundations In-situ Concrete Structure In-situ Concrete Wall Pluming Electrical Roofing Carpentry Plaster Windows Doors Glazing Cladding

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

Due to the linear nature of the site, it was important for the construction to be sequenced accordingly in two phases. The site will be prepared as a whole, followed by the construction of structural elements of the tower to the rear of the site. Once completed, the structure of the North side will begin. As the North site is a smaller scale, the whole project should finish at similar times.

Site

Below Ground

Sub-structure

Super structure

Services installation and finishes

Site set-up – construction services + welfare, power / water / telecoms Site dilapidation survey – existing structures / infrastructure Protected areas – photographic survey Site strip – remove cobbles, roll sub base (stone) across site as a construction surface

Install piles Install services duct work / drainage

Crop pile caps Pour retaining concrete walls Install damp proof membranes

Concrete works, - rebar, cast in-situ floor slabs and walls Construct primary super structure Install secondary super structure components – insulation, waterproof membranes, external finishes / cladding, angles, steel rails, fixings Building watertight

First fix services – water, power, comms, gas Finishes – walls / floors / ceilings Second fix services – light fittings / switches / sockets Decoration / furniture Test and commission Handover

Environmental Studies

The diagrams to the right show how the studio space was adapted though daylight modelling to create a more well lit interior space. The introduction of roof lighting was key to this development. These digital models were developed alongside hand-made, physical lighting models to ensure adaptations to the design did not compromise the function of internal spaces.

The charts above were produced using Sefaira to give an indication of running costs, energy usage and C02. Although these results seem informative, they must be approached with caution as they were produced from a very simple model. The image above shows the daylight factor for the entire scheme. It is clear to see how the use of courtyards allow sufficient daylight to the communal ground floor area without sacrificing privacy. The darkest areas are technical spaces and a highsecurity vault space.

Given more time it would have been helpful to model a more detailed model in a more accurate, user-friendly software package to give a more realistic estimation of energy costs.

Environmental Considerations

Thermal Comfort

Day

Night

The thermal mass of the concrete floor slabs is used to passively heat the building. Thermal energy is accrued within the floor slab over the course of the day. As the air temperature drops at night, the thermal energy is released back into the building improving the level of comfort of the residents and minimising the amount of energy required to heat the building.

In addition to allowing residents to control their privacy, the mesh facade provides adaptable solar shading to reduce overheating of internal spaces.

Ventilation

The mesh facade and passive ventilation louvres fitted to the roof light work together to allow a passive ventilation current to move through the building, allowing stale air to escape and improving the overall air quality.

An underfloor heating system is cast into the floor screed. This is used to regulate the internal building temperature in conjunction with the ground-source heat pump system (shown right).

The building is heated using a ground-source heat pump system which makes use of the linear proportion of the site to house the heat exchange loop. This system reduces the amount by which the water needs to be heated by harnessing natural thermal energy in order to heat the water. This therefore reduces the carbon footprint of the building and overall running costs.

Designing in Relation to Building Regulations. Early on in the design process, we began to compile a spreadsheet of relevant building regulations, broken down into specific sections, each spanning multiple approved documents. This was to ensure both team members were working with the same information and to save time defining constraints.

Stairs All stairs in the tower are not to be used on a day-to-day basis and are therefore designed to fulfil the requirements of a utility stair (Part M - P6, 1.12): Risers: min 150mm, max 190mm Going: min 250mm, max 400mm (Part K - p5, 1.3) Max risers before landing: 16 (Part K - p10, 1.18)

Achieved: 170mm Achieved: 260mm Achieved: 9

All other stairs are general access stairs and meet the below requirements: Risers: min 150mm, max 170mm Achieved: 155mm Going: min 250mm, max 400mm Achieved: 300mm (Part K - p5, 1.3) Max risers before landing: 12 Achieved: 7 (Part K - p10, 1.18) All handrails are designed in line with Part K: 900 - 1000mm above stair pitch Achieved: 1000mm Distance from wall: 50 - 75mm Achieved: 50mm All handrails feature a 300mm extension at the top and bottom of the stair. All stairs wider than 1000mm feature a handrail on both sides. All doors in communal spaces and apartment entrances will have a 300mm nib (clear of any obstructions) on the leading edge of the door, on the pull side.

Fire The building is designed to accommodate up to 10 individuals, and as such cannot be classified as a dwelling house (Part B, Appendix E). For this reason all fire regulations follow the guidance of approved documents for buildings other than dwellinghouses. All areas above 11m are provided with a secondary means of escape. (Part B - p43, 4.5) One protected stair and one external escape stair are provided (Part B - P31, 2.49), both in-line with Part B and not exceeding the minimum clear width of 800mm as the stairs serve an area of less than 50 people. The stair maintains a constant width and does not exceed 1400mm (Part B - p45, 4.15) The external wall adjoining the external escape stair will be a fire-resisting construction.(Part B - p38, 3.30). For this reason, the entire north wall of the tower will use fire-resisting construction. All doors giving access to this stair will be fire resistant and self closing. (Part B - p55, 5.25) As the building is taller than 18m, the internal staircase is required to be within a fire-fighting shaft (Part B p114, diagram 52, b. shaft serving flats): Minimum clear opening width: 800mm Minimum car size: 1100 x 1400mm Maximum distance to fire stair: 7.5m (BS EN 81-72: 2015 - p12, 5.22)

Achieved: 1300mm Achieved: 1450 x 1650mm Achieved: 1900mm

As the staircase can be ventilated externally, there is no need for a pressurised system.

Tower Circulation

Security As security is a key aspect of our building it was important to study Approved Document Q - Security: All doors and windows will be designed to meet the security requirements of British Standards publication PAS 24:2012 (Part Q - p3, 1.2) with frames mechanically fixed to the structure at main entrances or areas of enhanced security. (Part Q - p4, 1.5) Although the ground floor glazing is protected by a layer of mesh, the glass will also be security-grade, in line with British Standard BS EN 356:2000 - Classification of resistance against manual attack. CCTV cameras will be installed by all building entrances along with intruder alarms and motion detection. Key cards required to access the building.

Response to Site Constraints 150mm

The street facade of our proposal is 20m, falling under the 22m limit.

The listed wall is respected in our proposal by maintaining a minimum of 150mm gap the wall and any new construction.

The front section of the building is raised to minimise compromise to the cobbled section of the site.

The central section of the building does not surpass 3m in height, in line with planning constraints.

The section above shows how the building is raised and punctured. This approach also allows the siteâ&#x20AC;&#x2122;s history to be legible within the building.

There are some unavoidable cases in which cobbles will have to be removed. In these instances, the cobbles will be re-used in the courtyard spaces within the building, maintaining continuity throughout the proposal and reducing waste.

Building Services

Key References and Bibliography

KC Design Studio, House W, Taipei, Taiwan, 2016

Ambrosi Etchegaray, Antonio Sola Town-Houses, Mexico City, Mexico, 2015

SAM Architekten, Männedorf Community Hall, Männedorf, Switzerland, 2011

Glass Kramer Löbbert Architekten , MRT-Forschungsgebäude, Berlin, Germany, 2010

Books: Bech-Danielsen, C; Christiansen, K; Bundgaard, C; Bo Jensen, T; Stylsvig Madsen, U, Egholm Pedersen, U (2012) Tectonic Thinking in Architecture, 1 edn., Denmark: KADK.

CAS Architecten, House Jopi, Ghent, Belgium, 2012

New Art Museum, SANAA, New York, USA, 2007

g roup 1 5

T RANSIT ORY SPAC ES Why stay rooted? Transitory Spaces reflects a society in flux and diverse. Meeting the requirements of those who by choice or necessity aim to work study or travel from place to place. Each living space is 8m x 5m and designed to fit a formal framework with an integrated communal courtyard.

Who is your occupant? Do they work from home? Are they a family? What are their interests? What is their profession? These are a number of the questions posed by Group 15 when deciding on how to design an ideal living space for a person of the next century.

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Habraken, N. and Teicher, J. (2000). The structure of the ordinary. Cambridge, Mass: MIT Press. Holliss, F. (2015). Beyond Live/Work: The Architecture of Home-based Work. London: Routledge.

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GUEST HOUSE

SCHOOL STUDENT’S HOME

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YOUNG COUPLE’S STUDIO

THE CREATIVE CORNER

CELL-BRICK STUDIO SPACE

ARCHITECTURE STUDENT HOUSE

Poitras, L., Sanders, J. & Weiwei, A., (2016). Astro noise: a survival guide for living under total surveillance, New York: Whitney Museum of American Art.

HOUSING FOR A FAMILY OF THREE

SHARED INNOVATION HOUSE

USE Students (2016) Berlin Compendium, Ausgang, Manchester School of Architecture: USE

young artist’s studio

Homeless Shelter

YOUNG PROFESSIONAL’S HOME

Online Articles:

All School Project Group 15

New resideNts select their house from a database.

their choice is priNted aNd slotted iNto the block.

the home exists for as

loNg as it is required.

THE WAY WE LIVE NEXT

wheN vacated, the house

is melted dowN.

this material is theN re-

used for New homes.

Videos & Films: Citizenfour. (2014). [Film] Directed by L. Poitras. New York City: The Weinstein Company. TED. (2017). Hubertus Knabe: The dark secrets of a surveillance state. [Online Video]. 6 August 2014. Available from: https://www.youtube.com/watch?v=IWjzT2l5C34. [Accessed: 22 November 2017].

PLAYER 1 AGE SPACE REQ. WEALTH TIME REQ. ATTACK

PLAYER 2 AGE SPACE REQ. WEALTH TIME REQ. ATTACK

PLAYER 3 AGE SPACE REQ. WEALTH TIME REQ. ATTACK

PLAYER 4 AGE SPACE REQ. WEALTH TIME REQ. ATTACK

PLAYER 5 AGE SPACE REQ. WEALTH TIME REQ. ATTACK

aNy uNused buildiNg caN be selected

selected buildiNgs are gutted leaviNg

the buildiNg shells are iNhabited by the

for traNsformatioN

oNly the structure

tetris scheme

PLAYER 6 AGE SPACE REQ. WEALTH TIME REQ. ATTACK

All School Project Group 8