Time and Tide - Neaps
Magdalena Jaslar MArch 1 Academic Year 2014/2015 THA 1200 Advanced and Sustainable Technology
Site Study Location Heysham is a large coastal village near Lancaster in the county of Lancashire, England. Overlooking Morecambe Bay, it is a ferry port with services to the Isle of Man and Ireland. Heysham is the site of two nuclear power stations which are landmarks visible from hills in the surrounding area. Heysham has been identified as one potential location for the next generation of nuclear power stations. Of historical interest are the stone graves in the ruins of the ancient St. Patrick’s Chapel, close to St. Peter’s Church. They are thought to date from the 11th century, and are hewn from solid rock. Local legend has it that St. Patrick landed here after crossing from Ireland and established the chapel. However it has been established that the chapel was built around 300 years after Patrick’s death. In addition, the grounds of St. Peter’s Church contain many Saxon and Viking remains, and the church itself contains a Viking hogback stone.
Figure 3: Aerial view of Morecambe Bay.
Figure 4: Aerial view showing location of Heysham.
Figure 1: Map of Britain.
THA 1200 Advanced and Sustainable Technology Time and Tide - Neaps
Figure 2: Site View.
Figure 5: Aerial view showing the site location and density of the area.
Magdalena Jaslar MArch 1
Site Study Site Forces The diagram to the right describes main site forces including sun path diagram, topography lines, wind directions and panoramic views.
Site is exposed to sun, and the variations on the sun rise and set patterns can be determined depending on the time of year. Main views from the site are towards the sea, looking into western direction.
SUMMER SET
SUMMER RISE
VIEW
Prevailing wind comes from south west and west directions, however strong winds are also present from south east. Due to topography of the land, the site is mostly affected by the winds from the western side.
PANORA
MA
Some woodland areas close to the site are highlighted, however these do not obstruct any views in or out of the site.
WINTER SET
WINTER RISE
PREVAILING WSW WIND
STRONG SSE WIND
Figure 6: Wind Rose Diagram for Haysham
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THA 1200 Advanced and Sustainable Technology Time and Tide - Neaps
Figure 7: Map showing site forces and direction of panorama views from the site.
Magdalena Jaslar MArch 1
Site Study Characteristics
Figure 8: Dog walkers on the beach next to the site.
Figure 9: Pathway leading to the site.
Figure 10: View of the Power Station and the Sea from the site.
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Magdalena Jaslar MArch 1
Types of Body Disposal Cremation Around 70% of all funerals in The UK are cremations, therefore it is one of the most common method currently used.
A typical unit contains a primary and secondary combustion chamber. These chambers are lined with a refractory ceramic brick designed to withstand the high temperatures.
Cremation involves the incineration of the body at very high temperatures, with only a relatively small amount of “ash” left at the end, for the family to either keep, bury or scatter Today many Christian denominations, including the Roman Catholic church allow cremation. While cremation is forbidden by Orthodox Jews and Muslims, it is the usual method of disposal for Sikhs, Hindus and Buddhists, and as crematoria ceremony halls are non-denominational, one can have the person conducting the funeral and ceremony of one’s choice.
Figure 11: Fire.
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The primary chamber contains the body – one at a time usually contained in some type of combustible casket or container. This chamber has at least one burner to provide the heat which vaporizes the water content of the body and aids in combustion of the organic portion. A large door exists to load the body container. Temperature in the primary chamber is typically between 760 to 1150 °C The actual process of cremation usually lasts 1-2 hours. The coffin is placed within the retort (the chamber within the cremator) and is subjected to high temperatures. Most of the soft organs and tissue simply evaporate as they are subjected to such extreme heat. The gases get discharged through the chimney. What is left after the cremation process is basically dry bone fragments and the quantity of these usually vary from 2kg to 3kg depending on the deceased size. The dry bone fragments are then removed from the retort and put through a cremulator. This device uses a grinding or rotating mechanism to turn the dry bone fragments into cremains (a technical term which combines the words cremation and remains) which take the appearance of grains of sand.
Figure 12: View of the cremains.
https://www.everplans.com/sites/default/files/styles/article_header_image/public/cremated-ashes-main.jpg?itok=5LpgvKP3
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Magdalena Jaslar MArch 1
Types of Body Disposal Burial/Green Burial A “traditional burial” in the UK involves the internment of the deceased’s body, usually in a deep grave at a cemetery or churchyard. The majority of cemeteries are nondenominational, and so most types of funeral service or ceremony can be conducted there. Advice will also be available from the ministers of the religion or religious organisation that the deceased may have belonged to. Obviously if you choose to be buried in a churchyard, then the type of funeral/ceremony will be dictated by the particular faith practiced there.
Figure 14: Highgate Cemetery, London.
Figure 15: Poetree Urn.
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Figure 13: Great Orme Cemetery, Llandudno.
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Green burial (also known as a Natural or Woodland Burial) is all about keeping things as simple and natural as possible - returning to nature in a way that will not harm the environment, but will actually preserve the landscape and enhance opportunities for wildlife - it’s about leaving the world a better place, and is increasingly becoming the environmentally friendly choice. The general principals of this kind of burial are that the body is not to be embalmed (as the main chemicals involved in this process can be environmentally hazardous), a biodegradable coffin (cardboard, bamboo, seagrass, willow or sustainable wood) or shroud is used, and that a native tree or shrub is then often (but not always) planted on, or close to, the grave instead of a large stone memorial. Figure 16: Capsula Mundi, Italy.
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Magdalena Jaslar MArch 1
Types of Body Disposal Burial at Sea A burial at sea, is not only an option for former sailors or Naval personnel, but an option available to everybody. In recent times it hasn’t been that popular in the UK, with only a few dozen being carried out each year, at only 2 designated sites in England. Its popularity however, is suggested to be on the increase, as the strict regulations surrounding Sea burial mean it’s quite a green way to go. Newhaven, East Sussex, and The Needles Spoil Ground, Isle of Wight, are the two main sites where sea burial is allowed to take place in England.
Keeping with the faith and old tradition of submersing one’s ashes in the sea, a ‘Shell’ as it is called is one’s last chance to celebrate both design and nature in the most dignified form. An urn that will carry your last remains is made from bio degradable pressed paper that will dissolve with time. A unique way though, one can leave a message for their loved ones by either writing on the Shell itself or placing notes and objects through a pocket located on the top. Nothing but the words shall remain as the last remains go into a deep slumber.
Due to the small possibility of the body being returned to shore by strong currents, or being trawled up by commercial fishing nets, these specific sites have been chosen very carefully and designated for this purpose.
Figure 19: Shell: Green Burial In the Sea.
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Figure 17: Scattering of Ashes in the Sea.
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THA 1200 Advanced and Sustainable Technology Time and Tide - Neaps
Figure 18: Shell: Green Burial In the Sea.
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Magdalena Jaslar MArch 1
Merry Cemetery Sapanta, Romania Merry Cemetery is famous for its colourful tombstones with na誰ve paintings describing, in an original and poetic manner, the people who are buried there as well as scenes from their lives. The Merry Cemetery became an open-air museum and a national tourist attraction.
Figure 20: Merry Cemetery. http://spendit.pl/wp-content/
Figure 21: Merry Cemetery. http://farm8.staticflickr.com/7111
Figure 21: Merry Cemetery.
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Figure 23: Merry Cemetery.
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Igualada Cemetery Enric Miralles As part of a competition to replace an older cemetery, Enric Miralles and Carme Pinos envisioned a new type of cemetery that began to consider those that were laid to rest, as well as the families that still remained. After 10 years of construction, the Igualada Cemetery, outside of Barcelona, Catalonia, Spain, was completed in 1994 as a place of reflection and memories. The Igualada Cemetery is a project that challenges the traditional notions of what makes a cemetery. Miralles and Pinos conceptualized the poetic ideas of a cemetery for the visitors to begin to understand and accept the cycle of life as a link between the past, present, and future. It’s understood by the architects to be a “city of the dead” where the dead and the living are brought closer together in spirit. As much as the Igualada Cemetery is a place for those to be laid to rest, it is a place for those to come and reflect in the solitude and serenity of the Catalonian landscape.
Figure 25: Igualada Cemetery.
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Figure 24: Igualada Cemetery.
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Figure 26: Igualada Cemetery.
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THA 1200 Advanced and Sustainable Technology Time and Tide - Neaps
Figure 27: Igualada Cemetery.
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Magdalena Jaslar MArch 1
Yarauvi Necropolis The Dead Sea Yarauvi is a place where any person - regardless of nationality, race, religion, age or affluence - can be laid to rest. By choosing this site as a final resting place, any citizen of the world can contribute to a growing monument to tolerance, reconciliation and unity. Our collective respect for the dead and where they are laid to rest reaches across cultures like few other human experiences. It is the commonality of this reverence that guides the creation of Yarauvi, a necropolis at the centre of the Dead Sea.
Figure 29: Yarauvi Necropolis. Figure 28: Yarauvi Necropolis.
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Figure 30: Yarauvi Necropolis.
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Figure 31: Yarauvi Necropolis.
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Magdalena Jaslar MArch 1
Saint Benedict Chapel Peter Zumthor The Saint Benedict Chapel, located in the village of Sumvitg, Graubßnden, was designed by the Pritzker Prize Laureate Peter Zumthor in 1988. The modest, human-scaled exterior of the chapel encapsulates the beauty and simplicity of Zumthor’s works, while the interior showcases his unparalleled craftsmanship. The chapel was constructed in the small village of Sumvitg following a 1984 avalanche that destroyed the baroque-style chapel of the village. The hillside site for the new chapel, which provides breathtaking mountainous views, is protected from future avalanches by a surrounding forest. Although Zumthor used modern materials and techniques for this particular design, the cylindar-shaped chapel blends naturally into its context, without offending the traditional and historical dimension of the Alpine village. For example, the chapel is constructed with wooden shingles and snips, similar to the local traditional houses.
Figure 32: Saint Benedict Chapel.
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Figure 33: Light entering Saint Benedict Chapel.
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Forest Chapel Hironaka Ogawa The Forest Chapel sits in the garden of an existing wedding centre and Hironaka Ogawa wanted to make a direct reference to the surroundings. “I took the trees in the garden as a design motif and proposed a chapel with randomly placed, tree-shaped columns,� he explains. Columns branch outwards like a grove of trees around the aisle of this wedding chapel in Gunma, Japan, by Tokyo architect Hironaka Ogawa.
Figure 35: Sections of the Forest Chapel.
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Figure 36: entrance to the Forest Chapel.
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Figure 34: Plan of the Forest Chapel. http://static.dezeen.com/uploads/2013/02/
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Figure 37: View of interior of the Forest Chapel. ht tp://static.dezeen.com/uploads/2013/02 /Dezeen_
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Crematorium Baumschulenweg Shultes Frank Architeckten Like no other building – the Museum in Bonn and the Chancellery in Berlin are no exceptions – this one reflects the unbroken will of the architects. A hollowed, jointless block 50 by 70 meters, 10 meters deep in the earth, 10 meters high above it, one stone, one grave-stone, insisting on the material consistency of its several spaces. And if there were a word of truth in Ludwig Wittgenstein’s claim that architecture ‘compels and glorifies; that where there is nothing to glorify there can be no architecture’, then this structure glorifies the quintessence of architecture, celebrates space, the silence of walls in light.
Figure 39: Crematorium Baumschulenweg.
http://www.archdaily.com/322464/crematorium-baumschulenweg-shultes-frank-architeckten/50fee
Figure 38: Plan of Crematorium Baumschulenweg. ht tp: //ad 0 09cdnb. archdaily.net /wp - content /
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Figure 40: Crematorium Baumschulenweg. http://ad009cdnb.archdaily.net/wp-content/
Magdalena Jaslar MArch 1
Rennes Métropole Crematorium PLAN 01 architects Paris studio Plan01 Architects have completed a crematorium in Rennes, France, featuring a series of circular structures surrounded by a ring of granite blocks. Called Rennes Métropole Crematorium, the circular form is a recurrent theme throughout the building and its surrounding landscape, intended to reference the life cycle. The architect’s intention was to avoid imposing paths and corridors, instead creating a meandering landscape. The crematorium includes a large central hall, two ceremony rooms and waiting rooms with adjoined patios and a little pool. Translucent curtains lining the waiting room walls provide some privacy when required. The waiting areas are located as ante-rooms to the ceremonial spaces. Their walls are made of glass that can be completely hidden by translucent curtains, so that the levels of intimacy and openness can be controlled. This system also gives the possibility to avoid embarrassing encounters between two different families.
Figure 41: Rennes Métropole Crematorium.
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Figure 42: Plan of Rennes Métropole Crematorium.
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Magdalena Jaslar MArch 1
Jubilee Church Richard Meier Located in the eastern suburban area of Rome, the Church of 2000 “Dives in Misericordia” by architect Richard Meier is the first realized work of the American architect in the Italian capital, followed by the Ara Pacis Museum (2005). The importance of this project is to give value and attraction to the deepest and most far suburbs in Rome; the occasion came with the beginning of the new Millennium. The Vicariato of Rome (diocese of Rome’s Bishop, the Pope) committed this work to show and highlight the basic role that architecture plays in holy and religious spaces, and to demonstrate that the connection with contemporary architecture is the key to improve quality of life in suburban areas. These were the goals that the project had to face. Richard Meier’s project won the international competition in 1996
Figure 43: Jubilee Church.
http://www.alankarchmer.com/data/photos/1370_1Meier_Jubilee_12.jpg
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Figure 44: Jubilee Church.
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Figure 45: Plan of Jubilee Church.
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Richard Serra Sequence Serra’s work blurs the boundaries between architecture, art and engineering. The curvilinear walls slant, creating a vertiginous experience as visitors walk through the two torqued ellipses connected with an “S.” As Serra explained the disorienting experience, “The ‘S’ is a passage that reverses itself right in the centre of the piece, and you might have the concern that you’re walking back in the same direction you came from, but you’re not.”
Figure 47: Richard Long - Waterfalls.
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Figure 46: Richard Serra - Sequence at Stanford. http://news.stanford.edu/pr/2011/images/serra_release.jpg
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Richard Long Waterfalls Magdalena Jaslar MArch 1
Design Brief List of Accommodation The Funeral Chapel is designed for religious and contemplative presence. The facility is to offer options of burial/green burial and cremation with possibility to dispose of ashes in the sea. Areas to be included: lobbies = 80m2 circulation = 80 m2 main hall = 220m2 crematorium = 190m2 office = 10m2 small meeting room = 10m2 storage = 60m2 toilets = 30m2 plant room = 40m2 total = 720m2
Figure 48: Floral Skeleton
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Design Concept Site Influences
Figure 49: View towards the sea showing old ship wreck.
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Design Concept Ribs
Figure 50: Human ribs.
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Design Development Initial Diagrams
Figure 51: Diagrammatic arrangement of circulation in the Funeral Chapel.
Figure 52: Sectional relationship of the Funeral Chapel with the site.
All initial diagrams were created to establish the relationship of the Funeral Chapel with the surrounding landscape, as well as to determine the optimum orientation of the building on the site. Furthermore, a sequence of arrangement of internal spaces was studied in order to form a basis for design of the building. Climate, access points, views and topography were taken into account when undertaking this task. The outcome provided a foundation for further development of the project, and set the guidelines which later helped to shape the building. THA 1200 Advanced and Sustainable Technology Time and Tide - Neaps
Figure 53: Diagrammatic study of the site, analysing land division and position of the Funeral Chapel.
Figure 54: Site section looking towards south, depicting the topography and the landmarks of the area.
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Design Development Sequences of Events
Figure 55: Study of alternative building orientation on site and sequential arrangement of internal spaces (where: 0 = arrival; 1 = main hall; 2 = ancillary accommodation).
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Figure 56: Analysis of the sequences of the events taking place in the Funeral Chapel.
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Design Development Spatial Division
Figure 58: Diagrammatic plan analysis of areas and natural light within the Funeral Chapel.
Figure 57: Analysis of alternative spatial arrangement.
Figure 59: Section showing light filled spaces.
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Design Development Organic Form
Figure 62: Roof plan sketch. Figure 60: Inspirational section drawing.
Figure 61: Exploring elevation sketch.
Figure 61: Exploring elevation sketch.
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Figure 63: Semi circular plan of the Funeral Chapel.
Figure 64: Site plan exploring position of semi-circular Funeral Chapel.
Magdalena Jaslar MArch 1
Design Development Site Arrangement This drawing shows the principal division of the site into three main areas: the Funeral Chapel and parking area to the south west; Columbarium to the south east, and Cemetery to the north of the site. Three types of axes were identified in order to create this arrangement. Firstly S-N central access line and E-W existing stone wall line. Secondly, the radial lines from the centre of the Funeral Chapel stretching across the site this helps to create access points to the buildings from all directions on the site. Lastly, the topography lines of the site helped to create connecting pathways between main circulation routes.
Figure 65: Sketch showing roof plan of the Funeral Chapel. Figure 66: Sketch showing site arrangement.
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Sketch Models Organic Form
Figure 68: Sketch model exploring semi-circular form.
Figure 67: Sketch model exploring semi-circular form.
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Figure 69: Sketch model exploring semi-circular form.
Magdalena Jaslar MArch 1
Sketch Models Site Study
Figure 70: Site study model.
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Site Grid Determining Circulation Routes
Figure 71: Primary Axes
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Figure 72: Secondary Radial Axes
Figure 73: Tertiary Topography Axes
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Site Grid All Axes Combined
Figure 74: All Axes Merged
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Site Plan
Figure 75: Site plan.
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Floor Plans
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Figure 76: Ground Floor.
1. Main Hall 2. Lobby 3. Meeting Room 4. Toilet 5. Preparation Room 6. Circulation 7. Crematorium 8. Office 9. Storage 10. Plant Room
Figure 77: Basement Floor
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Section
Figure 78: Section A-A’. A
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Main Hall
Figure 79: View of the main ceremonial hall.
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Bathroom & Withdrawal Space
Figure 80: View inside the bathroom/ withdrawal space.
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Views
The proportional structure of the entire complex is based on a series of squares and slanted shell like walls. The external walls are created from three concrete shells that, together with the spine-corridor, make up the body of the Funeral Chapel.
Figure 81: View of the meeting room.
Figure 83: View inside the entrance lobby.
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Figure 82: View showing corridor space.
The materials used in the construction allow for the formation of the curvy walls, while referencing the fabric of the adjacent residential area. Glazed skylight suspended between the shells is lit by sidelight, and the inside of the Chapel is enlivened by a constantly changing pattern of light and shade. The light is diffused over the inner volume of the Funeral Chapel and varies according to the hour, the weather, and the season, imparting a particular character to the aspects of the interior.
Figure 84: View of the second lobby.
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Views
Figure 85: External view at dusk.
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Views
Figure 86: View of the main entrance.
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Views
Figure 87: View of the Funeral Chapel..
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Construction Precast Blocks Foundations: Due to proximity to the sea, the surface soils may be unstable, therefore the construction loads have to be transferred to the strata. Driven piled foundations were chosen to increase the density of the sandy soil and provide support through friction with the subsoil.
Placing of the block onto the structure.
Basement: Piling wall is to be used as a retaining wall for the basement level. Appropriate tanking to be applied to prevent water ingress.
Fitting of the post tensioning cables.
Figure 90: Lifting of the precast block, Jubilee Church.
External walls: Similar method as used in the construction of Jubilee Church in Rome is to be applied. Precast blocks are to be assembled on site using post tensioning cables and sleeve joints. This technology enables the formation of slanted curly walls, while achieving a clean and smooth finish. Novacem technology is to be used to reduce the CO2 emissions during the manufacturing stage and thus to aid a sustainable design.
Securing of the joints.
Filling of the sleeve joints with aggregate.
Figure 89: Construction of the precast blocks, Jubilee Church.
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Sustainability Novacem Novacem’s carbon-negative technology has the potential to transform the construction sector’s environmental impact from a net emitter of CO2 to a net absorber: Novacem cement minimises CO2 emissions during its manufacture, use in construction and its disposal. In recognition of this achievement, Novacem was the overall awards winner of the Rushlight Award (sponsored by the Institute of Physics), which supports and promotes the development of clean technology. The product is sustainable, recyclable and has the technical properties - including water resistance - and high thermal mass of traditional concrete; furthermore, the chemical nature of the production process means that the industrial by-products can be utilised.
Figure 92: Design strategies to achieve comfort when uncomfortable outdoor temperature and humidity conditions exist.
Figure 93: The psychometric chart, which plots air-moisture mixtures.
Figure 91: Five types of concrete made using Novacement.
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Passive Design The Chapel is set to achieve a comfortable interior environment through the use of passive design tools. Stack ventilation can be applied in the main hall and corridor, to prevent the need for the mechanical air conditioning during warm summer months. Cross ventilation can be also used for cooling ancillary accommodation by opening windows and doors. Thick external walls (500mm) provide thermal mass to absorb and store solar energy and to sustain comfortable temperatures inside of the building.
Figure 95: Image showing windows.
Natural light is to enter the main hall via large roof light, which is also a major feature in the overall design. In addition the sunlight shelving has been used in the central part of the building thus ensuring day light in the core of the building. Lastly, strips of long windows have been used on the west facade, offering natural light and views towards the sea.
Figure 94: Section showing stack ventilation.
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