UWE_BEng Graduation Portfolio: Architecture_Concerning Preservation_2014-2015

Ech oic Remnants C o nce rni ng Pre s e r v at i o n

Michaela Mallia Design Studio F Por tfolio Architecture and Environmental Engineering

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Co n t e n t _

The Cit yscape

Ephemeralit y in Music_

Architectural Responses_

Architectural Manifestation_

Technical Substantiation_

Concerning Preservation_

Identification; investigation; extrapolation

3 stages of preser vation

From fragmentation to completeness

3 musical & architectural experiences

Expression through the details

Experiential transition

Unders t a n di n g B ri s t o l’s Ide n t i t y_ 10

A histo ri c a l a n a l y si s

12

Ident i ty ; g e n i u s l o c i

E x periencing M usic_ 40

Th e e ph e me r al n at u re of mu si c; e ch oi c re mn an t s

M u sic T h eory & History _

4

Citysc a p e _

42

Co nson an ce & di sson an ce

14

Ident i f y i n g th e si te

44

M u si cal pe r i ods

15

Ident i f y i n g p e r f o rm a n c e ty p o l o g i e s

46

I n s tr u me n t s & i n st r u me n t f ami l i e s

16

Inv es ti g a ti n g m u si c a l v e n u e s

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Integ ra ti o n

A Deconstructive Ag enda; Overview_

The Ma sterpla n_

Environmenta l_

66

M an i f e st i n g f r agme n t at i on

94

Cultural c entre building proposals

13 8

The c our tyards; c ontrolling light

16 3

The p av i l i o ns & e p he m e r al i ty

68

From f r agme n t at i on t o compl e t e ness

96

Site plan; fragment disper sion

140

Museum & c onc er t hall environmental strategy

16 4

The cafe & e p he m e r al i ty

70

T h e e l e me n t s of f r agme n t at i on ; form, c our tyards,

144

Cafe environmental strategy

16 5

The i ns tr um e nts & p re s e r v ati o n

mat e r i al i t y

Architectura l Proposa l_ 10 0

Floor plans

I nvestig ating T y polog ies_

12 0

Sec tions

144

The retrofit & Passivhaus identific ation

72

Au di t or i a: u n de r st an di n g t ypol og ies

12 6

Elevations

146

Museum retrofit detail

C o ncept Extrapolation: Frag mentation_

73

Au di t or i a: r at i on al i sat i on

13 4

Material & atmospheric palette

15 2

Detailing bric k bonds

48

Fr a gme n t at i on as a con ce pt

74

M u se u ms: u n de r st an di n g t ypol ogies

Ext ra p o la t i o n ; R e p a i ri n g t h e Ce n t re _

50

Fr a gme n t at i on : t h e mast e r pl an

75

M u se u ms: r at i on al i sat i on

20

A city - w i d e a n a l y si s; th e n e e d f o r re pa i r

52

Th e j ou rn e y of t h e f r agme n t

22

A grou p i n v e sti g a ti o n i n to u r b a n th eo r i es

26

Walka b l e c i ty p re c e d e n t stu d y

28

Ex plori n g u rb a n th e o r i e s i n Br i sto l

30

A grou p a g e n d a ; p ro m o te c u l tu r a l su b-cen t res

32

A grou p a g e n d a ; p ro m o te g re e n i n f r a s t r u ct u re

34

T he g ro u p m a ste rp l a n str a te g y

Form Development_

54

Pa ssivha us & Ma teria ls_

Structure_ 15 4

The frame; sequenc e of c onstruc tion

15 6

How muc h does your building weigh?

Th e 3 Levels of P reservation_

76

Re spon di n g t o e n vi ron me n t al constraints

Th e br i e f

78

Ske t ch mode l l i n g wor ksh op

82

Z u mt h or ; f rom se du ct i on t o com posure

15 8

Par t B

84

De ve l opme n t se qu e n ce

15 9

Par t M

C o nceptual Consid erations on Desig n_ 56

Tr a nsl at i on i n t o a spat i al h i e r arch y

58

M u s e u m e xh i bi t i on organ i sat i on

60

Co n si de r at i on s on acou st i c de si gn

A t m o s phe ri c Il l u s t ra t i o n _

Complia nce_

U sing Brick_ 86

I de n t i f yi n g a mat e r i al pal e t t e

88

Est abl i sh i n g a mat e r i al st r at e gy

5

Th e C i t y _ Id e nti f i c a ti o n; i nv e s ti g a ti o n; e x tr a p o l a ti o n

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“A c o n cer t ed ef f or t t o p reser ve our h erit a g e is a vit a l link t o

“Withou t memor y, there is n o cu ltu re. Withou t memor y, there

o u r c u lt u r a l, ed uca t iona l, a est h et ic, insp ira t iona l, a nd econom ic

wou ld be n o civilization , n o society, n o fu tu re.”

le gac ie s - a ll of t h e t h ing s t h a t q uit e lit era lly m a ke us wh o we a re.”

St eve Berr y

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Elie Wiesel

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Understa nding Bristol’s Identit y A historical a n a l y si s_

“A civ ilization i s a h e r i ta g e of b e l i e f s, c ustom s , and knowled g e sl ow l y a c c umul a te d i n th e cour se of centur i e s” Antoine de Sa i n t- E x u p e r y

Under standi n g a c i ty ’s c u l tu re i s under standin g i ts h i sto r y. Its p e o p l e a n d essence all s te m f ro m th e y e a r s of so c i a l a n d econom ic evo l u ti o n .

Bristol saw a n u r b a n m e ta m o r p h o si s b e tw e en the 12th and 20th c e n tu ri e s. W i th th e a d v e n t of slav e-trade , th e c i ty ’s p o r t b e g a n to dev elop, beco m i n g a p ro m i n e n t l i n k b e tw e e n Europe, Afric a a n d Asi a i n 15th a n d 16th centuries, an d l a te r th e Am e ri c a s i n th e 17th centur y. T h e a d v e n t of th e i n d u str i a l rev olution saw th e c o n stru c ti o n of th e f l o a t i n g harbour betw e e n 1804 - 1809; a t th i s ti m e , Bristol’s pop u l a ti o n q u i n tu p l e d , p a r tl y d u e t o the influx of e x o ti c p e o p l e a n d i n f l u e n c e s.

As a result, Bri sto l i s a h i g h l y c u l tu r a l l y r i c h

Pre 110 0

and div er se c i ty. T h i s i s m o st n o ta b l y re f l e ct ed

110 0 - 19 0 0

Po s t 1 9 0 0

in its food an d ‘ u n d e rg ro u n d sc e n e ’, w h e re ar t and musi c b o a st Bri ti sh , Af ri c a n - Am e r i ca n and Caribbea n i n f l u e n c e s. T h e m u si c sc e n e

Tr ans atl anti c S l av e Tr ad e Ro ute

B ris t ol’s e volut ion

par ticularly f l o u r i sh e d i n th e 80s, w h e re genres such a s Tr i p H o p e m e rg e d f ro m th e fusion of cul tu ra l i n f l u e n c e s.

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Identity ; gen i u s l o c i _

What is the sp i ri t of Br i sto l ? W h a t c o m e s to mind when a th i n k i n g a b o u t th e i d e n ti ty of t h e city, and, wh a t i s i t th a t sp e c ta to r s se e w h e n they wonder d o w n i ts stre e ts?

T he ringing of c h u rc h b e l l s i s h e a rd , buttressing th e m e m o r y of M e d i e v a l so n g s of praise. Buske r s p l a y i n th e o l d c o b b l e d street s of the Medie v a l q u a r te r a n d Bro a d m e a d .

Music festiv al s i n tox i c a te th e su m m e r s, th e i r songs drif tin g o v e r th e q u a y w a te r to a m b l i n g pedestrians.

As nights go b y, l i v e p e r f o rm a n c e s g ra c e audiences in b a r s. U n d e rg ro u n d p a r ti e s entice hundre d s, d a n c i n g to th e rh y th m s a n d beats of m us i c i a n s a n d D Js, a m a te u r a n d professional a l i k e .

But, the m us i c of Br i sto l i s e p h e m e r a l . O n c e this m usic is h e a rd , i t re m a i n s a s a n e c h o i c

L a s t re ma ini ng c i ty g ate

S t Mar y Re d c l i f f e b e l l s

S ong s of p ra is e

Ja zz I nf lue nce

B us ke r s

Trip H op ; Ma s s ive At t a ck

Drum and Bass; grim e

memor y whi c h sl o w l y f a d e s i n to o b l i v i o n w i t h tim e.

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Cit yscape Identif y ing t h e si te _

Identif ying per formanc e typologies_

T he site sits i n th e c e n tre of Br i sto l j u st N o r t h of the floatin g h a r b o u r.

Typic ally no preser vation of per formanc e

Possible digital rec ording

Typic al digital audio/video rec ording

Ty p i cal l y no p re s e r v ati o n of p e r fo rm ance

Nestled in th e h e a r t of th e c i ty, N e l so n S treet ex udes ‘Bristo l u n d e rg ro u n d ’.

T he facades a re a d o rn e d w i th g ra f f i ti , surrounded b y m a n y of Br i sto l ’s m u si c a l v enues.

Busk ing

Bar s & pubs

Nightc lubs

Live per formanc e venues

Conc er t hall

Chamber hall

Symphonic hall

P l ace s of Wo r s hi p

T hese v enues r a n g e i n ty p o l o g y, f ro m c a su al bar s to forma l i se d m u si c h a l l s.

A narrativ e i s e sta b l i sh e d th ro u g h identificatio n of th e v e n u e s, d e te rm i n i n g th e missing ‘link ’ i n Bri sto l ’s c e n tre .

Music al per formanc e: formality an d size ten d to in crease to the right T he followin g p a g e w i l l i d e n ti f y th e se locations in re l a ti o n to th e si te i n m o re d e ta i l .

A t yp olog y s e rie s us e d t o d e t e rmine a mis s ing ‘link’ in B ris t ol

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Inv estigating m u si c a l v e n u e s_

Music Venues _

A 1 9 _ Th e G u a l l i ma u ph r y

B 6_ B ase me n t 45

D2_ B roadme ad B apt i st C h u rch

A1_ T he O ld D u k e

A 2 0 _ Th e E x ch a n ge

B 7 _T h e I mp

D3_ St Jame s’ P r i or y

A2_ Mr Wolf ’s

A 2 1 _ Tr i n i t y Co mmu n i t y A r t s

B 8_ T h e P h oe n i x C l u b

D4_ St Pe t e r ’s C h u rch

A3_ Arc Bar

A 2 2 _ Ja m Ja r

B 9_ L akot a

D5_ C h u rch of St J oh n t h e B apt i st

A4_ T he Lan e s

A 2 3 _ Th e Ol d M a l t H o u s e

B 1 0_ T h e B l u e M ou n t ai n

D6_ C h r i st ch u rch wi t h St Ewan

A5_ Colston H a l l

A 2 4 _ Th e Fl eece

A6_ T he O 2 Ac a d e m y

A 2 5 _ Th ekl a

M usic Fest iva ls_

D8_ St M ar y on t h e Qu ay

A7_ St G eorg e ’s H a l l

A 2 6 _ Th e L o u i s i a n a

C 1 _ Jaz z an d B l u e s Fe st i val

D9_ St M i ch ae l on t h e M ou n t

A8_ Bristol Ch o r a l S o c i e ty

A 2 7_ Th e Un dercrof t Ca fe

C 2_ Tot t e rdown M u si c Fe st i val

D1 0_ T h e L ord M ayor ’s C h ape l

A6 _ The O2 A c ademy

A9_ T he V ict o r i a R o o m s

A 2 8 _ Th e Tu n n el s

C 3_ B r i st ol Fol k Fe st i val

D1 1 _ B r i st ol C at h e dr al

A7_ St George’e Hall

A10_ Anson R o o m s

A29_ Motion Bristol

C 4_ Dot t o Dot

D1 2_ St M ar y Re dcl i f f e

A11_ AR2 at U BU

A 3 0 _ G r a i n B a rge

C 5_ L e t ’s Rock B r i st ol !

D1 3_ Te mpl e C h u rch

C 6_ St Pau l ’s C arn i val

D1 4_ St P h i l i p an d St Jacob C h u rch

A12_ Be in B ri sto l

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Ke y l i ve per formanc e venues_ A 2 4_ The Fleec e A 2 5 _ Thek la

D7 _ St St e ph e n ’s C h u rch

A13_ T he Fu l l M o o n

B ar s & C lu bs ; L ive M u s ic _

C 7 _ L ove Save s t h e Day

D1 5_ St Pau l ’s C h u rch

A14_ No. 52

B 1 _ Th e B i rd Ca ge

C 8_ T h e O l d Du ke Jazz Fe st i val

D1 6_ C i t y Road B apt i st C h u rch

A15_ T he Can te e n

B2_ Star t the Bus

C 9_ B r i st ol Fe st i val of Son g

D1 7 _ Agn e s C h u rch

A16_ T he Crof te r ’s R i g h ts

B 3 _ Th e L o ve I n n

A17_ Lef t Ban k

B 4 _ Th e Co ro n a t i o n Ta p

A18_ Blue La g o o n

B 5 _ B r i s t o l Fo l k H o u s e

Key c onc er t halls_

Key Symphonic hall_ A 5 _ Colston Hall

D1 8_ M at t h e w’s C h u rch

Key c hamber halls_

Ch urch es_

D1 9_ C ot h am Par i sh C h u rch

N on e in city cen tre

D1 _ Sve rn Vi n yard C h u rch

D20_ Vi ct or i a M e t h odi st C h u rch

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Integration_

While Bristo l b o a sts m a n y v e n u e s f o r m u si c a l per formance, m a n y a re c a su a l sp a c e s.

Bristol does n o t h a v e a c e n tr a l f a c i l i ty to preser v e, ce l e b r a te a n d e d u c a te p e o p l e a b ou t the dev elopme n t of i ts m u si c , i ts h i sto r y a n d instrum ents.

T hus, this pro p o sa l c h a l l e n g e s th e ephem erality of m u si c .

It striv es to p re se r v e m u si c a n d th e i r instrum ents o n d i f f e re n t l e v e l s,

museum of i n str u m e n ts, p re se r v i n g th e i r

Sm al l c o n c e r t h a ll

And finally, p ro v i d e s i t w i th a n e d u c a ti o n a l

C o n c e r t ha ll

concer t halls ,

L arg e s c al e c o n c e r t

By prov iding th e c i ty w i th i ts m i ssi n g l i n k i n

F u l l s y mp h o n ic o rc h e s t ra

prov iding ca su a l p e r f o rm a n c e v e n u e s,

M i d- s c al e c h a mbe r mu s ic h a ll

It integrates i n to th e e x i sti n g ty p o l o g y b y

legacy and th e d e v e l o p m e n t of m u si c i n Bristol and th e U K.

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C o ls t o n Ha ll; R o ya l Fe s t iva l 2075 se.c.

O2 A c a de my 16 0 0 s t . c .

Pro po s a l 620 se.c.

72 0 s t . c .

St G e o rg e ’s H al l 5 10 s e . c .

C o l s to n H al l ; Lante rn 250 se.c.

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Ex trapol ation; Towards a Cultural Centre A city -wide a n a l y si s; th e n e e d f o r re p a i r_ Bristol is rec o g n i se d a s o n e of th e l e a d i n g cities in the S o u th We st of E n g l a n d . Its sta t u s , div er sity and e c o n o m i c d e v e l o p m e n t h a v e stem m ed fro m i ts l o n g a n d ri c h h i sto r y a s on e of England’s m a i n p o r t c i ti e s.

While it is ho m e to 4 32,500 re si d e n ts, Bri stol is a key com m u te r r a i l w a y l i n k b e tw e e n London and Wa l e s. As a re su l t, th e c i ty c e n t re and Tem ple Qu a y w i tn e ss a l a rg e i n f l u x of working prof e ssi o n a l s e v e r y d a y, w h o a r r i v e a t Temple Meads R a i l w a y S ta ti o n .

Adding to its p re sti g e a s a n a ti o n - w i d e destination, th e c i ty w i l l b e n a m e d a s th e UK ’s fir st Euro p e a n G re e n C a p i ta l i n 2015.

T he city ’s G re e n a g e n d a , w h i c h h a s ste m m ed from both its M a y o r a n d i n h a b i ta n ts a l i k e , hav e propell e d u r b a n re d e v e l o p m e n t p l a n s to create a l o w - c a r b o n e n e rg y a n d tr a n sp o r t infrastructure i n th e c i ty.

In sight of a l l th i s, th e c i ty c e n tre i s c u r re n t l y fragmented a n d sti l l su f f e r s f ro m h e a v y v ehicular tra f f i c . T h i s i ssu e ta k e s f o rm i n th e separation of 3 a re a s: Bro a d m e a d H i g h S tre et ; the O ld City ; a n d th e f o u n ta i n s sq u a re , w i th Nelson stree t a s a r u n d o w n a re a i n b e tw e en them, curren tl y u se d so l e l y a s th o ro u g h f a re.

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A group inv e sti g a ti o n i n to u r b a n th e o ri e s_ In response to th i s i ssu e , th e stu d i o u n d e r to o k an inv estiga ti o n i n to u r b a n th e o ri e s f o r th e group m aste rp l a n [ se e th e M a ste r p l a n Bo o k l et for full scop e of th e i n v e sti g a ti o n ] .

T he Continu ous Ci ty a l l o w s f o r n a tu r a l g ro w t h according to w h a t th e p e o p l e n e e d th e c i ty t o be. T his enab l e s a c o n ti n u o u sl y c h a n g i n g c i t y scape which d e r i v e s f ro m p e o p l e ’s n e e d s. T h e diagram desc r i b e s h o w th e c i ty e v o l v e s d u e t o function and o c c u p a n t re q u i re m e n ts.

T his is true fo r Bri sto l , w h i c h e x p a n d e d outwards sin c e th e p o p u l a ti o n b o o m i n th e 19th centur y. As i l l u stra te d b y th e d i a g r a m o n the right, th i s f o rm of u rb a n sp ra w l re su l ts i n a multi-core c i ty, h a r k i n g to th e Cl uste r Ci ty theor y.

As ev ident in Bri sto l ’s g e n i u s l o c i , th e subcultures th a t h a v e d e v e l o p e d c a n b e appreciated i n th e a r ti sti c a n d m u si c sc e n e s .

As such, there i s p o te n ti a l to c re a te d i sti n c t connections b e tw e e n th e se su b - c e n tre s, a s well as enco u r a g e th e d i f f e re n t i d e n ti ti e s of the fragmen ts of th e c i ty c e n tre . .

continuous city In return, th e se l i n k s c o u l d a l l o w th e c i ty ’s sustainable g ro w th b y c re a ti n g a w a l k a b l e connections , th u s a w a l k a b l e c i ty.

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Figure 7: Constant Nieuwenhuys, ‘Symbolische voorstelling van New Babylon’ Con s ta n t N i e u w e n h u y s , ‘ Sy m b ol i sc h e voor s t e l l i n g va n N e w Ba by l on ’ ( Sy m b ol i c Re p r e se n ta t i on of N e w Ba by l on ) , Col l a g e , 1969.

(Symbolic Representation of New Babylon), Collage, 1969. © Gemeentemuseum Den Haag.

Constant’s continuous vertical city, elevated by pillars, projects a fully automated city in which its inhabitants concentrate on sculpturing the environment to their own accord.

Reactive to post-war functional construction, Constant along with the Lettrist movement sought a focus on ‘everyday’ life, the routines and actions of citizens. Lettrism continued its experimental activity in the form of Psychogeography through a breakout group. As Guy Debord (1955, p.5) terms it as, “the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals.” Here, Situationists opened a new graphic communication and

Civic

Cult ura l

Comme rcia l

R e s id e nt ia l

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Secondly, th e D i v i d e d Ci ty i s a n u r b a n theor y that w a s e x p e ri m e n te d w i th i n Bri stol .

Described as “c i ti e s l a y e re d o r se p a ra te d through tran sp o r t� i n A V i s ua l H i sto r y of th e Fut ure, this c o n c e p t w a s e x p e r i m e n te d w i th i n the 60s.

With the incre a si n g m a ss m a n u f a c tu re a n d uptake of au to m o b i l e s i n th e m i d - 90s, a n d thus increas i n g c o n g e sti o n o n ro a d s, th e Div ided City w a s p ro p o se d a s a so l u ti o n to these issues .

T he theor y wo u l d a l l o w th i s i n c re a si n g dy namism to b e o rd e re d th ro u g h v e r ti c a l lay ering, eas i n g n a v i g a ti o n th ro u g h th e c i ty.

T he proposal su g g e ste d th a t v e h i c l e s w o u l d manoeuv re a c ro ss th e g ro u n d l e v e l of Bristol, while p e d e str i a n s w o u l d b e e l e v a te d on walkway s i n th e sk y. T h i s w a s a i m e d to introduce a c e r ta i n re g u l a te d sta b i l i ty i n the city, harking to a rc h i te c tu r a l M o d e rn i sm .

T hese walkwa y s i n th e sk y, h o w e v e r, c a n b e

C o p e nhag e n tr ans p o r t s tr ate g y d i ag r am

Pre 19 0 0

19 0 0 - 19 6 0

19 6 0 - 19 70

Po s t 1 9 70

seen on Nel so n S tre e t i tse l f a n d h a v e f e e l to disrepair. As th e stre e ts a ro u n d th e si te w i l l be pedestrianise d to a c h i e v e th e Wa l k a b l e Ci ty [see booklet ] , th i s c o n c e p t m a y b e a d a p te d on the horizo n ta l p l a n e , se p a ra ti n g v e h i c u l ar, cy cling and w a l k i n g ro u te s.

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Walkable city p re c e d e n t stu d y _ T he studio’s i n v e sti g a ti o n i n to p re c e d e n ts of walkable citi e s l e d to T h e Wa l k a b l e Ci ty - T h e Concept of S toc k h ol m w h i c h h i g h l i g h te d f o u r key strategies to e n a b l e su sta i n a b l e g ro w th a n d a ch i eve ‘a walkable ci ty ’.

T he fir st stra te g y ta rg e ts th e d e v e l o p m e n t of mix ed-use fac i l i ti e s to c re a te d e n se a n d h i g h qu a l i t y public space s w h i c h e n c o u ra g e w a l k i n g .

T he second stra te g y a d o p te d b y th e c i ty w as t o focus on str a te g i c n o d e s i n th e o u te r c i ty. B y increasing tra n sp o r t l i n k s w i th th e su r ro u n di n g districts, a c o h e si v e n o d e - n e tw o rk a l l o w s f or a heterogeneou s c i ty sc a p e .

In response, th e n o d e s i n th e o u te r c i ty w i l l a ct a s strong juncti o n s i n a tr a n sp o r t i n f ra stru c tu re, ma i n l y through impro v e d ra i l l i n e s i n Bri sto l . Be si des t h i s , introducing ‘g re e n w e d g e s’ a n d a ttr a c ti v e i n t er s t i t i a l parks through o u t th e c i ty e n c o u r a g e s w a l k a bl e l i n ks between node s.

Finally, the l a st stra te g y i s re a l i se d b y th e previ o u s three: creati n g a v i b r a n t u rb a n sc e n e . T h i s i s s o be suppor ted b y u si n g l o c a l c o n d i ti o n s to d evel o p attractiv e an d a p p ro p r i a te u rb a n a re a s, a l l o w i n g

Ur b an d e v e l o p m e nt of i nd us tr i al are as

Re i nf o rc i ng no d e s and p ub l ic s p a ce

H ig h d e ns it y ce nt re & mixe d - us e cit y

Emp ha s is ing s ub - ce nt re s & t ra ns p or t links

Im prov ing public transpor t sy stem s

public space s to ta k e o n a g re a te r ro l e i n u r ba n liv ing. T his i s to b e d o n e b y e m p h a si si n g a rea s ’ characteristi c f e a tu re s a n d h i sto ri c a l a sse ts.

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27

Ex ploring urb a n th e o r i e s i n Br i sto l _ O nce the stu d i o g a i n e d i n si g h t i n to th e u rb a n t h eo r i es w h i ch co u l d be applied to Bri sto l , a g ro u p sp e e d - p l a n n i n g w o r ks h o p w a s u n der t a ken to ex plore m a ste r p l a n n i n g th e m e s. W h i l e hypo t h et i ca l pr i n ci pl es w ere play ed with, th e w o rk sh o p l e d to a n i d e n ti fi ca t i o n of fu n da men t a l links through th e si te .

Riv er ’s Edge _ Program m es

Pa rk , i c e ri n k , o rg a n L a b

Strategies

H e a l th y l i v i n g , i n d u str y

Adjectiv es

L i g h t/ d a r k , c l e a n/ p ol l ute d /dir t y

G ardening So c i a l _ Program m es

E l d e r l y c a re , a l l o tm e n ts

Strategies

Emp h a si s on ‘tre nd y a re a s ’

Adjectiv es

Pi v o ta l , o p p o r tu n i st

Techno Yout h _ Program m es

Te c h n o l o g y c e n tre , u rb a n ga mes

Strategies

Ap p re n ti c e sh i p s, f ra m e w or k

Adjectiv es

Yo u n g c i ty, c o l l a g e

Crof ter ’s Ro u te _ Program m es

S c h o o l , b i k e c e n tre

Strategies

H i e r a rc h y of c e ntre s, i n f ras t r u ct u re

Adjectiv e

Qui r k y, e d g y

O v er the top_

28

Program m es

C o n c e n tra ti o n C a m p , n e w cycl e l i n ks

Strategies:

Pe d e str i a ni se d , l i nk e d

Adjectiv es:

L u sh , i n f l u e n ti a l f a b r i c

29

A group age n d a ; p ro m o te c u l tu r a l su b - c e n t res _ Building upo n th e m a ste rp l a n th e o r i e s a n d Stockholm , an d f u r th e ri n g th e g ro u p’s R e p air agenda, Bristo l ’s p o l y c e n tr i c u rb a n str u c tu re introduces p o te n ti a l to tra n sf o rm Br i sto l i n t o a Walkable Cit y.

T he sub-cen tre s h a v e re su l te d f ro m th e div er se cultu ra l g ro u p s w h i c h h a v e sl o w l y grown in the c i ty. E a c h a re a h a s i ts o w n unique identi ty, p e r so n i f i e d i n i ts m u si c , ar t and food . S to k e s C rof t a n d E a sto n , in par ticular, a re l i n k e d w i th Bri sto l ’s underground sc e n e , w h e re b y m u si c g e n re s such as Trip H o p w e re b o rn .

T he sub-cen tre s h a v e b e e n l i n k e d th ro u g h public transp o r t ro u te s a n d w a l k a b l e , g re e n corridor s, as h a s b e e n i d e n ti f i e d o n th e following spre a d ..

T he core of th e su b - c e n tre s h a v e b e e n pedestrianise d to su p p o r t th e f u r th e r dev elopm en t of e c o n o m i c a n d so c i a l a c ti v i t y in the areas.

T he differen t c o l o u re d c i rc l e s o n th e ‘ Bri stol ’s sub-centres’ d i a g ra m i l l u str a te 4 00m a n d 800m radii, e q u a ti n g to f i v e a n d te n m i n u te walks respec ti v e l y, 800m b e i n g th e m a x i m u m

Li nk i ng s ub - c e ntre s

distance pede str i a n s w o u l d c o n si d e r w a l k a b l e.

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31

A group age n d a ; p ro m o te g re e n i n f r a str u c tu re_ Prior to pres c ri b i n g a g ro u p m a ste r p l a n , th e studio identi f i e d a l l th e e x i sti n g g re e n sp a c es in Bristol.

While Bristo l b o a sts a h i g h p e rc e n ta g e of green space s, th e y a re u n d e r u ti l i se d a n d fragmented; th e re i s n o c l e a r g re e n l i n k through the c i ty. T h e m a i n g re e n c o r r i d o r r u n s along the ed g e of th e c i ty, f o l l o w i n g th e Av o n riv er and gorg e .

T he green corri d o r th a t e x i ste d d o w n th e Frome Valley h a s b e e n a l l b u t d e stro y e d d u e to the introd u c ti o n of th e M 32. O u r si te a n d the city prev e n t th e c o n n e c ti n g of th e se two historic corri d o r s.

Moreov er, al l th e g re e n sp a c e s w i th i n th e c i t y centre are u n d e r u ti l i se d a s th e y a re se p a r a t ed from the pub l i c b y v e h i c l e h e a v y tra f f i c . T h i s means that t h e y a re r a re l y u se d a s ro u te s but only as de sti n a ti o n s o n p a r ti c u l a r l y f i n e

Woodland

Public

Priv ate

Allotm ents

sum m er day s.

Wa t e r wa ys

H i s to r i c Gre e n C o r r i d o r s

Gre e n Corrid or

La rg e Pa rks

Gre e n S p a ce s

Cit y Ce nt re Gre e n S p a ce s

G reen Space Use

In order to a c h i e v e a Wa l k a b l e C i ty, the ex isting g re e n c o rri d o r s i n Bri sto l were ex tende d d o w n i n to th e c i ty a n d pedestrianisa ti o n of th e ro a d s w a s implemented f o r th e g re e n ro u te s to b e used as thoro u g h f a re s r a th e r th a n si m p l y a destination.

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33

T he group m a ste rp l a n str a te g y _

Post urban t h e o r y a n a l y si s a n d m a ste rp l a n n i n g precedent stu d i e s [ se e g ro u p b o o k l e t f o r full analy sis], th e g ro u p d e c i d e d o n a se t of strategies fo r Br i sto l .

New plots fo r d e re l i c t o r l a rg e b u i l d i n g s w h i ch ov er cast sh a d o w o n to th e si te w e re sp e c i f i ed, allowing the i r f u n c ti o n s to b e c h o se n b y e ach indiv idual st u d e n t. T h e i n d i v i d u a l m a ste rp l a n will be propo se d i n Arc h i te c tu r a l M a n i f e sta t i o n section.

Moreov er, pe d e str i a n i sa ti o n a n d n e w a c c e ss routes were sp e c i f i e d to a c h i e v e A Wa l k a b l e City, with th e i n tro d u c ti o n of g re e n ro u te s t o encourage w a l k i n g .

Car P r i o r i ty

P ro p o s e d p l o ts

34

N e w g re e n ro ute s

Pe d e s t ria nis e d zone s

Cycle rout e s

Share d Sp ace

Li m i te d Acce s s

Vehicle access routes

35

E ph e m e ra li t y i n Mu s i c _ 3 s ta g e s of p re s e r v a ti o n

37

Concerning Preservation_

What is Preser vation?

Preser vation is an en deavou r, or a set of activities, that seeks to prolon g the life of a record of an object, con ser ve it an d improve access to it throu gh n on -in ter ven tive mean s.

How c an music be preser ved?

S t ud le y Tool Che s t _H e nr y O. S t ud le y

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39

T he eph e m e r a l n a tu re of m u si c _

Remnants of the ec hoic memor y_

The Atk inson-Shiffrin Model _ Retain s an impression of sen sor y in formation

Retrieval

Echoic Preser vation

Stored in Neoc or tex

Episodic Memor y As estab l i sh e d th ro u g h th e g e n i u s l o ci , the natu re of m u si c a l e x p e r i e n c e s i s i n Long-term Memor y

itself e p h e m e ra l .

More s o , m u si c i n Br i sto l i s d e f i n e d b y the und e rg ro u n d sc e n e , sm a l l f e sti v a l s ,

Separation of Sou n d, Visu al & Seman tic

Consolidation

bar per f o rm a n c e s a n d b u sk e r s.

Storage is improved by mean in g or as s o c i ati n g wi th pre v i o u s l y Shor t-term Memor y

T hus, u n l e ss a p i e c e of m u si c i s d i g i tal l y

acqu ired kn owledge The void in the mu seu m symbolises t hi s , whe re by the pe rm an e n t

recorde d , i t c a n o n l y b e a p p re c i a te d

exhibition space can be looked down u po n f ro m the to p f l o o r ( the

tem po ra ri l y a n d p re se r v e d th ro u g h

Attention & Enc oding

memor y.

chamber rooms). This propels the pe r s o n l o o k s , who i s j u s t abo u t to en ter a room, to look back at the k n o wl e dge the y hav e ac qu i re d

Mu sic targets the Echoic (Au ral) Memor y

Sensor y Memor y

throu gh the mu seu m.

Perc eived

Mu sical Per forman ce

Stimulus

The process of memor y formation occu r s in both the small symphon ic mu sic hall an d the specialised chamber rooms; however, the formation of the memor y will n ot be as in ten se an d lastin g in the mu sic hall as in the chamber rooms.

40

41

Music Theory & History

Steen Eiler Rasmu ssen _

Conson a n c e & d i sso n a n c e _

“the floor s are of ston e, the walls of sto n e , the c e i l i n gs of Consona nce & Dissona nce_

Timbre_

ston e, even the residen ts are of ston e”

The ‘colou r ’ or ‘sou l’ of an in stru men t;

Ar ticul a ti o n

- Experien cin g Architectu re

The prin ciple phen omen on which allows differen t in stru men ts to be distin gu ished from each other even if they are played

Chord

I n m usic, a consona nce is a h a rm ony, ch ord , or int er va l wh ich is consid ered st a b le, or a t

the same lou dn ess an d pitch.

rest . Dissona nce d escrib ed h a rm onies wh ich a re unst a b le, t em p ora r y or t ra nsit iona l.

Conson a n c e & d i sso n a n c e Timbre_ Dy nam i c s

Peter Zu mpthor _ Envelop of sound

Over tones due to material and shape

Ex pressi o n

“In terior s are like large in stru men ts” - Atmospheres, p. 2 9

Thor va ld s e n’s Mus e um

Form & str u c tu re Harmon y T imbre Per form a n c e & sty l e

C on son an ce

Di sson an ce

‘St abl e ’ _ at re st

‘U n st abl e ’ _ t r an si t i on al

‘St abl e ’ _ re sol ve d

‘U n st abl e ’ _ t e mpor ar y

Rhy thm Scales

Peter Zu mpthor _

‘U n st abl e ’ _ cre at e s su spe n se

Rhythm_

Tex ture

“architectu re is a spatial ar t [...] bu t arc hi te c tu re i s al s o a temporal ar t”

A compl e t e mu si cal score

An i n compl e t e mu si cal score

A regular rec urrenc e of pattern;

Melody

“ These were spaces you wou ld en ter and be hi n d to f e e l

Unified

Fr agme n t e d

A reoccu rren ce of pattern is seen in a bu ildin g’s form. The

like you cou ld stay there - that you were n o t j u s t pas s i n g

rhythm of rooms an d win dows determin e how people move

throu gh”

an d feel in a space; between ‘composu re an d sedu ction ’.

- Atmospheres, p. 4 1 & p. 4 3

N a t iona l Mus e um of R oma n A r t

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43

Musical Pe r i o d s_

M e di e val

Re n ai ssan ce

Baroque

Classic al

Romantic

Modern

c. 47 0

1 47 5

16 0 0

175 0

18 0 0

19 0 0 s

Eccl e si ast i cal

Se cu l ar

Sacre d

u n til af ter 1 6 6 0 .

With fou r stan dard section s:

The Roman tic period (1 86 0 -1 9 1 8) strived for

The 2 0 th cen tu r y saw a boom in British

brass, woodwin d, strin gs an d percu ssion

a n ation al iden tity, whereby the previou s

‘Popu lar ’ mu sic, adaptin g existin g forms of

in flu en ces were drawn u pon by largely

mu sic to produ ce popu lar son gs an d acts.

No not a t ion

Folk m usic

Less p olyp h onic;

I nf luences f rom

B i r t h of the English Language Opera_

sur vives

b eg inning in t h e

m usic sup p or t s t h e

Fra nce a nd t h e

Op era was the n ew gen res, with more

George Frideric Hendel (16 8 5 -175 9 )_

in flu en tial composer s su ch as Ar thu r

M onop h onic

13t h cent ur y

m ea ning of La t in

Net h erla nd s

ela b orate mu sical orn amen tation . The

G eorge Frideric Han del helped in tegrate

Su llivan an d Ben jamin Britten .

‘ Sum er is icum en

t ex t s

result ed in a ver y

Eng lish Lan gu age opera was a resu lt of the

British (in flu en ced by Pu rcell) an d

ela b ora t e st yle

int era ct i on of n ation al an d in tern ation al

con tin en tal mu sic, to defin e the fu tu re of

Revival of the English Language Opera_

J oh n Du n st apl e _

und er Henr y VI I

tren ds in En glan d.

the classical mu sic of the Un ited K in gdom

The mid 1 9 th cen tu r y saw the revival of the

(1485 - 15 09).

play ed a n d h a s b e e n p l a y e d i n Br i sto l ’s

Dom ina nt in t h e U K

Vot i ve An t i ph on s_

I nf luenced t h e

past, an i n v e sti g a ti o n i n to th e m u si c a l

I nt rod uced b y St

14t h cent ur y

ea rly Rena issa nce

Osm und

Sur vives in ‘ Et on

d evelop m ent of

Ch oirb ook’

ty picall y u se d .

Popular music _

Vocal mu si c _

C h an t _

to the ty p e s of i n stru m e n ts th a t w e re

Nationalism_

Re n ai ssan ce M ass_

In order to a p p re c i a te th e m u si c th a t i s

T he per i o d s w e re a n a l y se d w i th re g a rds

Bir th of the Classic al orc hestra_

Rot a_

in’

Ar s Nova c. 1 300s_

Caribbean influenc e s

Ba roq ue’s fu ll effects were n ot felt in Britain

C e l t i c C h an t _

Ge orgi an /Sar u m

periods i n th e U K w a s u n d e r ta k e n .

Se cu l ar

C o nte m p r ar y

creation of British dan ce ban ds.

labou r shor tages in Britain an d re l ax e d

Tr i p -ho p _

immigration policies .

In the 19 9 0 s , hi p ho p be gan to i n f l u e n c e the

in Britain , where they were of te n bar re d

DJ s an d gr af f i ti ar ti s ts be gan to gro u p

from white leisu re in stituti o n s .

to ge the r i n to i n f o rm al ‘s o u n ds y s te m s ’,

count erp oint .

madr i gal _

English style of Baroqu e mu sic.

fou r movemen ts

A vocal composition to be su n g with a

Con cer to: three movemn ets

pian o.

Develo ped as a reaction to the Italian

waves of migration took place, dr i v e n by

Britain sin ce the twen tieth cen tu r y.

The ar t song_

B al l e t _

of American Jazz, playin g a role in the

i n Jam ai c an f o rm s of m u s i c . Mu s i c i an s ,

Symphon y: an in stru men tal orchestra with

Relig ious f est iva l

So ul , funk & j az z _

cu ltu re an d mu sic an d adapted the m to l i f e

st ylist ic elemen ts bu t devised a pecu liarly

Fria r Sim on Tunst ed

it was in the post-war period that m as s

rock mu sic, have par ticu larly flou rished in

T h e Re n ai ssan ce

Ballad Opera_

The 1 9 3 0 s saw in filtration in in flu en ces

as e s tabl i s he d was al re ady we l l -s c ho o l e d

h a rm ony a nd

T h e Re n ai ssan ce

Po s t aci d ho us e _

Caribbean immigran ts tran spo r te d the i r

Conc er to_

14t h cent ur y

popu lation du rin g the tradin g y e ar s , bu t

mu sic, jazz, rappin g/hip hop, pop an d

P urcell in corporated Italian an d Fren ch

p olyp h ony

B re akb e at_

pu blic atten tion in the 1 86 0 s.

M u si cal f orms:

En gl i sh l u t e ayre s_

Bristol established a sign ificant C ar i bbe an

Forms of popu lar mu sic, in clu din g folk

Bir th of Classic al Symphony & Classic al

C arol s_

m u s i c whi c h was pro du c e d i n Br i s to l :

En glish lan gu age opera. Su llivan came to Henr y Purc ell (16 5 9 -16 9 5 )_

I nt rod uct ion of

A n u m be r of ge n re s i n f l u e n c e d the f am o u s

c o n s c i o u s n e s s of Br i s to l ’s s u bc u l tu re , whi c h

G en res origin atin g in or radically developed

whi c h i s n o w k n o wn as u n de rgro u n d. The s e

by British mu sician s in clu de blu es rock,

Faced with su ch exclu sion t he y we re

m u s i c i an s pro v i de d par ty m u s i c f o r o pe n ,

Bir th of Classic al Chamber music _

progressive rock, pu n k rock, Bhan gra,

forced to rely more heavily o n the i r

pu bl i c s pac e s , m u s i c whi c h was ge n e r al l y

d om ina t io n of Lon don ’s opera. They were a

String quar tets: 2 violins, 1 viola, 1 c ello

electric folk, acid jazz, trip hop, shoegaze,

own in stitu tion s of en ter tainm e n t an d

pe r f o rm e d i n c as u al s e tti n gs . Br i s to l ’s

Piano trios: violin, c ello and piano

dru m an d bass, grime, Britpop an d du bstep.

recreation , an d on e in stitu tion that wo u l d

s o u n ds y s te m DJ s dre w he av i l y o n Jam ai c an

become highly in flu en tial on tr i p ho p m u s i c

du b m u s i c , pro du c i n g l ai d-bac k , s l o w an d

was the sou n d system.

he av y dr u m be ats ; “do wn te m po”.

C on t e n an ce

I n st r u me n t al mu si c_

f orm of E n glish stage en ter tain men t which

An gl oi se _

Wa s sub ord ina t e t o

b ecame an in digen ou s tradition .

M id 15 t h cent ur y

voca l m usic

Br i s to l ’s W i l d Bu n c h c re w be c am e o n e of Sh a wm

Sa ckb ut

P ip e

Sh a wm

Sa ckb ut

Ba roq ue flu te

Sackbu t

Flu te

Tru mpet

Flu te

Tru mpet

Saxophon e

Record er

Trum p et

Recorder

Baroqu e tru mpet

O beo

Fren ch horn

O beo

Fren ch horn

Flu te

Ra ckett

Corn etto

Clarin et

Bu ccin

Clarin et

Bassoon

O phicleide

Bassoon

X ylophon es

Violin

piccolo

Dru ms

Dou ble bass

Celestes

G u itar

Pian o

G u itar

P i an o

j az z an d ho u s e i n the l ate 19 8 0 s , The W i l d

Bells

Electric gu itar

Keyboard

Electric gu itar

Key bo ard

Bu n c h e v o l v e d i n to the n o w f am o u s Mas s i v e

Electric Bass

Syn thesizer

Electric Bass

Syn the s i z e r

Attac k . .

Cym b a ls

Cornet t

Lut e

T im b rel

Viol

Reg a l

Ha rp

Ta b or

Crum h orn

Org a n

Viol

Bells

Ra cket t

Ha rp sich ord

Violin

Virg ina l

Viol d a spalla

Harpsichord

Viola

Cello

Clavichord

Cello

For te pian o

Viola

Lute

O rgan

Dou ble bass

O rgan

Cello

For te pian o

Dou ble bass

organ

Reb ec Fid d el

44

P ip e org a n

Lut e

Ba ss oon Timpan i

Violin

Timpan i Violin

Tru mpet

Saxophon e

Tr u m pe t

Flu te X ylophon es Dru ms

Violin

the s o u n ds y s te m s to pu t a l o c al s pi n o n the i n te rn ati o n al phe n o m e n o n , he l pi n g to

X yl o pho n e s

bi r th Br i s to l ’s s i gn atu re s o u n d of tr i p ho p.

Dr u m s

A s the hi p ho p s c e n e m atu re d i n Br i s to l an d

Dou ble bass

m u s i c al tre n ds e v o l v e d f u r the r to ward ac i d

45

Instrume n ts & i n stru m e n t f a m i l i e s_

T he con c e p t of a n e n ti ty f ra g m e n ti n g into sin g u l a r i ti e s a g a i n su r f a c e s i n th e

S t r i n gs _

Woodwi n d_

B r ass_

Pe rcu ssi on _

Keyboard_

Record er

Sa ckb ut

Cym b a ls

Cornet t

Trum p et

T im b rel

Pipe organ

Ba roq ue f lut e

Ba roq ue t rum p et

Ta b or

Regal

Ra cket t

Cornet t o

Bells

Harpsichord

Ba ssoon

French h orn

T im p a ni

Virgin al

Flut e

Buccin

Xylop h ones

Clavichord

Ob eo

Op h icleid e

Drum s

For te pian o

Cla rinet

Trum p et

Celest es

Keyboard

p iccolo

French h orn

Bells

Syn thesizer

classifi c a ti o n of i n stru m e n ts.

While th e e x p e ri e n c e of h e a r i n g m u si c i s ephem e ra l , th e i n stru m e n ts f ro m w h i ch t h ey are play e d i s a p h y si c a l e n ti ty.

T hus, a h o l i sti c a p p ro a c h to th e p re se r va t i o n of musi c a l c u l tu re w o u l d i n c l u d e th e preser v a ti o n of th e i n stru m e n ts th e m s el ves : their o ri g i n , th e i r h i sto r y a n d th e i r contrib u ti o n .

Fur therm o re , i n si g h t i n to th e i n str u m en t s that hav e c o n tri b u te d to th e m u si c a l epo ch s of Briti sh h i sto r y h a s i n sp i re d a b a se catalogu e of i n str u m e n ts th a t w o u l d be preser v e d a n d e x h i b i te d to th e p u b l i c. Th i s would e d u c a te v i si to r s w i th re g a rd s to t h ei r contrib u ti o n s i n Bri ti sh m u si c a l h i sto r y.

Lute H arp V io l R e be c Fidde l C ru m h o rn V io lin V io l da s palla C e llo V io la D o u ble bas s Gu it ar E le c t ric gu it ar

P ip e

Sa x op one

E le c t ric B as s

T his edu c a ti o n a l e x p o su re w o u l d re i n fo rce the prof e ssi o n a l p l a y i n g of th e i n stru men t s in ideal i se d a c o u sti c c h a m b e r s, e a c h special i se d f o r a p a r ti c u l a r f a m i l y of instrum e n ts: str i n g , w o o d w i n d , b r a ss, percussi o n , k e y b o a rd .

46

47

Concept Ex trapol ation: Fragmentation Fragm enta ti o n a s a c o n c e p t_

C on son an ce

U n i f i e d, compl e t e

Preser ved

Physic al exhibition of instruments

Composure

& idealised per formanc e c hamber s

Bet we e n c o m po s u re an d s e du c ti o n _ Pete r Z um tho r Reit e r ati ng Z um tho r, “archi te cture i s a s p ati al ar t [ . . . ] b ut archi te cture , l i ke m us i c, i s a tem p o r al ar t”.

Wh at Z um tho r tr i e s to b r i ng acro s s i n thi s chap te r of Atm o s phe re s is th e way y o u can d e s i g n a s p ace to b e e x p e r i e nce d and wal ke d

sur faced i n b o th th e th e o re ti c a l a n d u rb a n

thro ug h.

T he fragm e n ta ti o n i n m u si c a l sc o re s i n th e

Co n cept

T he fragm e n te d c i ty c e n tre _

Th eo r y

discussed th u s f a r _

form of di sso n a n c e _ T he fragm e n ti n g of a i n stru m e n t f a m i l y i n t o a num ber of v a ri a ti o n s_

The co m p o s ure and d i re cti v i ty of a s p ace , o r the s e d ucti o n and S pa t i a l a n d fo rm t rea t men t

tool to ph y si c a l l y e x p re ss th e c o n c e p ts

M u s i ca l pres er va t i o n h i er a rch y

inv estigat i o n s, l e n d i n g i tse l f a s a n a f f e c ti ve

Fo rma l i s ed co n cer t per fo rma n ce s pa ce

T he them e of f ra g m e n ta ti o n h a s th u s f a i r

freed o m the s p ati al fo rm i ns ti l l s , i s p ro d uce d b y the s p ati al ar t b ut also the te m p o r al as p e ct of e x p e r i e nce . .

A s p ace can b e a m i l i e u fo r s tro l l i ng , cre ati ng “s p ace s y o u wo ul d e nte r and b e g i n to fe e l l i ke y o u co ul d s tay the re - that y o u we re no t j us t pas s i ng thro ug h” - p. 43 This co ns ci o us ne s s of the co m p o s ure and s e d ucti o n has b e e n us e d i n the d e s i g n of fo rm and the r hy thm of o p e ni ng s .

It was thu s th e sta r ti n g p o i n t f o r th e b r i ef a n d form ex pl o ra ti o n .

Sed uci ng e nv i ro nm e nts i n the cas ual p e r fo rm ance s p ace s we re s tr i v e d for, p ro p e l l i ng p e o p l e to d i s co v e r and am b l e thro ug h the s p ace .

In co ntr as t, as aud i e nce s m o v e to ward s the co nce r t hal l and the mus e um , m o re fo rm al i s e d s p ace s , the fo rm and s ub s e q ue nt i nte rnal env i ro nm e nts tr ans i ti o n i nto a m o re co m p o s e d and d i re cti v e s p ace .

This g ui d e s p e o p l e to ward s a cl e are r und e r s tand i ng of the i ns tr um e nts Di sson an ce

48

Fr agme n t e d

Ephemeral

Casual per formanc e spac es

Seduc tion

and the i r m us i cal as s o ci ati o ns .

49

Fragmentati o n : th e m a ste r p l a n _

As already ide n ti f i e d , c e r ta i n f a c i l i ti e s w i th regard to m u si c a l e x h i b i ti o n a n d p re se r v a ti o n

Ca s u a l per f orman ce ve n u e s_

Formal i se d pe r f orman ce ve n u e s_

Fragm e n t ed a nd num erous

Concent ra t ed b ut incom p let e

No preser va t ion

Dig it a l p reser va t ion

D i ct a t es t h e e xi st i n g con t e xt

M i ssi n g l i n k_

P h ysi cal pre se r vat i on _

are missing i n Bri sto l .

T he musical v e n u e s m a p w a s u se d to i l l u str a t e the num erou s a n d v a r i o u s ty p e s of c a su a l per formance sp a c e s i n Br i sto l , th e f e w e r professional v e n u e s a n d th e n o n e x i ste n t musical & in str u m e n t p re se r v a ti o n .

T his map wa s th e n u se d a s a b a se f o r th e conceptual i l l u stra ti o n o n th e f o l l o w i n g

Not e vi de n t

C h ambe r si ze d mu si c h al l

spread.

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51

T he journey of th e f ra g m e n t_

An ex trapola ti o n of th e b ri e f, u se r j o u rn e y and, thus, th e j o u rn e y of f ra g m e n ta ti o n c a n be seen from th e i l l u stra ti v e m a p p i n g .

T he fir st sta g e e x p re sse s th e e p h e m e r a l i ty of music in al l th e c a su a l v e n u e s i n Br i sto l ; washed wate rc o l o u r i s u se d to e x p re ss this. T he m u l ti p l e a n d a l m o st h a p h a z a rd white paths su g g e st a f r a g m e n te d j o u rn e y.

Moreov er, it i n sti g a te s a f e e l i n g of Z u m th o r ’s seduction.

T he second sta g e i s m a p p e d f ro m th e e x i sti n g professional v e n u e s, su c h a s C o l sto n H a l l a n d St G eorge’s H a l l . It se e s th e i n tro d u c ti o n of a more formal i se d m u si c a l n o ta ti o n , su g g e sti n g formalised ve n u e s w h i c h b e g i n to p re se r v e per formances b y d i g i ta l m e a n s.

Finally, the l a st sta g e o n l y e m e rg e s f ro m the prev ious tw o , b o rn a s a si n g u l a r e n ti ty which phy sic a l l y p re se r v e s i n stru m e n ts a n d prov ides spec i a l i se d ro o m s f o r p e o p l e to tr u l y ex perience wh a t th e i n stru m e n ts sh o u l d so u n d like. T he sugg e sti o n of p h y si c a l p re se r v a ti on is achiev ed t h ro u g h th e i n tro d u c ti o n of silhouetted i n stru m e n ts.

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53

E veryday E phem eral i t y_

Form al i sed Perform an c e_

Perm an en t Pre se rvati on_

A fragmented, changing context

The beginnings of temporal mus ical pres er v ation

Phys ical and men ta l p re se r v a tion

The 3 Levels of Preservation T he brief_ A dministration and Storage

Spec ialised c ham b e r ro o m s fo r eac h instrum e nt fam i l y

Ex trapolating th e d i f f e re n t tra n si ti o n s f ro m the conceptu a l d i a g ra m re su l te d i n th re e ma i n stages for th e d e si g n .

Temporar y Exhibition Spac e organised c hronologic ally

Permanent exh i b i ti o n fl o o r s

T he fir st pha se w i l l e m u l a te th e e p h e m e r a l i t y of the surrou n d i n g c a su a l v e n u e s,

L o n g-t erm

cam ouflagin g i n to th e e x i sti n g u rb a n ty p o l o gy.

P h ysi cal & M e n t al

Pe rman e n t pre se r vat i on & idealised per formanc e

Formal i se d Expe r i e n ce & Vi r t u al

Formal i se d pe r f orman ce with rec ording

Rec eption & Shop

Secondly, th e m i ssi n g l i n k i n Bri sto l ’s formalised pe r f o rm a n c e v e n u e s w i l l b e addressed by d e si g n i n g a n a d a p ta b l e c o n c e r t

S h o r t-t erm

M u s i c & I n st r u me n t s

P re se r vat i on

Museum Entranc e

hall with a se a ti n g c a p a c i ty of 600 p e o p l e .

T he fir st pha se w i l l p ro v i d e su p p o r t to th e

G

concer t hall i n th e f o rm of e n te r ta i n m e n t an d food.

M o men t a r y

C asu al Expe r i e n ce

Eph e me r al

n

Lastly, the ga p i n Br i sto l ’s m u si c a l p re se r v a t i o n

r

will be filled b y th e re trof i tte d to w e r, w h i c h

a

will house an i n str u m e n t m u se u m w i th

l

specialised mu si c ro o m s f o r e a c h i n stru m e n t

Music Hall Entranc e T

e e

family.

Open Cour tyard

Busk ing & Per formanc e Loc ations

h e A

Cafes and Bar s

u d

P

i

u

e

b

Restaurant

Private Cour tyard

Music Hall

n

l

c

i

e

c

Music Hall Foyer

Digital rec ording i n g re e n ro o m

Public Cour tyard

Private Cour tyard Rehear sal Spac es & Storage

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55

Conceptual Considerations on Design Translation i n to a sp a ti a l h i e ra rc h y _

E x i s t i n g t o w er a s a ‘ w h o l e’ en t i t y

Spat i al h i e r arch y

Exhibition organisation

Per forati ng fo r re fl e cti o n

Brass Woodwind

Permanent exhibition & spec ialised music

Keyboard

Hi dde n s u btr ac ti v e s pac e s

rooms

Strings

al l o w f o r re f l e c ti o n of

Perc ussion

e x pe r i e n c e

Existing Temporar y exhibition P ro po s ed n ew b u i l d

Museum entranc e A daptable c onc er t hall

T h e b r i e f c a l l s f o r a ret rofi t of t h e ex i s t i n g t o w er o n t h e s i t e,

T h e organ i sat i on of t h e mu se u m was de ve l ope d. M u se u ms

Eac h floor of the museum is dedic ated to a par tic ular

Hidden per forations throug h the fl o o r p l ate s cre ate i nte rnal

w h i l e th e a d d i ti o n of a n ew bu i l d el emen t .

h ou se pe rman e n t col l e ct i on s as we l l as t e mpor ar y e xh i bi t i on s.

instrument family, with its assoc iated spec ialised ac oustic

c our tyards whic h enc ourag e p e o p l e to l o o k b ack o n what the y

c hamber for professional music ians to play in.

have learnt.

T h e to w e r i s i n i tse l f a s i n gu l a r i t y; a h i gh , s o l i d ma s s w h i ch i s

T h u s, t h e t e mpor ar y e xh i bi t i on st i l l re t ai n s a con n e ct i on t o t h e

re g u l a r a n d u n i n te r r u pt ed. I t s co mpl et en es s l en ds i t s el f t o t h e

e ph e me r al an d ch an gi n g e l e me n t s be l ow, si t t i n g at t h e base

Viewer s are direc ted around the museum, gaining an educ ation

The voids are hidden to sti l l cre ate an e x te rnal ae s the ti c of

l a st sta g e of p re se r va t i o n a n d t h u s h a s been u s ed t o h o u s e t h e

of t h e t owe r. O n t h e ot h e r h an d, t h e pe rman e n t e xh i bi t i on

about the instruments’ origin and plac e in music al eras. This

solidity.

m u se u m .

an d spe ci al i se d mu si c ch ambe r s t owe r above al l e l se , as t h e

reinforc es their memor y and final experienc e of the building,

pr i n ci pl e of t h e j ou rn e y of pre se r vat i on .

the spec ialised c hamber in whic h an intimate per formanc e oc c ur s.

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57

Family

Instruments

Museum ex h i b i ti o n o rg a n i sa ti o n _

Consideration w a s m a d e to th e se q u e n c e of

Strings

Harp

Lute

Rebec

Cello

Violin

Guitar

Elec tric guitar

ex hibits for b o th ty p e s of e x h i b i ti o n sp a c e s.

Due to the c h a n g i n g l a y o u t re q u i re m e n ts for different e x h i b i ti o n s o n th e te m p o r a r y ex hibition fl o o r, a f l e x i b l e sp a ti a l a r r a n g e m en t is to be requ i re d .

O n the other h a n d , m o re p e rm a n e n t w a l l par titions in th e p e rm a n e n t e x h i b i ti o n f l o o r s reflect the u n c h a n g i n g p re se r v a ti o n th a t w i l l occur.

B r ass pe rman e n t col l e ct i on Sonor Museum , Copenhagen

Woodwi n d pe rman e n t col l e ct ion Permanent exhibition; c hronologic al progression through family

Ke yboard pe rman e n t col l e ct i on St r i n gs pe rman e n t col l e ct i on Pe rcu ssi on pe rman e n t col l e ct ion

Again, this h a r k s to Z u m th o r ’s c o m p o su re and seductio n . T h e c h ro n o l o g i c a l e x h i b i ti o n of instrum en ts tra n sl a te s i n to c o m p o se d a nd

Te mpor ar y col l e ct i on Movement

Instruments

directed circu l a ti o n th ro u g h th e sp a c e . O n t h e T he Bate Collection,, O x ford

other hand, th e te m p o r a r y c o l l e c ti o n w o u l d allow for m o re f re e d o m i n m o v e m e n t.

T he images to th e ri g h t a re so m e e x a m p l e s of ex isting priv a te i n stru m e n t c o l l e c ti o n s i n th e

Medieval

Shawm

Pipe

Harp

Lute

Sac k but

Cymbals

Timbrels

UK . Such col l e c ti o n s w o u l d b e e x h i b i te d i n t h e tem porar y s e c ti o n of th e m u se u m .

Temporar y exhibition; private c ollec tion from a par tic ular movement

58

T he Bate Collection,, O x ford

59

Consideration s o n a c o u sti c d e si g n _

As does the b u i l d i n g , th e tra n si ti o n i n a c o u s t i c spaces dev el o p s f ro m c a su a l b u sk i n g sp a c e s to form alised p e r f o rm a n c e a u d i to r i a .

T he adaptabl e m u si c h a l l l i e s i n th e m i d d l e of this transitio n , i n b a l a n c e b e tw e e n te m p o r a l i t y and perm ane n c e .

Saf f ron Hal l _ Saf f ron Wal de n

The Sonorous Museum_ Copenhagen

U n de r st an di n g_

In ti m ac y & the i n i ti al ti m e de l ay gap

I nt im a cy & t h e init ia l t ime delay gap T he music ha l l i s a f o rm a l sp a c e , y e t i t w i l l

A f l e xi bl e acou st i c space ; a pre ce de n t f or t h e adapt abl e

use adjustabl e a c o u sti c p a n e l l i n g to v a r y th e

mu si c h al l

Spec ialised music rooms;

Reverb era t ion t im e Ad just a b le a coust ic p a nels techn ology

Und e r s tand i ng _

a prec edent for the spec ialised c hamber rooms

Re v e r be r ati o n ti m e C l ar i ty

rev erberation ti m e of th e ro o m .

The Sonorous Museum has four sound regulated studios T hus, the ha l l i s a d a p ta b l e to d i f f e re n t m u si ca l

Sa f f ron h a ll h a s p ioneered in one of Brit a in’s f ir st st a t e-

that are ac oustic ally adapted to a spec ific instrumental

per formances, f ro m ro c k to Ba ro q u e , w h i c h

of- t h e- a r t a d just a b le a nd ver sa t ile a ud it oria . T h e sp a ce

groups: strings, brass, perc ussion and mixed instruments.

hav e an ideal re v e r b e r a ti o n ti m e d i f f e re n t of

h a s a d just a b le a coust ic p a nelling , t h us g iving it t h e

0.8s.

a b ilit y t o a d a p t t h e reverb era t ion t im e t o t h e t yp e of

The tec hnic al study for this projec t shall under tak e an

p er f orm a nce.

investigation into whether the shape and materiality of

As the journ e y to w a rd s u n i ty a n d p e rm a n e n ce in preser v ati o n re a c h e s i ts a p e x , sp e c i a l l y

T h is sa m e t ech nica l a p p roa ch will b e used in t h e concer t

designed aco u sti c c h a m b e r s w i l l p ro v i d e

h a ll.

museum v isi to r s w i th th e i d e a l c o n d i ti o n s f or

a room c an be idealised towards a par tic ular instrument

Ti m b re _

group.

“ the f l o o r s are of s to n e , the wal l s of s to n e , the c e i l i n gs of s to n e , e v e n the re s i de n ts are of s to n e �

- Ste e n E i l e r Ras m u s s e n , E x pe r i e n c i n g A rc hi te c tu re

their associa te d i n stru m e n ts.

Thi s co nce p t has b e e n uti l i s e d to d e ci d e o n the An inv estigati o n i n to th e d e si g n of th e se

i nte rnal fi ni s he s of the who l e m us e um . W hi l e wo o d has

spaces will be u n d e r ta k e n i n th e te c h n i c a l

g o o d aco us ti c p ro p e r ti e s , i t i s al s o the m ate r i al s o ut

study.

of whi ch m o s t of the i ns tr um e nts are b o rn. Thus , whe n e nte r i ng the m us e um and the cham b e r ro o m s , o ne i s to fe e l l i ke the y are e nte r i ng the v e r y s o ul of the i ns tr um e nts , re achi ng a l e v e l of utm o s t i nti m acy.

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61

A rc h i t e c t u ra l Re s po n s e s _ F ro m f r a g m e nta ti o n to c o m p l e te ne s s

63

“Noble life deman ds a n oble architectu re for n oble u ses of n oble men . Lack of cu ltu re mean s what it has always mean t: ign oble civilization an d therefore immin en t down fall.�

Frank Lloyd Wright

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65

A Deconstructive Agenda Manifesting f ra g m e n ta ti o n _ T he phy sical m a n i f e sta ti o n of th e c o n c e p t wa s dev eloped u si n g th re e m a i n p re c e d e n ts.

Piet Mondria n_ Initially, the f o rm d e v e l o p m e n t w a s m o ti v a ted

by Mondrian ; w h i l e h i s w o rk i s k n o w n f o r using prim ar y c o l o u r s, th e i m a g e h a s b e e n presented as m o n o c h ro m e to sh i f t f o c u s towards the g e o m e tri c a l re l a ti o n sh i p s. T h e work inspired th e i d e a of i m p l e m e n ti n g the ex isting to w e r ’s str u c tu ra l g ri d to th e whole site, re p e a ti n g th e se t of re c ti l i n e a r geom etries u si n g th e sa m e p ro p o r ti o n s; th a t is, dim ension s a l w a y s b e i n g a m u l ti p l e of o n e another.

Eduardo Chi l l i d a _ Secondly, Ch i l l i d a ’s su b ra c ti v e a p p ro a c h to sculpture hig h l y i n f l u e n c e d th e c o n c e p tu a l dev elopm en t of th e d e si g n . O n c e th e g ri d was set, the si te w a s tre a te d a s a so l i d e n ti t y.

Circulation pa th s c u r v e d o u t ro u te s, w h i l e

P i e t Mo nd r i an

Ed ua rd o Chillid a

N e w A d e muz Pa ris h Church, Ma ns illa +Tunon, A rq uit e ct os _2 0 0 2

maintaining th e i n i ti a l p ro p o r ti o n s of th e tower.

Mansilla+Tunon A rq ui te c tos_ Finally, Mans i l l a + Tu n o n ’s N e w Ad e m u z Parish Church h a d a l a rg e i n f l u e n c e i n th e final realisat i o n of th e f o rm . T h e p re c e d e n t propelled th e b u i l d i n g to b e c a r v e d a w a y i n the v er tical p l a n e , a s w e l l a s th e h o ri z to n a l plane.

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67

From fragm e n ta ti o n to c o m p l e te n e ss_ 0_ Responding to Conte xt Interactiv e sp a c e s th a t re p re se n t th e i r surroundings; th e f ra g m e n te d f o rm i n tr i g u es and celebrat e s th e e p h e m e ra l i ty of m u si c per formances i n Br i sto l , p ro v i d i n g su p p o r t t o the m usic hal l a n d th e m u se u m .

1_ Urban & M usi c a l F r a g me nta ti on T he v oids an d g a p s i n th e f r a g m e n te d f o rm of the cafe and b u sk i n g p a v i l i o n s i n v i te p e o p l e into the cou r ty a rd sp a c e .

2_ Beginning s of F orma l Pre se r v a ti on T he adaptabl e m u si c h a l l i s l o g i sti c a l l y p l a c ed between the f ra g m e n te d c a f e , th e O l d C i ty gate to the S o u th a n d th e m u se u m . T h i s i s done to sign i f y th a t th e m u si c f ro m th e p a s t and the pres e n t a re b ro u g h t a n d f o rm a l l y ex pressed in th e sp a c e , a tra n si ti o n a l ste p t o permanent p re se r v a ti o n - th e m u se u m .

3_ Towards C omp l e te ne ss: Pe rma ne nc e T he Museum m a y o n l y b e e n te re d th ro u g h the auditoriu m ’s f o y e r, e n c o u r a g i n g p e o p l e t o ex perience a c o n c e r t b e f o re th e m u se u m . A n educational e x h i b i ti o n of i n stru m e n ts, th e i r origins and p rof e ssi o n a l p l a y i n g i n sp e c i a l i s ed music rooms p ro v i d e s b o th p h y si c a l a n d lasting menta l p re se r v a ti o n .

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69

T he elements of f ra g m e n ta ti o n ; f o rm , c o u r t ya rds , ma t er i a l i t y

El e me n t 1 _

El e me n t 2_

Element 2 _

Element 3 _

Form

Cour t ya rd s

Closed cou r tyards

Brick as a Fragmen t

T hrough the d e si g n p ro c e ss, th re e b u i l d i n g elements ev o l v e d i n to th e p r i n c i p l e representati v e to o l s to c o m m u n i c a te th e concept of fr a g m e n ta ti o n :

Form_

Cour ty ards_

External mate r i a l i ty_

While these e l e m e n ts w e re d e v e l o p e d f o r different rea so n s, b e th e y f u n c ti o n a l , f o r Passiv haus or c o n te x tu a l , th e e n d re su l t allowed for a v i su a l e n c a p su l a ti o n of th e concept: fro m f r a g m e n ta ti o n to c o m p l e te n e s s .

Fi r s t l y, t h e fo rm was t h e f i r st st e p i n commu n i cat i n g t h e t r an si t i on f rom

W h i l e de ve l opi n g t h e f orm, t h e i n f l u e n ce of Chillida’s substrac tive

While the c afe and par t of the c onc er t hall use open c our tyards to

The notion of using bric k to c lad the entire building sur fac ed through

fr a gmen t a t i o n t o compl e t e n e ss, t h at i s, e ph e me r al i t y t o pre se r vat i on .

de si gn proce ss gave way t o t h e de ve l opment of negative spac es,

introduc e negative spac es, the museum and foyer use winter gardens

a material study of the site [see following page]. A bric k , a singular

Th ro u gh t h e use of t h e af ore me n t i on e d con ce pt u al pre ce de n t s, t h e

or cou r t yards, t o f u r t h e r f r agme n t t h e f orm . This was reinforc ed by

to maintain an external appearanc e of solidity. The c our tyard’s

entity, c an be used to c reate a number of different bonds, as was done

deco n s t r u ct i ve man i pu l at i on of f orm re su l t e d i n a sol i d, u n movi n g

Fi e l de n C l e gg B r adl e y St u di os’ L e ve n t i s Ar t Galler y, whic h was used as

func tional inter vention allows for a c ontrolled introduc tion of light into

in A lvar A alto’s Experimental House, and thus c reate a fragmented

mu s eu m t h a t sl owl y be gi n s t o f r agme n t i n t o si n gu l ar f orms, t h e bu ski n g

a t ypol ogy pre ce de n t f or gal l e r i e s.

the spac es, a useful tool whic h added in the design of Passivhaus.

fac ade. Thus, the c afe emulates fragmentation by using a c ac ophony

pa vi l i o n s .

Ex perim ental House, Muuratsalo_ Alv ar Aalto_ 1952

of bric k bonds, while the tower is restric ted to a c ontrolled number of bonds, that is runner bond and ver tic al bond.

70

71

Investigating Typologies Auditoria: un d e r sta n d i n g ty p o l o g i e s_

Auditorio de Musica de Barcelona_

Kur saal de San Sebastian_

Auditorio de Musica de Barcelona_

Kur saal de San Sebastian_

Raphael Moneo

Raphael Moneo

Raphael Moneo

Raphael Moneo

1999

1999

1999

1999

A uditoria: rationalisation_

Before any f o rm w a s d e v e l o p e d , a n stu d y i n t o into museum a n d a u d i to ri u m ty p o l o g i e s a n d circulation wa s u n d e r ta k e n .

It was im por ta n t to g a i n a c o m p re h e n si v e

1_ Entranc e

under standin g of p u b l i c a n d p ri v a te circulation ro u te s i n b o th ty p o l o g i e s.

2 _ Foyer

In museums, i t i s i m p o r ta n t f o r a r te f a c ts

3 _ Fac ilities

to m aintain a se p a ra te m o v e m e n t ro u te to

Per form ance &

that of the pu b l i c . M o re o v e r, th e i r e f f i c i e n t

4_ Private Cour tyard 4

circulation to e a c h f l o o r a n d th e sto ra g e u n i t s

3

8

8

is also impor ta n t.

With concer t h a l l s, i t w a s i m p o r ta n t to

Managem ent

5 _ Symphony Hall 5

2

1

2

6 5

distinguish th e re q u i re d su p p o r t a n d ancillaries req u i re d b y th e m u si c i a n s a n d

3

backstage.

2

1

2

6

6 _ Chamber Music Hall 7_ Ver tic al Circ ulation

3

A ud i to r i o d e Mus i c a d e B arc e l o na _ P l an P ub l i c C i rc ul ati o n

Kur s aal d e S an S e b as ti an _ P l an Circula t ion

8 _ Bac k stage Rehear sal Rooms

Audience

A ud ie nce Pe r f orma nce & Ma na g e me nt A ud it orio d e Mus ica d e B a rce lona _ Circula t ion R a t iona lis a t ion

K ur saal de San Sebastian _ Circulation Rationalisation

T he Metric Ha nd b ook a n d N e uf e r t A rc h i te c ts ’ Data were co n su l te d to d e te rm i n e a l l th e required sup p o r t sp a c e s f o r e a c h ty p o l o g y.

7

5

2

1

2

6

8 A u d i to r i o d e Mus i c a d e B arc e l o na _ P l an Pe r f o rm anc e C i rc ul ati o n 72

73

Museums: un d e r sta n d i n g ty p o l o g i e s_

New po r t S t reet G a l l er y_

Ne w Ar t Gal l e r y, Wal sal l _

L e ve ntis A r t Galler y_

Museums: rationalisation_

Ca r u s o S t J o h n _

C ar u so St J oh n _

Fi e l de n C l egg Bradley Studios_

1999_

1 999_

2 0 14_

1_ Reception 2_ Circulatio n 3_ WCs 4_ G aller y 5_ O ffices

S e r va nt

6_ Shop 7_ Cafe/Resta u ra n t

7

2

3

2

6

1

4

2

3

1

4

7

1

3

2

1

2

8_ Storage 4

4

5

3

S e r ve d

4

8

9_ Plant Roo m Ne wpo r t St re e t G a lle r y_Pla n C irc u la t ion

N e w A r t Gal l e r y _ P l an C i rc ul ati o n

Le v e nti s A r t Ga lle r y_P la n Circula t ion

10_ Auditoriu m

N e w p or t S t re e t Ga lle r y _ Line a r La yout

64

7

4

1

5

5

4

4

5

4

4

5

4

6 8

9

Ne wpo r t St re e t G a lle r y _ Se c t io n C irc u la ti o n 74

5

5

2

4

1

7

8

9

N e w A r t Gal l e r y _ S e c ti o n C i rc ul ati o n

7/10

4

2

N e w A r t Ga lle r y _ Core a nd S a t e llit e La yout

Lev entis Ar t G aller y _ Core and Satellite Lay out

4

Le v e nti s A r t Ga lle r y _ S e ct ion Circula t ion 75

Form Development

N

Responding to e n v i ro n m e n ta l c o n str a i n ts_

Sim ultaneou s to th e ty p o l o g y stu d i e s w a s the beginnin g of f o rm d e v e l o p m e n t. As

Ex ist ing

the project ai m s to a c h i e v e Pa ssi v h a u s, th e env ironm ent a l c o n d i ti o n s o n th e si te w e re impor tant to c o n si d e r w i th i n th e d e si g n process.

Flood risk 2

Underground river

Vehic le & pedestrian

Pedestrian

Ve hi cl e & p e d e s tr i an

T he south-fac i n g f a c a d e w a s d e si g n e d w i th minim al open i n g s to re d u c e e x c e ssi v e so l a r

P re va le nt w ind p a t h

gain, due to th e l a rg e a m o u n t of c o o l i n g

N ois e s ource s

F lood ris k

Pe d e s t ria n a cce s s

Vehicle access

S un p ath

which is requ i re d i n p u b l i c b u i l d i n g s.

N

Resp onse

Sof t bu f f er

Hard buffer

Tree buffer

Sof t ground

Vehic le & pedestrian

Pedestrian

Ve hi cl e & p e d e s tr i an

Acce s s i nto s i te

A c c ess into site

Mi ni m i s e s o l ar g ai n

76

Intro d uc e s of t a nd ha rd b uf f e r

I nt rod uce t re e b uf f e ring

I nt rod uce s of t g round f or d ra ina g e

P riorit is e p e d e s t ria n circula t ion

Design Lim ited Vehicle Access

77

Sketch mode l l i n g w o r k sh o p _

Keeping the si te c o n str a i n ts i n m i n d , th e i n i t i a l design stages c o n si ste d of a f o rm m o d e l l i n g workshop, w h e re th e stu d i o l o o k e d a t th e site’s propor ti o n s a n d b e g a n sk e tc h m o d e l l i n g.

Chillida’s red u c ti v e te c h n i q u e c a m e i n to p l a y here, whereby th e si te w a s f i r st d e a l t w i th a s a whole positi v e e l e m e n t.

T he block th e n b e g a n b e i n g c a r v e d i n to , introducing th e c i rc u l a ti o n a n d a c c e ss ro u tes where require d , a s w e l l a s k e e p i n g th e position of th e to w e r i n p l a c e .

T he need fo r Pa ssi v h a u s d i c ta te d th e n e e d fo r a fairly solid f a c a d e to th e S o u th , p ro p e l l i n g the concer t h a l l to b e p l a c e d h e re .

E d uard o C hi l l i d a

N e w A d e m uz Par i s h C hurc h_ Mans i l l a+ Tuno n A rq ui te c to s _ 2 0 0 2

O n the other h a n d , th e c a f e w o u l d b e m o re open to the c o u r ty a rd a n d u r b a n sp a c e , naturally plac i n g i t a t th e N o r th of th e si te .

78

79

80

81

Zumthor ; fro m se d u c ti o n to c o m p o su re _

During the d e si g n d e v e l o p m e n t of th e building, Zum th o r ’s b e tw e e n se d u c ti o n a n d com posure wa s c o n ti n u o u sl y k e p t i n m i n d .

Say ing this, th e p e r sp e c ti v e se ri e s so u g h t to v isualise how th e c a f e a n d th e p e r f o rm a n c e pav ilions’ fo rm a n d o p e n i n g s c o u l d se d u c e t h e pedestrian in to th e c o u r ty a rd , e n ti c i n g th e m to ex plore th e p e r f o rm a n c e s w i th i n .

S edu ct i o n

82

C o m p o s ure

83

Dev elopmen t se q u e n c e _

Si t e as a sol i d e n t i t y. I n i t i al de si gn con si de r at i on s_

B e gi n n i n g of c irc ulation c ar ving_

Introduc ing c our tyards_

Form development_

Form refinement_

Re ad i ng fr ag m e ntati o n_

_Sol i d sou t h e rn f acade ; pl ace con ce r t h al l

_P r i mar y acce ss rou t es from the nor th

_Large c our tyard to be ac c essed through openings

_Re-establishing the impor tanc e of primar y ac c ess

_Beginning to break of masses from the c afe to

_F i nal i te r ati o n l i m i ts p e d e s tr i an acce s s to the no r th

_Nor t h se ct i on of t h e si t e t o be more ope n : pl ace

_Se con dar y acce ss f rom the south

in the nor th

from the nor th

c reate separate a busk ing pavilion.

and l i m i ts v e hi cl e acce s s to und e rg ro und fro m the

caf e

_C ombi n e d e n t r an ce into the c onc er t hall and

_Influenc e of Mansilla + Tunon beings here

_Fur ther refinement of internal spac es using

_Enlargement of c onc er t hall to ac c ommodate the

s o uth.

typology studies [see pages 8 4-8 7].

required seating c apac ity indified in In tegration.

_V i s ual l ang uag e of fr ag m e ntati o n s tre ng the ne d

mu se u m

thro ug h co ur ty ard and fo rm d e v e l o p m e nt.

84

85

Using Brick Identif y ing a m a te r i a l p a l e tte

Lastly, the con d i ti o n s o n th e si te w e re analy sed, wi th p a r ti c u l a r re f e re n c e to th e material pale tte .

As highlighte d , th e m a te r i a l i ty of th e p ro j e ct has been esse n ti a l i n c o m m u n i c a ti n g th e transition in f ra g m e n ta ti o n .

T he urban pa l e tte of th e si re i s p re d o m i n a t el y concrete and m a so n r y, p a r ti c u l a rl y b r i c k . T h u s , using brick t o c o m m u n i c a te f r a g m e n ta ti o n i s contex tually f i tti n g .

Moreov er, a wider analysis of the city brought it’s Byzantine architecture to light. Buildings such as the Robinson’s warehouse [left] and the Old Granary [middle] exemplify this architectural style.

86

Mason r y_ bath ston e

Mason r y_ clay brick

Mas o n r y _ c l ay br i c k

Mas o n r y _ ti l e br i c k

O chre colou r palette

Red brick colou r palette

Re d br i c k c o l o u r pal e tte

Re d br i c k c o l o u r pal e tte

87

Establishing a m a te r i a l stra te g y _

M u se u m Facade St r at e gy

Conc er t hall Fac ade Strategy

Cafe & music pavilions Fac ade Strateg y

As such, this use of brick bonds, brick colour and playing with relief has been used to illustrate the journey of the fragment.

The Byzantine style coloured bricks encouraged the use of two-tone brickwork in the cafes, which gradually disperse into one colour towards the tower.

The base palette is an ochre brick due to the dark and claustrophobic nature of the site, with red clay

Ver tic al Bond

Ver tic al Bond

Runni ng B o nd

Flemish Bond

F l e m i s h B o nd

interjections in the North and West facades.

Moreover, the cafe’s facade plays with relief, exaggerating the protrusion of the brick to further fragment the wall. Mimicking ephemerality, the fleeting nature of musical performances is communicated through an always changing facade; the wall will look different from different perspectives.

Moving towards the tower, the limited use of two brick

Running Bond

Ve r ti cal B o nd

bonds felt ominous due to its scale. Thus, a secondary material has been used in the relief of the openings.

Wood has been used to suggest the materiality of

Blac k Timber

Running Bond

He ad e r B o nd

the interior of the museum, which is timber on the permanent exhibition floors to reflect the timbre of the instruments. Thus the facade is giving a indication of the instruments that lay within.

88

89

A rc h i t e c t u ra l Ma n i f e s tat i o n _ 3 m us i c a l & a rc h i te c tur a l e x p e r i e nc e s

91

Music al expression is a reflec tion of c ulture and identity. Just as c ities strive to preser ve ar t, literature and buildings, so should they tr y to preser ve their music al legac y, its histor y and its instruments.

The proposal for this building does just this. The busk ing pavilions and c afe reinforc e and c elebrate the live per formanc es that intoxic ate Bristol; a buzzing and never still atmosphere surges into the already existing fabric as the c entral strong hold of Bristol’s live music sc ene. The fragmented and dynamic forms c reate a seduc tive atmosphere, tempting passer s by into the music al labyrinth.

The sec ond phase of the building begins to intrigue the public to experienc e more formalised expressions of music . The adaptable c onc er t hall c an mould to fit different types of genres, from jazz to baroque. Here, the beginnings of preser vation tak e plac e, whereby rec ordings of the per formanc e are made and given to the audienc e.

Lastly, the museum stands proud, punc hing out of the c itysc ape as a new beac on in Bristol’s music al sc ene. Music al instruments from the music al epoc hs of Britain’s histor y are exhibited for the public , inc ased in rooms whic h reflec t their timbre: wooden instruments live in wooden rooms, reflec ting their timbre ‘soul’, c reating a sense of intimac y. The rhythm of light seeping through the windows c omposes a route through the tower, c urating a c hronologic al time-line of the instruments’ histor y. The museum reinforc es and educ ates people’s music al k nowledge, allowing them to form a stronger under standing and memories of music when they end their journey, to experienc e beautiful music al piec es being played by instruments in their per fec ted ac oustic c onditions.

92

93

The Masterpl an Cultural cen tre b u i l d i n g p ro p o sa l s_ 1:2 000

94

A_ Music Hal l & M u se u m :

J _ Offi ce B l o ck

Passiv haus Sta n d a rd

Pa s s i vh a u s I n n o va t i ve

B_ Prov ision f o r M u se u m E x p a n si o n

K _ New B r i s t o l A r t s L i br a r y

Passiv haus In n o v a ti v e

Pa s s i vh a u s S t a n da rd

C_ Museum Ad m i n i stra ti v e C e n tre

L _ S t u di o s t o L et

Passiv haus Sta n d a rd

Pa s s i vh a u s S t a n da rd

D_ Residenti a l Bl o c k

M _ M i x ed Us e

Passiv haus Sta n d a rd

Pa s s i vh a u s I n n o va t i ve

E_ Per form in g Ar ts C e n tre

N_ Offi ces

Passiv haus Sta n d a rd

Pa s s i vh a u s S t r a n da rd

F_ Priv ate A r t G a l l e r y

O_ Ci vi l B u i l di n g

Passiv haus Sta n d a rd

Pa s s i vh a u s I n n o va t i ve

G _ Boutique H o te l s, S h o p s a n d F o o d Bl o c k

P _ Ci vi l B u i l di n g

Passiv haus In n o v a ti v e

Pa s s i vh a u s I n n o va t i ve

H_ O ffice Bloc k

Q _ R es t a u r a n t Fro n t

Passiv haus In n o v a ti v e

Pa s s i vh a u s I n n o va t i ve

I_ Univ er sity of Ar ts, th e M u si c S c h o o l

R _ R et a i l

Passiv haus In n o v a ti v e

Pa s s i vh a u s S t a n da rd

95

Site plan; fra g m e n t d i sp e r si o n _ 1:500

T he architec tu ra l l a n g u a g e u se d i n th e fragmentation of th e b u i l d i n g c o n ti n u e s th e i n design of th e p e r f o rm a n c e sq u a re to th e n o r t h of the building.

T he per forma n c e p a v i l i o n s c o n ti n u e to d i sp er s e into the site f ro m th e b u i l d i n g , p ro v i d i n g e xt ern a l per formance p l i n th s a n d c re a ti n g o u td o o r per formance sp a c e s.

T he grid has y e t a g a i n b e e n u ti l i se d to sy m bo l i s e the breaking d o w n of a si n g u l a ri ty, th u s u si n g t h e sam e propor ti o n s.

96

97

Moreov er, a c o n ti n u o u s l a n g u a g e w i th th a t of t h e group m aste rp l a n c a n b e se e n i n th e si te p l a n diagrams.

T he ex tension of g re e n ro u te s th ro u g h th e s i t e h a s been upheld, e n h a n c i n g a n d c re a ti n g a d e s i r a bl e ex ternal env i ro n m e n t f o r th e a c ti v e p e r f o rm a n ce square.

Fur ther to th i s, p ro v i d i n g a c ti v e f ro n ta g e s u s i n g shops, cafes a n d re sta u r a n ts e n c o u r a g e s u r ba n div er sity and h e te ro g e n o u s e n v i ro n m e n t.

E x te rnal p e r f o rm anc e s p ac e s

98

A c ti v e f ro ntag e s i n ne w b u ild ing s

Gre e n link t hroug h p e d e s t ria nis e d a re a

P rima r y a nd s e cond a r y circula t ion

Material treatm ent

99

Architectural Proposal Basement Pl a n _ 1:300

10 0

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Undergro u n d D ri v e w a y

25

Fo yer

5

Rubbis h S to r a g e

26

Co u r t ya rd

6

Misc. S to ra g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrum e n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photog ra p h y R o o m

31

L i br a r y

11

Data R o o m

32

Ca fe

12

Inspecti o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant R o o m

35

S po t L i gh t i n g

15

Piano S to re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

Deliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electrici ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rchestra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Conduc to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Admini str a ti o n

101

Lower G roun d F l o o r Pl a n _ 1:400

10 2

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Undergro u n d D ri v e w a y

25

Fo yer

5

Rubbis h S to r a g e

26

Co u r t ya rd

6

Misc. S to ra g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrum e n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photog ra p h y R o o m

31

L i br a r y

11

Data R o o m

32

Ca fe

12

Inspecti o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant R o o m

35

S po t L i gh t i n g

15

Piano S to re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

Deliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electrici ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rchestra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Conduc to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Admini str a ti o n

103

Upper G roun d F l o o r Pl a n _ 1:300

A

104

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Undergro u n d D ri v e w a y

25

Fo yer

5

Rubbis h S to r a g e

26

Co u r t ya rd

6

Misc. S to ra g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrum e n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photog ra p h y R o o m

31

L i br a r y

11

Data R o o m

32

Ca fe

12

Inspecti o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant R o o m

35

S po t L i gh t i n g

15

Piano S to re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

Deliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electrici ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rchestra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Conduc to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Admini str a ti o n

A

105

Lower Fir st F l o o r Pl a n _ 1:300

10 6

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Underg ro u n d D ri v e w a y

25

Fo yer

5

Rubbish S to ra g e

26

Co u r t ya rd

6

Misc. Sto r a g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrume n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photogr a p h y R o o m

31

L i br a r y

11

D ata R o o m

32

Ca fe

12

Inspect i o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant Ro o m

35

S po t L i gh t i n g

15

Piano Sto re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

D eliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electric i ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rches tra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Condu c to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Adm ini str a ti o n

107

Upper Fir st Fl o o r Pl a n _ 1:300

10 8

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Underg ro u n d D ri v e w a y

25

Fo yer

5

Rubbish S to ra g e

26

Co u r t ya rd

6

Misc. Sto r a g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrume n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photogr a p h y R o o m

31

L i br a r y

11

D ata R o o m

32

Ca fe

12

Inspect i o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant Ro o m

35

S po t L i gh t i n g

15

Piano Sto re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

D eliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electric i ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rches tra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Condu c to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Adm ini str a ti o n

109

Second Floor Pl a n _ 1:300

110

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Underg ro u n d D ri v e w a y

25

Fo yer

5

Rubbish S to ra g e

26

Co u r t ya rd

6

Misc. Sto r a g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrume n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photogr a p h y R o o m

31

L i br a r y

11

D ata R o o m

32

Ca fe

12

Inspect i o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant Ro o m

35

S po t L i gh t i n g

15

Piano Sto re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

D eliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electric i ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rches tra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Condu c to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Adm ini str a ti o n

111

T hird Floor P l a n _ 1:300

112

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Underg ro u n d D ri v e w a y

25

Fo yer

5

Rubbish S to ra g e

26

Co u r t ya rd

6

Misc. Sto r a g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrume n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photogr a p h y R o o m

31

L i br a r y

11

D ata R o o m

32

Ca fe

12

Inspect i o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant Ro o m

35

S po t L i gh t i n g

15

Piano Sto re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

D eliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electric i ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rches tra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Condu c to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Adm ini str a ti o n

113

Four th Floor Pl a n _ 1:300

114

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Underg ro u n d D ri v e w a y

25

Fo yer

5

Rubbish S to ra g e

26

Co u r t ya rd

6

Misc. Sto r a g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrume n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photogr a p h y R o o m

31

L i br a r y

11

D ata R o o m

32

Ca fe

12

Inspect i o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant Ro o m

35

S po t L i gh t i n g

15

Piano Sto re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

D eliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electric i ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rches tra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Condu c to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Adm ini str a ti o n

115

Fif th Floor P l a n _ 1:300

116

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Underg ro u n d D ri v e w a y

25

Fo yer

5

Rubbish S to ra g e

26

Co u r t ya rd

6

Misc. Sto r a g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrume n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photogr a p h y R o o m

31

L i br a r y

11

D ata R o o m

32

Ca fe

12

Inspect i o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant Ro o m

35

S po t L i gh t i n g

15

Piano Sto re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

D eliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electric i ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rches tra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Condu c to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Adm ini str a ti o n

117

Six th Floor P l a n _ 1:300

118

1

Plant

22

Co mmo n ro o m

2

K itchen

23

B a cks t a ge

3

Pantr y

24

Ch a mber M u s i c R o o m

4

Underg ro u n d D ri v e w a y

25

Fo yer

5

Rubbish S to ra g e

26

Co u r t ya rd

6

Misc. Sto r a g e

27

Bar

7

W.C.

28

B a r S t o r a ge

8

Instrume n t S to re

29

R ecept i o n

9

Worksh o p & C o n se r v a ti o n

30

Shop

10

Photogr a p h y R o o m

31

L i br a r y

11

D ata R o o m

32

Ca fe

12

Inspect i o n

33

Per fo rma n ce S t a ge

13

Changi n g R o o m

34

G reen R o o m

14

Plant Ro o m

35

S po t L i gh t i n g

15

Piano Sto re

36

R a di o Tr a n s mi s s i o n Co n t ro l Room

16

D eliv er y D ro p - of f

37

Obs er va t i o n R o o m

17

Electric i ty S to re / Wo r k sh o p

38

L i gh t i n g Co n t ro l

18

O rches tra Asse m b l y Are a

39

Tempo r a r y E x h i bi t i o n S pa ce

19

Stage M a n a g e r ’s O f f i c e

40

S peci a l i s ed M u s i c R o o m

20

Condu c to r ’s O f f i c e

41

Perma n en t E x h i bi t i o n S pa ce

21

Adm ini str a ti o n

119

Section AA _ 1:300

A A

12 0

121

Section BB _ 1:300

B

12 2

B

123

Section CC _ 1:2 00 C

C

124

125

Nor th Elev ati o n _ 1:300

T he elev ation s a re k e y to c o m m u n i c a ti n g th e conceptual s tr a te g y b e h i n d th e m a te ri a l i ty.

Just as the bu i l d i n g ’s f o rm f r a g m e n ts, so d o es t h e material trea tm e n t of th e f a c a d e s th ro u g h t h e bo n d work of the b ri c k a n d th e e x a g g e r a ti o n of rel i ef i n the openings.

T he Nor th fac a d e i l l u str a te s th e tw o e x tre m es , t h e tower and th e e n ti re l y f r a g m e n te d c a f e ’s.

12 6

127

West Elev ati o n _ 1:300

12 8

129

South Elev at i o n _ 1:300

13 0

131

East Elev atio n _ 1:300

13 2

133

Material & a tm o sp h e r i c p a l e tte _

9 8

10 9 9

9 11

9 7 4

3

2

1 1

2

3

4

5

6

7

8

9

10

11

6

5

134

135

Te c h n i c a l S u b s ta n t i at i o n _ C o ntro l l i ng i nte rna l e nv i ro nm e nts

13 6

137

Environmental Considerations T he cour ty a rd s; c o n tro l l i n g l i g h t_

A_ Harold Street Residence, Jackson Clem ents Burrows Architects

From the ou tse t, th e to w e r w a s to b e

A s s u ch , t h e n u mber of w i n do w s o n th e t owe r

retrofitted to Pa ssi v h a u s sta n d a rd s a n d

h a s been l i mi t ed, offs et by t h e i n s er t i on of

prov ide a he a l th y e n v i ro n m e n t.

t h e t h ree i n t ern a l ‘co u r t ya rds ’. t h e l owe r co u r t ya rds recede a ba y’s dept h i n t o t h e

Day lighting_

t o w er, t h u s pro vi di n g s o l a r s h a di n g bu t st i l l

T he design h a s c o n si d e re d a n d a i m s to

i n t ro du ci n g da yl i gh t . Fu r t h ermo re, t he u se of

control day l i g h ti n g th ro u g h th e i n tro d u c ti on

t h e s t a ggered br i ck w a l l s a l s o co n t rol s di re ct

of the cour ty a rd s, p a r ti c u l a rl y i n th e m u se u m.

s u n l i gh t i n t h e w i n t er mo rn i n gs a n d e ve n i n gs,

Natural lighti n g i n m u se u m s a n d g a l l e ri e s

ca s t i n g a da ppl ed l i gh t i n t o t h e mu s eu m.

B

A A

should alway s b e c o n tro l l e d to m i n i m i se direct sun lig h t; th i s i s d o n e to p re se r v e th e

Th e co u r t ya rd, o r l a n t ern , a t t h e t o p of t h e

item s being e x h i b i te d . O n th e o th e r h a n d , as

t o w er di ffu s es t h e l i gh t by u s i n g s l i gh t l y

the building i s Pa ssi v h a u s, l i m i ta ti o n s o n the

t r a n s l u cen t gl a s s . Th e des i red t o p l i t e f f e ct i s

use of ex cessi v e a r ti f i c i a l l i g h ti n g a re to b e

di s pl a yed i n R a fa el M o n eo’s M u s eu m of Fi n e

implemented.

Ar ts.

B_ St Lewis Ar t Museum , Dav id Chipper field Architects

Mus e um c o ur ty ard i d e nti f i c ati o n

Cour t ya rd A s umme r s ha d ing

Cour t ya rd A w int e r s ha d ing

Cour t ya rd B lig ht d if f us ion

B_ Museum of Fine Ar ts, Rafael Moneo

13 8

139

Env ironmenta l se c ti o n s_

Ventilation, c ool i ng a nd h e a ti ng _ Fur ther to th e l i g h ti n g stra te g y, k e y v entilation a n d c o o l i n g re q u i re m e n ts h a v e been addresse d ; h o w e v e r, d u e to th e different req u i re m e n ts of th e sp a c e s, a m i x ed

Due to the volume of people expec ted in

v entilation an d c o o l i n g stra te g y h a s b e e n u s ed

both buildings, the annual c ooling would

in the differe n t p a r ts of th e b u i l d i n g .

most lik ely outweigh the heating needed.

Thus, c ooling and ventilation would be

Mechanical v e n ti l a ti o n h a s b e e n sp e c i f i e d

addressed simultaneously using VAV. If

in the m useu m a n d th e c o n c e r t h a l l . W h i l e

the heating demand surpasses c ooling

both buildin g s a re Pa ssi v h a u s, th e d e m a n d

requirements, than the VAV system c ould

for hum idity c o n tro l i n th e m u se u m a n d th e

also be used for heating.

minim al v en ti l a ti o n re q u i re m e n t of 10l / s p e r per son nece ssi ta te s th e u se of m e c h a n i c a l

On the other hand, the offic es in the

v entilation.

museum do not have suc h stringent internal requirements, thus fan c oil units will be

Moreov er, th e e n c l o se d n a tu re of a u d i to r i u m s

used for ventilation and c ooling/heating

due to acou sti c p e r f o rm a n c e a l so re q u i re s

requirements.

mechanical v e n ti l a ti o n . Pa ssi v a h u s requirem ent s sp e c i f y th a t M V H R m u st b e designed into AH U .

Mus e um and c af e w i nte r s tr ate g y

14 0

Mus e um a nd ca f e s umme r s t ra t e g y

141

Lastly, as the c a f e i s n o t Pa ssi v h a u s a n d i s

Due to the high energy requirements of

relativ ely sm a l l e r i n si z e , th e c e n tr a l c o u r tya rd

both museums and c onc er t halls, the energy

will be used to p ro v i d e n a tu r a l si n g l e - si d e d

required to meet the c ooling loads while

v entilation. H e a ti n g i n th e w i n te r w i l l b e

still ac hieving Passivhaus requires the use

prov ided by a n u n d e r f l o o r h e a ti n g sy ste m .

of a renewable energy sourc e. Thus, their respec tive GSHPs will be rever sed and sized

Ground sourc e h e a t p ump _

for c ooling. Heating will be provided by a

As G SHPs ut i l i se l o w g ra d e h e a t, th e y a re i dea l

boiler.

to supply hea t to u n d e r f l o o r h e a ti n g sy ste m s , with are low te m p e ra tu re e m i tte r s. M o re o v e r,

On the other hand, the c afe will lik ely have

G SHPs hav e th e c a p a c i ty to ru n of f re n e w a b l e

a larger annual heating load. Thus, its

electricity so u rc e s a n d c a n b e re v e r se d to

GSHP will supply heating to the under floor

prov ide coo l i n g ; a s su c h , th re e se p a r a te h e a t

heating system; this is ideal as GSHP run of

pum ps will s u p p l y e a c h b u i l d i n g .

low grade heat and under floor systems are low temperature emitter s (approximately 45 °C)

C o nc e r t hal l w i nte r s tr ate g y

14 2

Conce r t ha ll s umme r s t ra t e g y

143

Passivhaus T he retrofit & Pa ssi v h a u s i d e n ti f i c a ti o n _

As m entione d , th e b ri e f c a l l s f o r a Pa ssi v h a u s

t h e u s e of t h e co u r t ya rds , w h ereby h o r i zon t al

retrofit of th e to w e r. M o re o v e r, th i s p ro j e c t

pl a n es i n du ce t h e l a rges t s o l a r ga i n s .

aim s to constru c t th e c o n c e r t h a l l to

Th e reco mmen ded U-va l u e l i mi t fo r w a l l s,

Passiv haus s ta n d a rd s.

fl o o r s a n d ro ofs i s 0 . 1 5 Wm- 2 K - 1 , w h i l e gl azi n g co mpl i a n ce i s s et t o 0 . 8 5 Wm - 2 K - 1 . Th e l at t e r

In order to a c h i e v e Pa ssi v h a u s, th e a p p l i c a t i o n

n eces s i t a t es t h e u s e of t r i pl e gl a z i n g.

of fundamen ta l b u i l d i n g p h y si c s a n d accurate deta i l i n g th ro u g h o u t th e d e si g n a n d

Th erma l br i dgi n g s h o u l d be kept t o a

construction p ro c e ss i s n e c e ssa r y. W h i l e th e

mi n i mu m a n d co mpen s a t ed fo r el s ew h e re ;

engineering p o r tf o l i o w i l l e x p l o re th e b u i l d i n g

t h erma l br i dges a re cl a s s ed a s h a vi n g a P SI of

phy sics princ i p l e s, th e n e x t sp re a d s w i l l

l es s t h a n 0 . 0 1 Wm - 2 K - 1 .

illustrate con stru c ti n g d e ta i l i n g .

L a s t l y, Pa s s i vh a u s i s ch a r a ct er i s ed by Summarising Pa ssi v h a u s stra te g i e s [ se e g rou p

s i gn i fi ca n t redu ct i o n s i n en ergy dema n d.

booklet for f u l l sp e c i f i c a ti o n ] _

R edu ci n g t h erma l dema n ds a n d preven ti on of i n t er s t i t i a l co n den s a t i o n i s a ch i eved t h rou gh

14 4

T he orientat i o n of th e b u i l d i n g h a s a l a rg e

h i gh l evel s of i n s u l a t i o n a n d a co mpl et e

impact on he a ti n g / c o o l i n g re q u i re m e n ts.

a i r t i gh t ba r r i er, t h a t i s , a va po u r ba r r i er

Large spaces, su c h a s th e c o n c e r t h a l l ’s

membr a n e. Th e l a t t er redu ces i n fi l t r a t i on

foy er, should b e d e si g n e d to h a v e su f f i c i e n t

l o s s es bu t n eces s i t a t es t h e u s e of mech an i cal

solar gain to re d u c e h e a ti n g d e m a n d s ( 30%

ven t i l a t i o n t o a ch i eve h ea l t h y a i r co n di t i on s.

to 40% redu c ti o n ) . H o w e v e r, i m p o r ta n t to

H ea t R eco ver y i s u s ed t o a ch i eve go o d i n door

consider shad i n g w h e re n e c e ssa r y to a v o i d

a i r qu a l i t y w h i l e mi n i mi s i n g ven t i l a t i o n he at

ov erheating. T h i s h a s b e e n a c h i e v e d th ro u gh

l o s s es / ga i n s .

M u se u m_ Passi vh au s re t rof i t

C on ce r t h al l _ Passi vh au s n e w bu i l d

C af e _ Re gu l ar n e w bu i l d; t o c omply with Par t L 201 3 spe ci f i cation

145

Museum retrof i t d e ta i l _ 1:50

In order to a c h i e v e Pa ssi v h a u s, th e d e si re d lighting stra te g y i n th e m u se u m ( th e cour ty ards) a n d u se b ri c k to c l a d th e w h o l e tower, a seri e s of c o n stru c ti o n te c h n i q u e s h a d to be used on d i f f e re n t l e v e l s of th e to w e r.

Since laid bri c k w o u l d b e to o h e a v y to ti e b a ck to the struct u re w i th o u t i n tro d u c i n g si g n i f i ca n t thermal bridg e s, th re e c o n str u c ti o n ty p e s h a ve been utilised to a c h i e v e th e d e si re d a e sth e t i c_ _Fir stly, prefa b ri c a te d Bri c k S h i e l d c o m p o si te slabs with sl i p b ri c k f i n i sh i n g w e re u se d a t t h e base of the to w e r. _T he per forate d c o u r ty a rd w a l l s u se traditional la i d b ri c k , th u s tw o sto re y s of d ea d load hav e bee n tra n sf e r re d to th e stru c tu re using New In su l a ’s ste e l to ste e l th e rm a l b rea k connections . _Lastly, the t o p of th e to w e r w o u l d b e c l a d i n prefabricated sl i p b ri c k p a n e l s.

P re cast br i ck sl i p pan elling 14 6

Laid bric k

Bric k shield 147

Wal l ti e Vap o ur c o ntro l l ay e r : ai r- ti g htne s s l ay e r

La id b rick, I b s t rock, 6 5 mm x 1 0 2 .5 mm x 2 1 5 m m S te e l s tud

1 0 mm lime mor t a r

F i b e r c e m e nt b o ard , 2 0 m m

Wa t e rp roof ing me mb ra ne

B r i c k S hi e l d p ane l , RO C KW O O L and Ib s to c k , 1 0 0 0 m m x 2 40 m m

B rick s lip , 1 9 m x 1 0 2 .5 mm x 2 1 5 mm

Ins tul ati o n, 1 0 0 m m

R e ce s s e d g ut t e r, 5 0 mm x 7 5 mm

E l e c tr i c al c ab e l tr ay

R e inf orce d s cre e d , 1 0 0 mm w it h 1 :4 0 s lop e

X2 Gy p s um p l as te r b o ad , 1 2 m m

X 2 ins t ula t ion, 1 0 0 mm

W hi te p ai nt

N e w I ns ula t he rma l b re a k s t e e l- t o- s t e e l con nection, 120m m x 140m m S t e e l b ra cke t R e inf orce d concre t e s la b , 3 0 0 mm

Re i nf o rc e d c o nc re te s l ab , 3 0 0 m m Lai d b r i c k , 6 5 m m x 1 0 2 . 5 m m x 2 1 5 m m

X 2 s t e e l s t ud s , 1 0 0 mm

X2 Ri g i d i ns ul ati o n, 2 0 0 m m

I ns ula t ion, 1 0 0 mm

D am p p ro of m e m b r ane

B rickS hie ld p a ne l, R OCKW OOL a nd I b s t ock, 1000m m x 240m m Ele ct rica l ca b le t ra y Va p our cont rol la ye r

B r i c k s hi e l d to g ro und j unc ti o n_ 1 : 1 0

14 8

Cour t ya rd la id b rick t o B ricks hie ld junct ion_ 1:10

149

F ib e r ce me nt b oa rd , 2 0 mm Wa t e rp roof ing me mb ra ne P ro g re s s i o n, Pas s i v haus c e r ti f i e d tr i p l e g l az i ng uni ts , 5 2 m m

R e ce s s e d g ut t e r,, a luminium p rof ile , 5 0 mm x 75m m

Sill

R e inf orce d s cre e d , 1 0 0 mm w it h 1 :4 0 s lop e

E l e c tr i c al c ab l e tr ay F i b e r c e m e nt b o ard , 2 0 m m Ins tul ati o n, 1 0 0 m m

X 2 ins t ula t ion la ye r s , 1 0 0 mm

X2 Gy p s um p l as te r b o ad , 1 2 m m P re f ab r i c ate d b r i c k s l i p p ane l l i ng , 1 9 m m Vap o ur c o ntro l l ay e r X2 Ri g i d i ns ul ati o n, 2 0 0 m m X2 s te e l s tud s , 1 0 0 m m S te e l b l o ts

N e w I ns ula t he rma l b re a k s t e e l- t o- s t e e l con nection, 120m m x 140m m

Re i nf o rc e d c o nc re te f l o o r s l ab , 3 0 0 m m

S t e e l b ra cke t

N e w Ins ul a s te e l - to - s te e l the rm al b re ak

S t e e l b ra cke t

S te e l ang e l

R e inf orce d concre t e roof s la b , 5 0 0 mm

S te e l ang e l Va p our cont rol la ye r P re f a b rica t e d b rick s lip p a ne lling , 1 9 mm I ns ula t ion, 1 0 0 mm Xtr athe rm s of f i t w i th b r i c k s l i p f i ni s h, 2 2 0 m m

X 2 ins t ula t ion, 1 0 0 mm

Lai d b r i c k , 6 5 m m x 1 0 2 . 5 m m x 2 1 5 m m w i th 1 0 m m l i m e m o r tar

Ele ct rica l ca b le t ra y P rog re s s ion, Pa s s ivha us ce r t if ie d t rip le g la zi ng unit, 52m m

P ro g re s s i o n w i nd o w s i l l d e tai l _ 1 : 1 0

15 0

P rog re s s ion w ind ow lint il t o roof s la b junct ion_ 1:10

151

Detailing bri c k b o n d s_ 1:2 0

O n the other h a n d , th e l o w e r w a l l h e i g h ts

of the rest of th e b u i l d i n g a l l o w th e u se of inter stitial b ri c k w o r k , a n d th u s m a so n a r y walls, betwe e n th e c o n c re te f ra m e .

T he walls wou l d b e c o n stru c te d a s ty p i c a l brick walls, h o w e v e r th e c a f e w i l l u se a n

interior leaf of b r i c k ra th e r th a n c o n c re te

block to ach i e v e a b r i c k f i n i sh o n th e i n te r i o r.

T he play on re l i e f of th e b ri c k b o n d re a c h e s its apex at th e c a f e a n d p a v i l i o n s, w h i l e th e tower has flu sh su r f a c e s.

15 2

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Museum Fac ade Strategy

Chamber music hall Fac ade Strategy

Ver tic al Bond

C afe & m us i c p av i l i o ns Facad e Str ate g y

Ver tic al Bond

Runni ng B o nd

Flemish Bond

F l e m i s h B o nd

Running Bond

Blac k Timber

Ve r ti cal B o nd

Running Bond

He ad e r B o nd

153

Structural Assembly T he frame; se q u e n c e of c o n str u c ti o n _ While the bu i l d i n g ’s f o rm a p p e a r s c o m p l e x , the structure a n d i ts a sse m b l y i s re l a ti v e l y simple. T he c o n c e r t h a l l a n d th e c a f e a re constructed u si n g c o n c re te f ra m e s. T h e structural loa d s f ro m th e f l o o r p l a te s i n th e foy er are tied b a c k to th e m u se u m ’s e x i sti n g columns usin g c o n n e c ti n g ste e l p l a te s.

O n the other h a n d , th e b u sk i n g p a v i l i o n s are assem ble d u si n g tra d i ti o n a l b ri c k w a l l construction .

Reinforced c o n c re te f r a m e a sse m b l y _ 1_ reinforceme n t f o r b a se m e n t f l o o r i s laid then flo o r sl a b p o u re d i n - si tu o n ra f t foundations 2_ structural r i se r a n d l i f t c o re s re i n f o rc e m e n t laid, then con c re te p o u re d a n d l e f t to c u re .

3_ column reb a r s a re p l a c e d p r i o r to p o u r i n g concrete.

4_ interm edi a te f l o o r re i n f o rc e m e n t a n d concrete pou re d i n - si tu .

5_ Steps 3 a n d 4 a re re p e a te d a s n e c e ssa r y, with a thicker f i n a l ro of p l a te .

Brick pav ilio n s a sse m b l y _ 1_ reinforced c o n c re te str i p f o u n d a ti o n l a i d.

2_ internal b ri c k c o u r se l a i d , w i th w a l l ti e s s et into mor tar a t 600m m i n te r v a l s.

3_ ex ternal br i c k l e a f b u i l t.

4_ stainless ste e l ri n g b e a m l a i d a b o v e a n d attached to i n te rn a l b ri c k l e a f.

S tr uc tur al e l e m e nts

T he m us e um

The conce r t ha ll

The ca f e a nd b us king p a vilions

5_ tim ber joi st sp a n f ro m tw o e n d s of th e ri n g beam as roof b a se .

154

155

How much d o e s y o u r b u i l d i n g w e i g h ? _

Concrete

Reinforcement Built Walls

Glazing Insulation

Building component

Material

Thickness m

m2

Amount

Floor slab

Concrete with 50% GGBS RC40

0.3

4649.52

Roof slab

Concrete with 50% GGBS RC40

0.5

Screed

Concrete with 50% GGBS RC40

0.075

Columns Risers All concrete (10%)

General steel

External: brick

Brick (common)

0.1

External: timber cladding

Black Scottish Larch

Concrete block Plasterboard

Thickness m

m2

Floor slab

Concrete with 50% GGBS RC40

0.3

4400

73130.6426

Roof slab

Concrete with 50% GGBS RC40

0.5

550

4355.43786

Screed

Concrete with 50% GGBS RC40

0.075

4950

Density

Weight

Embodied CO 2

Total embodied CO 2

2400

3168000

0.101

319968

68.87

275

2400

660000

0.101

66660

68.87

18939.25

371.25

2400

891000

0.101

89991

12.49

4636.9125

15134.85

68.87

4300.07063

42458.2992

68.87

12063.1315

55292.652

68.87

15709.5914

1.37

2598782.304

3255.25

791660.687

0.45

193381.8867

Total embodied CO 2

1394.856

2400

3347654.4

0.101

338113.0944

68.87

2123.73

1061.865

2400

2548476

0.101

257396.076

68.87

4649.52

348.714

2400

836913.6

0.101

84528.2736

12.49

Concrete with 50% GGBS RC40

51

2400

122400

0.101

12362.4

68.87

3512.37

Columns

Concrete with 50% GGBS RC40

62.4375

2400

149850

0.101

Concrete with 50% GGBS RC40

111

2400

266400

0.101

26906.4

68.87

7644.57

Risers

Concrete with 50% GGBS RC40

175.158

2400

420379.2

0.101

Stairs

Concrete with 50% GGBS RC40

228.105

2400

547452

0.101

All concrete (10%)

General steel

243.19505

7800

1896921.39

External: brick cladding

Brick slips

0.1

252.78678

1700

429737.526

External: timber cladding

Black Scottish Larch

0.025

671.9962

16.799905

600

10079.943

0.72

Plasterboard

Plasterboard

0.012

3199.864

38.398368

800

30718.6944

0.38

Internal: timber panelling

Wood panels

0.025

1817.088

45.4272

600

27256.32

0.72

19624.5504

Internal: white render

Gypsum plaster

0.005

1382.776

6.91388

1120

7743.5456

0.12

929.225472

Windows

Triple glazing, argon filled with aluminium-clad timber frame

0.05

207.008

10.3504

0

128.125

8840.966667

(kgCo2/kg)

(kgCo2/kg)

£/m2

£/m3

Total cost

Amount

Embodied CO 2

kg

£/m2

£/m3

96063.7327

296.7435

7800

2314599.3

1.37

3171001.041

2658.83

265.883

1700

452001.1

0.45

203400.495

25

66470.75

3255.25

0.025

80.96

2.024

600

1214.4

0.72

874.368

17

1376.32

Aerated concrete block

0.1

2739.79

273.979

750

205484.25

0.3

61645.275

Plasterboard

0.012

2739.79

32.87748

800

26301.984

0.38

9994.75392

Internal: white render

Gypsum plaster

0.005

2739.79

13.69895

1120

15342.824

0.12

1841.13888

Windows

Triple glazing, argon filled with aluminium-clad timber frame

0.05

642.21

32.1105

Floor

Rockwool (slab)

0.2

2176.7

435.34

Roof

Rockwool (slab)

0.32

2123.73

679.5936

24

16310.2464

Exterior walls

Rockwool

0.27

4649.52

1255.3704

24

30128.8896

Concrete

68.87 2.66

Built Walls 18868.9337

7287.8414 3528.84952

128.125

82283.15625

345

11078.1225

1.05

10970.568

38

16542.92

1.05

17125.75872

38

25824.5568

1.05

31635.33408

38

47704.0752

Glazing 24

10448.16

N e w b ui l d c o s ti ng anal y s i s

4,310,078.1

m3 1320

kg/m3

kg

(kgCo2/kg)

(kgCo2/kg)

£/m2

Cost

£/m3

Total cost

£/m2

£/m3

90908.4

965974.278 Reinforcement

10193.67515

15 6

Material

Weight

kg/m3

Cost

Building component

Density

m3

Insulation

2527.8678

25

63196.695

7257.55896

17

11423.9354

11673.10387

2.66

8511.63824

25.5

46335.744 1781.01549 345

3570.888

Floor

Rockwool (slab)

0.2

550

110

24

2640

1.05

2772

38

4180

Roof

Rockwool (slab)

0.32

550

176

24

4224

1.05

4435.2

38

6688

Exterior walls

Rockwool

0.27

3199.864

863.96328

24

20735.11872

1.05

21771.87466

38

32830.6046

£1,347,987.08

8266.737738

3,458,973.5

£1,116,736.56

Tow e r cos t ing a na lys is

157

Complian ce Par t B; fire s tr a te g y _

Par t M; ac c ess regulations_

Building regu l a ti o n s Pa r t B m u st b e m e t to ensure user sa f e ty

Means of esc a p e _ .

Disabled ac c ess routes had to be well

_T he majorit y of th e b u i l d i n g w i l l u se sm o k e

c onsidered, par tic ularly in the museum to

detector s for f i re w a rn i n g , w i th th e e x c e p ti o n

ensure separation of public use lif ts from

of the cafe’s k i tc h e n ; a h e a t d e te c to r w o u l d be

instrument lif ts.

more suitabl e to a v o i d a c c i d e n ta l a c ti v a ti o n .

Con cer t hall seatin g_ _T he museum h a s tw o f i re e sc a p e e x i sts,

_Disabled ac c ess for the c onc er t hall has

the concer t h a l l h a s th re e a n d th e c a f e h a s

been c onsidered; wheelc hair user s have

one. T he ex i sts i n th e b u i l d i n g s w i th m u l ti p l e

been provided with a fire proof lif t to ac c ess

escape route s a re n o f u r th e r th a n 4 5m . T h e

balc ony seating.

cafe has an e sc a p e e x i t w h i c h i s o n f u r th e r than 18m from a n y p o i n t.

San itar y provision _ _Par t M c omplianc e for disabled WCs has been

_All fire ex its h a v e a m i n i m u m w i d th of 1100 m.

adhered to.

Internal f ire sp re a d re si sta nc e _

Bu ildin g circu lation _

_ Internal fin i sh e s of re n d e r o r ti m b e r w i l l b e

_A ll public routes have a minimum width of

set on two la y e r s of f i re re ta rd a n t g y p su m

15 0 0 mm.

linings.

_A ll stair ways c omply with par t M regulations.

_ Internal fin i sh e s of b ri c k a re f i re re ta rd a n t i n themselv es. _T he buildin g s m u st b e z o n e d , a s a p p ro p r i a t e,

Extern al bu ildin g access_ Bas e m e nt p l an_

Lo w e r g ro und f l o o r p l an_

_The topography of the c our tyard whic h leads

with fire resi sta n t w a l l s.

to all buildings flat, c reating no diffic ulty for

_T he basem e n t sto re s f o r th e m u se u m a n d

wheelc hair use.

B a s e me nt p la n_

Lower ground floor plan_

concer t hall m u st b e z o n e d se p a ra te l y to achiev e an ad d i ti o n a l tw o h o u r s of f i re protection.

15 8

159

Co n c e rn i n g P re s e rvat i o n _ E x p e r i e nti a l tr a ns i ti o n

16 0

161

Atmospheric Illustration

2 1

3

I m ag e 3 i s tak e n f ro m the s e c o nd f l o o r

16 2

T he b us king p a vilions & e p he me ra lit y

163

T he c af e & e p he m e r al i ty

164

T he ins t rume nt s

165