Academic Portfolio 2016 - 2020 by mirzaismail

RIBA PART 1

ACADEMIC PORTFOLIO

2016 - 2020

MIRZA ISMAIL

S1688492

MA (HONS) ARCHITECTURE UNIVERSITY OF EDINBURGH

REFLECTIVE STATEMENT The Academic portfolio presented me with an opportunity to reflect over my four years in ESALA. Begin with only bare knowledge of design skills and techniques, my interest in this field slowly growing into a deep passion of exploring design possibilities and begin to take a closer look over a particular detail of the aesthetics and functionality of a built environment. Studying architecture in ESALA has provided me with a holistic approach to the growth and development of my understanding of architectural knowledge ranging from design, art, theory, history, technology and environment principles. For my time here in Edinburgh, I was able to widen my exposure and seeing architecture from a different perspective. Designing was more beyond the pursuit of aesthetic but also to bring the richness in the quality of developing a functional design that benefits the inhabitants and nearby community. Studying architecture in ESALA has offered me with variety of information which established a stable foundation of knowledge that inform my design decisions and investigations. Review after review, I was able to explore and re-evaluate multiple iterations that involved in variety use of medium and consideration towards social and economic conditions during design process. From AD: Elements to designing tectonic of a mixed-use architectural complex, this continuous process of learning is crucial to improve effective decision-making and develop a critical eye to constantly think on which aspects my design could improve and benefit to the users and society. My time in the architectural practice certainly widen my perspective on the real-life practice of crits and the ever-growing roles of an architect as a master builder and collaborator. Thus, I am determined to continue nurturing my passion for the love of designing meaningful spaces and architecture for the society and hopefully applying the gained knowledge in my future architectural practice.

BODY OF WORKS

MA (HONS) ARCHITECTURE

AD1a

Y3 S1

Y2 S1

Y1 S1 [ARCH08001]

AD2a

[ARCH08007]

AD3

Y4 S1 [ARCH08006]

[ARJA10002]

ARCHITECTURAL DESIGN: ELEMENTS

ARCHITECTURAL DESIGN: IN PLACE

ARCHITECTURAL DESIGN: EXPLORATIONS

ARCHITECTURE DISSERTATION

ArD

TE2a

TE3

[ARCH07001]

ART & DESIGN: THINKING THROUGH DRAWING

AH1a

[ARCH08003]

ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

Y1 S2 AD1b

[ARCH08004]

[ARCH08002]

TECHNOLOGY & ENVIRONMENT: PRINCIPLES

AH1B

[ARCH08005]

ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

[ARCH10002]

TECHNOLOGY & ENVIRONMENT: BUILDING ENVIRONMENT

ARCHITECTURAL THEORY

DTDC

APWL

[ARCH08038]

DESIGN THINKING & DIGITAL CRAFTING

Y2 S2

ARCHITECTURAL DESIGN: ASSEMBLY

TE1

[ARCH08028]

AD2b

ARCHITECTURAL DESIGN: ANY PLACE

TE2b AH2

ARCHITECTURAL PRACTICE: WORKING LEARNING

Y4 S2

APR

[ARCH10026]

ARCHITECTURAL PRACTICE: REFLECTION

[ARHI08007]

ARCHITECTURAL HISTORY: CULTURE & THE CITY

AD4a

WORK PLACEMENT

[ARCH10003]

ARCHITECTURAL DESIGN: TECTONICS

AD4b

[ARCH08027]

TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

TECHNOLOGY & ENVIRONMENT 3

[ARCH10027]

Y3 S2 [ARCH08006]

[ARDE10002]

[ARCH10025]

ARCHITECTURAL DESIGN: LOGISTICS

AP1

[ARCH10005]

ACADEMIC PORTFOLIO

ARB/RIBA GENERAL CRITERIA

ARB/RIBA GRADUATE ATTRIBUTES

GC1

An ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC7

An understanding of the methods of investigation and preparation of the brief for a design project.

GC2

An adequate knowledge of the history and theories of architecture and the related arts, technologies and human sciences.

GC8

An understanding of the structural design, constructional and engineering problems associated with building design.

A knowledge of the fine arts as an influence on the quality of architectural design.

GC9

GC3

GC4

GC5

GC6

An adequate knowledge of urban design, planning and the skills involved in the planning process. An understanding of the relationship between people and buildings, and between buildings and their environment, and of the need to relate buildings and the spaces between them to human needs and scale. An understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

An adequate knowledge of physical problems and technologies and of the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

GC10

The necessary design skills to meet building users’ requirements within the constraints imposed by cose factors and building regulations.

GC11

An adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

GA1

Ability to generate design proposals using understanding of a body of knowledge, some at the current boundaries of professional practice and the academic discipline of architecture.

GA2

Ability to apply a range of communication methods and media to present design proposals clearly and effectively.

GA3

Understanding of the alternative materials, processes and techniques that apply to architectural design and building construction.

GA4

Ability to evaluate evidence, arguments and assumptions in order to make and present sound judgements within a structured discourse relating to architectural culture, theory and design.

GA5

Knowledge of the context of the architect and the construction industry, and the professional qualities needed for decision making in complex and unpredictable circumstances.

GA6

Ability to identify individual learning needs and understand the personal responsibility required for further professional education.

COURSE INTRO NAVIGATION

COURSE CODE MAIN UNIT TITLE UNIT SUB-TITLE

COURSE DESCRIPTION

ARCH08001

ARCHITECTURAL DESIGN

Elements COURSE SUMMARY

PERSONAL REFLECTION

The first five weeks of the semester work as a block of short exploratory tasks aiming to address fundamental architectural principles of light and dark, mass and void, space and enclosure, path and threshold, texture and surface, through the investigation of the material and spatial qualities of basic architectural elements of ground, wall, frame, canopy and space, in parallel with exploring hand drawing and representation using different techniques. Whereas the first week focuses on an evocative assemblage of elements rooted on personal memory, the following weeks move towards increasing understanding of the qualities of architectural space through abstract representation.

This course continues the preceding Architectural History course in building my understanding of social, cultural and intellectual factors that influence architecture (GC2;3). Again, I enjoyed discovering opportunities to research deeper into the precedents, influences and motive factors behind each topic, thereby constructing a much more rigorous and comprehensive argument (GC7)

PERSONAL REFLECTION

LEARNING OUTCOMES

COURSE'S LEARNING OUTCOMES

LO1

An ability to create architectural designs that satisfy both aesthetic and technical requirements.

LO2

An ability to create architectural designs that satisfy both aesthetic and technical requirements.

LO3

An ability to create architectural designs that satisfy both aesthetic and technical requirements.

Course Organiser Soledad Garcia Ferrrari

COURSE ORGANISER

PROJECT PAGE NAVIGATION

PROJECT TITLE

HEAD IN THE WINDOW

IMAGES PROJECT BRIEF

PROJECT SUMMARY

Based on the images of a familiar person, the project aims was to construct the person’s traits and personalities into a form of three dimensinal portrait and interacting it with a form a basic architectural element of a window(frame).

From a photo taken of my friend just after we had finished playing football, there was a wave of emotion hidden behind his face. The relieved and joy playing together with his friends and at the same time keeping secrets of his hectic daily life, the unbalanced emotions and traits based on my observation were expressed through the mixture of colours of the model and it was kept inside a box with an opening that became a window of perspective that caught the glimpse and different interpretation of his personality.

Model B

FULFILLED GENERAL CRITERIA

1 2 3 4 5 6 7 8 9 10 11

IMAGES CAPTION

Model A

Model C

Y1 S1

AD1a

ARCHITECTURAL DESIGN: ELEMENTS

COURSE REFERENCES | YEAR & SEMESTER| COURSE INDEX | COURSE TITLE |

PAGE NUMBER

YEAR 1 SEMESTER I

SEPTEMBER 2016 - DECEMBER 2016

ARCHITECTURAL DESIGN: ELEMENTS ART & DESIGN: THINKING THROUGH DRAWING ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

ARCH08001

ARCHITECTURAL DESIGN

Elements COURSE SUMMARY

PERSONAL REFLECTION

Through each series of the short exercises until the final project, I learned to be more creative and rigorous in conveying meanings and ideas of my design with every of the architectural elements that will be considered in every design process and stages. The practice of explorations of ideas with models and sketches improved my design process on to be more critical in integrating design with its context and considering technical requirements which together formed an interesting design that can satisfies aesthetics and practicality.

LEARNING OUTCOMES LO1

Awareness of basic architectural elements and issues that inform their disposition in architectural designs.

LO2

Awareness of different dimensions of the design process, from analysis and research individually and in teams to iteration and reflection in the formation of architectural designs.

LO3

Awareness of appropriate representational and communication methods to prepare and present design proposals.

Course Organiser Soledad Garcia Ferrrari

HEAD IN THE WINDOW Based on the images of a familiar person, the project aims was to construct the person’s traits and personalities into a form of three dimensinal portrait and interacting it with a form a basic architectural element of a window(frame).

Model

1 2 3 4 5 6 7 8 9 10 11

Model

Y1 S1

AD1a

ARCHITECTURAL DESIGN: ELEMENTS

GROUND & WALL The project aims was to explore the spatial and physical qualities of the ground and wall as the architectural elements in the process of designing a path or place and the making of enclosed or open space. The ground was designed based on the context of changing topography in a rough and windy site and how an architectural proposal could be designed to survive in this extreme conditions. With the ground, the idea for a wall was to propose a shelter witrh walls that will not interfere with the wind path by creating a smooth low drag shape that will reduce the resistance to the wind. Plan

Section AA’

Model

1 2 3 4 5 6 7 8 9 10 11

Y1 S1

AD1a

ARCHITECTURAL DESIGN: ELEMENTS

FRAME & CANOPY The project aimed at exploring the spatial and physical qualities based on the relationship between the frame and canopy as the architectural elements for the making of path, place and shelter.

The response to the brief involved in designing a series of metal frame to form a sheltered pathway. The frame become the structural element that supported the timber beam and glass roof as the canopy on top, thus creating a sheltered path that can cast an interesting shadow in any time of the day.

Initial ‘frame’ model

Final Model

1 2 3 4 5 6 7 8 9 10 11

Y1 S1

AD1a

ARCHITECTURAL DESIGN: ELEMENTS

SCALE & REPRESENTATION The project aimed at exploring the quality and idea of space in relation to the architectural elements explored in the previous projects. Based on the explorations and construction of spatial qualities of the ground and wall, frame and canopy, this project developed the spatial strategies from the sketches and construction of intuitve and imagination of how the space will be experience and perceive.

The design intent was to create a series of elevated space that will encrease the excitement to reach the view of the cliff. The idea began with the creation of a narrow space that reveal the slight glimpse of light attracting the user into the space. The path created embark on the increase in curiosity of the user as the constrast between the light and shadow cast from a series of partition. At the end, the user were presented with an open view of the whole landscape.

Model

1 2 3 4 5 6 7 8 9 10 11

Y1 S1

AD1a

ARCHITECTURAL DESIGN: ELEMENTS

WRITER’S RETREAT The final project of the course aimed at proposing a possible retreat space for a writer in the remote area outside of the Edinburgh. The site took place in River Cramond, a river with great view of the natural landscape near to the sea and an one hour distance from the city centre. The brief also tasked in exploring the particularities of the site characteristics and develop an integrated approach in design development and consideration between materials and structural strategies.

2 Accessible Path Wind Path

Sun Path

Floor Plan

1 2 3 4

Bedroom Living Room Fireplace Writing Area

The proposal for a writer’s retreat was to design an elevated space that will allow the writer to experience the panoramic view of the site and enjoy a tranquil environment during his/her time of writing. The retreat is slightly visible from a certain angle across the site with the facade being revealed in between the dense existing trees. The retreat is supported with steel columns that allowed minimum contact with the steep ground and reduce the amount of materials used for foundations. The facade is made of timber painted in black to absorb and maintain the heat especially during the winter with the low angle of the sun. The interior finishes are made of timber to create a warm and cozy experience for the writer. GC

1 2 3 4 5 6 7 8 9 10 11

Site Plan

North Elevation

Y1 S1

AD1a

ARCHITECTURAL DESIGN: ELEMENTS

Perspective

Interior view model

1 2 3 4 5 6 7 8 9 10 11

Final model

Y1 S1

AD1a

ARCHITECTURAL DESIGN: ELEMENTS

ARCH07001

ART & DESIGN

THINKING THROUGH DRAWING COURSE SUMMARY

PERSONAL REFLECTION

This course is structured to develop buiding awareness and confidence in understanding the architectural qualities and communicating ideas through drawings. The projects are set as practice-based knowledge and subject to explore and challenge art and design research and thinking. For each of the exploration and observation, the practices of developing drawings become a critical site of design action, as well as a practice of design thinking. Various tools and mediums can be used to convey the process of thinking through drawing, through the sequences of analysis and critical approach of the given sites.

The course has made me aware of the methodology of thinking and drawing work as a synchronising element that cannot be separated in the process of generating ideas and design. One will infuence the other throughout the process and after a series of iterations, each bits of the elements will add precision and sophistication towards the final product. On the series of drawing iteration and practice of the Adam House, i managed to express my own attitude to the architectural landscape of Edinburgh and experimenting with different mediums in developing the drawing presentation.

LEARNING OUTCOMES LO1

Demonstrate experimentation and fundamental understanding of drawing using a range of techniques and materials.

LO2

Demonstrate an awareness of Art and Design process in researching, testing and developing ideas to find creative solutions.

LO3

Communicate ideas and complete work in a well structured and coherent way.

Course Organiser Giorgio Ponzo

OBSERVATION - ADAM HOUSE The project aimed at exploring the relationship between the inside and the outside of Adam House. How can the inside and the outside be recognized in your specific area of study? How does architecture address/manage/articulate the transition from the inside to the outside? Are there specific sequences of elements, spaces, materials, events, actions that frame this transition?

At this stage, I developed my observation of the Adam House interior by experimenting with different mediums, in the process of expressing the quality and the environment of the space especially with the daylighting and the cast shadows produced. The observation mainly revolved around the central atrium, which have unique circulation with both opposite staircases circulate and converge back into the atrium space which it facilitate interaction between the building users at centre.

1 2 3 4 5 6 7 8 9 10 11

opposite view from the adam house

Y1 S1

ArD

ART & DESIGN: THINKING THROUGH DRAWING

INSIDE / OUTSIDE You have to define the ways in which your drawings and thoughts can reach a higher level of resolution, also starting to take into account different possible drawing conventions and techniques, ranging from free hand sketches, to projections, to collages. I was interested in exploring the contrast between light and shadows cast inside the space. The drawings trying to convey the message of the relationship between the activity inside the Adam House and its classical facadewhich it felt like being trapped with the harsh quality of the interior which seemed not suited with the programmes that happening inside the building.

1 2 3 4 5 6 7 8 9 10 11

Y1 S1

ArD

ART & DESIGN: THINKING THROUGH DRAWING

ARCH08003

ARCHITECTURAL HISTORY

INTRODUCTION TO WORLD ARCHITECTURE COURSE SUMMARY

PERSONAL REFLECTION

This course introduced a broad understand and knowledge of significant architecture around the world. It include the examination of Ancient Egyptian and Greek, Roman Architecture, architecture of the Middle Ages,Islam, Pre-Columbian America, and the first great re-evaluation of Antiquity in Italian Renaissance. Significant cultural traditions in India, China and Japan were also examined.

The course provide a brief overview of the major architectural events around the world. It has alllow me to explore the origins of civilisation from the lens of architectural standpoint and develop my critical thinking. Reviewing historic precedents and research on architectural events provide me ability to understand and evaluate information. Delivering presentation had helped me to improve a strong memory to formulate arguments based on the set of images and drawings presented, thus strengthening about the topic presented. The essay had helped me to improve the process of evaluating information to a great detail and also mywriting skills.

Semester 1 concludes with an examination of the theretical, cultural and stylistic aspects of the architecture of the European Enlightenment.

LEARNING OUTCOMES LO1

Demonstrate knowledge of the history and theories of architecture and their related arts before c.1800.

LO2

Demonstrate appreciation of the significance of a critical approach to architectural precedent in the context of design.

LO3

Demonstrate development of verbal and visual communication skills in key themes of the module demonstrating a critical and reflective approach.

Course Organiser Dr Ian Campbell

PRESENTATION

Architecture of the High Renaissance

Compare and Contrast the architecture of The Banqueting Hall, Whitehall Palace by Inigo Jones with Palazza Chiericati by Andrea Palladio. The ‘Palladian-Style’ Across the western world, there are thousands of houses, churches and public buildings featured with symmetrical fronts and half-columns topped by a pediment descend from the design of Andrea Palladio. He inherited and reinterpreted the architecture of an ancient Rome from Brunelleschi to Bramante and Michelangelo, and formulated it in a way of a distilled Renaissance.

Inigo Jones - The architect of English Renaissance

The Banqueting House, Whitehall, England https://blog.hrp.org.uk/curators/banqueting-house-revolutionary-building/

Inigo Jones is the first to popularize the Palladian-style buildings. After he became the Surveyor of the King’s work in 1613, the influence of Palladio on Inigo Jones occurred during his extended tour to Italy in 1613, place where he found his talent on architecture mostly, with the Earl of Arundel for 21 months. The annotation by Jones from the Palladio’s books, I Quattro Libri dell’ Architettura, which translations and comments were to have a traumatic effect upon English architecture, and subsequently upon the dissemination of Palladianism. He was the first Englishman to travel in this intellectual manner, taking and collecting the first-hand view of the Palladio’s buildings and books. The Palladio’s book perhaps give Jones a way of critical approach of antiquity as the book addressed “the remains of antiquity were the constant measure of permanent values”. His interest on the appreciation of qualities in classical and modern Italian architecture were to be fundamental in his mature work. With Jones bringing the Italian architecture to London, Classicalism was started and suited to be the architecture of royalty.

The Banqueting House, Whitehall Palace by Inigo Jones and Palazzo Chiericati by Andrea Palladio.

Pallazo Chiericati, Vicenza, Italy https://buffaloah.com/a/virtual/italy/ vicenza/chier/ext.html

Key references Fazio, M., Moffett, M., Wodehouse, L., A World History of Architecture (London, 2013). Tavernor, R., Palladio and Palladianism (London, 1991). Summerson, J., Architecture in Britain 1530 – 1830 (Singapore, 1993).

1 2 3 4 5 6 7 8 9 10 11

There are several of Jones’s works showed significantly how Palladio’s techniques emerged into the English architecture. One of it is The Banqueting House in Whitehall which was greatly influenced by Palladio and his masterpiece, Palazzo Chiericati. This Palazzo is a rectangular building stood in front of piazza, have eleven bays which separated by big columns and form two loggias at the front ground floor. The main entrance is located at the centre of the ground floor. As for the Banqueting House compared with the Palazzo, Jones had narrowed the façade into seven bays without any loggia at the front. But the front elevation still pretty much the same between two buildings, two storeys, windows treated with alternative pediments, but only with an additional level of rusticated based for the Banqueting House.

The interesting feature of the two buildings is both consist of a great cubic or rectangular room at the centre. For the Palazzo Chiericati, the room located at the centre and links to minor rooms symmetrically arranged at each side. The Banqueting House only consist of one great room with just a minor room on each side. In the form of social-cultural context, both only served for the high society socialized and big events. Palazzo, which means a very large building, served the same purpose as The Banqueting House, like official duties, royal receptions or performed ceremonies. The Banqueting House was built to resemble like a Roman basilica, which act like a royal house, showing an influence from Italy.

Y1 S1

AH1A

ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

ESSAY

Development of Traditional Architecture Drawing.

Discuss the development of the major conventions of traditional architectural drawing, giving specific examples of each. Introduction The major conventions of the architectural drawing began when medieval master masons designed extraordinary complex churches and building which mainly based through the myriad of different kind of drawings. Prior to the Renaissance, architectural drawings were rare, certainly in the sense that is familiar to us. In the Middle Ages, architects did not conceive of a whole building and the very notion of scale was unknown. Architectural drawings served to visualize a building design and to establish its dimensions; they depicted the whole or part of a building, individual details and the architectural ornament of church furnishings such as choir-stalls or sedilia. Romanesque and Early Gothic churches were normally built without preliminary drawings, but a few architectural drawings survive from the 13th century which among them from the portfolio of the Villard De Honnecourt, the Reims Palimpsest (Reims, Archvs Ville; a palimpsest manuscript of c. 1250, with the incised outlines of arches and tracery visible beneath the later writing) and Strasbourg Design a (c. 1260; Strasbourg, Mus. Oeuvre Notre-Dame. The most ‘theoretical’ of all medieval building practices, was fundamentally a constructive practice, operating through well-established traditions and geometric rules that could be applied directly at the site.

Key references Ackerman, J. S., Origins, Imitation, Conventions: Representation in Visual Arts (Cambridge, 2002). Hale, Frascari, J., Starkey, M., Bradley, From Models to Drawings (Taylor and Francis, 2013). Hamlin A. D. F., History of Architecture (New York, 1909). Hewitt M., Representational Forms and Modes of Conception: An Approach to History of Architectural Drawing, Journal of Architectural Education Vol.39 No.2 (Winter, 1985).

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From parchment to paper The production of paper was hugely increased as paper began to replace parchment as the new architectural medium, which encouraged better freedom in design and drawing methods in the second half of the fifteenth-century. Traditionally, the first steps have been credited to the Florentine sculptor Filippo Brunelleschi (1377-1446) who took an increasing interest in drawing and interpreting the remains of ancient architecture. Very few architectural drawings made in Italy before the sixteenth-century survive, however: only two minor drawings by Leon Battista Alberti (1404-1472) are known, but sadly, none by Filippo Brunelleschi. But it was interesting to know how Alberti met Brunelleschi, which then Alberti dedicating him the Italian version of his treatise on painting, Della Pittura, written in 1435. The treatise includes the first written account of how to achieve systematic one-point perspective, an invention of Brunelleschi.

Orthogonal drawing. When Alberti’s treatise, De Re Aedificatoria, was completed in 1450, he was the first to oppose the use of either perspective or modelling in light and shadow, which techniques employed by the painters. he advised architects against ‘illusionistic’ perspective drawing because it could be inaccurate and misleading; instead, he recommended the use of a model together with plans and elevations drawn orthogonally and on separate sheets. Alberti’s advice was followed by Raphael in the “Letter to Leo X”. Raphael’s addition of the interior elevation to Alberti’s pair does not alter the essential prescription—though, if he visualized as part of the third type of section through walls showing both their thickness and the relationship of the interior to the exterior, it would represent a significant advance over his predecessor, and would indeed make it possible to “examine all the parts of every building”. The origins of perspective. Leonardo Da Vinci, in depicting a human skull in strikingly effective drawings of the late 1480s and 1490s, approached the problem architecturally, as if the skull was a dome, showing its vertical section and interior, and a horizontal section in perspective that constitutes a plan. This technique was known conceptually from a short step from Leonardo’s two drawings to a more highly developed form in a unique perspective drawing by Baldassarre Peruzzi of his project for St. Peter in Rome. It is a hypothetical bird’s-eye view with cuts at three different levels perpendicular to the plane of projection. It was presumably a development from mapmaking since most town plans until the mid-18th century were drawn as bird’s-eye views, despite Leonardo’s invention c. 1502 of ichnography.

Y1 S1

AH1A

ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

YEAR 1 SEMESTER 2

JANUARY 2017 - MAY 2017

ARCHITECTURAL DESIGN: ASSEMBLY TECHNOLGY & ENVIRONMENT : PRINCIPLES ARCHITECTURAL HISTORY : REVIVAL TO MODERNISM

ARCH08004

ARCHITECTURAL DESIGN ASSEMBLY COURSE SUMMARY

PERSONAL REFLECTION

This course aimed at the understanding of the capacity of structure, construction and materials in designing architecture. The variable distinctions and conditions between the exterior and interior spaces were examined throughout each project in the course. Each project is tasked at developing these themes through a series of design exercise and project that were developed and represented with a range of techniques from expressive to scale drawings and models.

Following the momentum from Architectural Design Elements in the first semester, the first five weeks of Assembly helped to be more logical while manipulating architecural forms for the intended programmes. In the process of developing my understanding of specific constructional and environmental logics, i managed to learn necessary conventional dimensions in accomodating interior spaces, circulations and furnitures. For the final design, The glass maker project made me fully aware of spatial configuration in accomodating specific rituals and priority of spaces that have its specific rhythms of activities from the building users. It also helped me to improve my understanding of the relationship between outside and inside in designing thresholds between public and private space.

LEARNING OUTCOMES LO1

Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior, exterior space and context in the resolution of simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format.

Course Organiser Fiona McLachlan

MATERIAL WORLD

BRICK:MODESTY BOX DESIGN BRIEF

You are to design a single storey building to be used as a sports changing room in parkland. The building must be predominately made of brick, but you can use other materials for the roof, windows etc. The spaces should make as much use of daylight as possible, while maintaining the privacy of the people who are changing. You must consider the assembly of the brick. Consider the qualities of the wall, inside and outside, dividing and enclosing space. You need to develop means of roofing the building, exploring options with maquettes.

Floor Plan

South East Elevation

DESIGN RESPONSE

Model

Section AA

1 2 3 4 5 6 7 8 9 10 11

Y1 S2

AD1b

ARCHITECTURAL DESIGN: ASSEMBLY

MATERIAL WORLD

STONE: STEAM ROOM

DESIGN BRIEF

You are to design a small stone building for use as a spa steam room. Assume a location outdoors near a spa hotel. Guests will arrive in bathing trunks/ suit, robe and sandals. The building must be predominately built of stone, but you can use stone as a solid material, or as cladding. There must be at least one window and one door. The building should have a steam room and a relaxation ante-room/s, it will be a small building, catering for a maximum of around 8 people. Consider a simple place to lie and rest, protected from the elements, soaking up the steam, in a remote location. Consider how to accommodate a larger void and a number of smaller elements by using plan and section.

Section AA

Plan

DESIGN RESPONSE

Elevation

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Model

Y1 S2

AD1b

ARCHITECTURAL DESIGN: ASSEMBLY

MATERIAL WORLD

TIMBER: TEAHOUSE

DESIGN BRIEF

You are to design a small teahouse set in an extraordinarily beautiful location. The site is surrounded by trees, beside a loch, and with distant views to mountains beyond. The views are best from over 3m above adjacent ground level, but you cannot use the trees for any form of support - the teahouse must be freestanding. This is a very small teahouse, being remote, it can only seat 6 people at one time at the table, but informal places to sit and drink may be created in addition to the table. Views from inside to outside are very important to the success of the place. Consider the pleasure of sharing food and drink, and the ritual of preparing tea/coffee well. The teahouse is operated by a single host who prepares the tea and brings the order to the table. The preparation should be in full view of the customers.

Plan

DESIGN RESPONSE

Model

1 2 3 4 5 6 7 8 9 10 11

Section

Y1 S2

AD1b

ARCHITECTURAL DESIGN: ASSEMBLY

搀

PRECEDENT STUDY

DIRTY HOUSE, LONDON David Adjaye Associates

吀栀椀猀爀攀搀攀猀椀最渀攀搀眀愀爀攀栀漀甀猀攀挀漀渀猀椀猀琀猀漀昀琀眀漀愀爀琀猀琀甀搀椀漀猀愀渀搀愀琀漀瀀昀氀漀漀爀氀椀瘀椀渀最猀瀀愀挀攀⸀ 䴀漀猀琀漀昀琀栀攀猀琀爀甀挀琀甀爀攀猀爀攀洀愀椀渀挀漀渀猀椀猀琀攀渀琀攀砀挀攀瀀琀昀漀爀琀栀攀眀愀氀氀猀眀栀椀挀栀眀攀爀攀攀砀琀攀渀搀攀搀甀瀀眀愀爀搀猀琀漀昀漀爀洀愀瀀愀爀愀瀀攀琀漀渀琀栀攀猀攀挀漀渀搀昀氀漀漀爀⸀ 吀栀攀漀眀渀攀爀猀渀攀攀搀攀搀猀琀甀搀椀漀猀瀀愀挀攀猀愀猀眀攀氀氀愀猀愀栀漀洀攀⸀ 䘀漀爀琀栀攀琀眀漀漀眀渀攀爀猀Ⰰ 琀眀漀琀礀瀀攀猀漀昀愀挀挀漀洀洀漀搀愀琀椀漀渀眀攀爀攀戀甀椀氀琀猀攀瀀愀爀愀琀攀氀礀眀椀琀栀洀愀樀漀爀搀椀昀昀攀爀攀渀挀攀猀椀渀琀攀爀洀猀漀昀猀瀀愀琀椀愀氀漀爀最愀渀椀猀愀琀椀漀渀⸀

㄀㨀㈀㔀匀䤀吀䔀倀䰀䄀一

吀栀攀琀眀漀ⴀ猀琀漀爀攀礀栀椀最栀猀琀甀搀椀漀猀瀀愀挀攀猀漀挀挀甀瀀椀攀猀琀栀攀瘀漀氀甀洀攀漀昀琀栀攀漀氀搀攀爀戀甀椀氀搀椀渀最⸀ 吀椀渀琀攀搀爀攀昀氀攀挀琀椀瘀攀最氀愀猀猀栀攀氀瀀猀眀椀琀栀琀栀攀瀀爀椀瘀愀挀礀漀昀琀栀攀猀琀甀搀椀漀猀⸀

㄀㨀㈀㔀匀䤀吀䔀倀䰀䄀一

伀渀琀栀攀猀攀挀漀渀搀昀氀漀漀爀Ⰰ 琀栀攀氀椀瘀椀渀最猀瀀愀挀攀椀猀瀀漀猀椀琀椀漀渀攀搀愀琀琀栀攀挀攀渀琀爀攀愀渀搀椀猀猀甀爀爀漀甀渀搀攀搀戀礀愀琀椀洀戀攀爀ⴀ搀攀挀欀攀搀爀漀漀昀琀攀爀爀愀挀攀愀渀搀琀栀攀洀愀椀渀戀攀搀爀漀漀洀⸀ 吀栀攀漀琀栀攀爀戀攀搀爀漀漀洀椀猀氀漀挀愀琀攀搀漀渀琀栀攀昀椀爀猀琀昀氀漀漀爀Ⰰ 吀栀攀椀渀琀攀爀椀漀爀漀爀最愀渀椀猀愀琀椀漀渀椀猀爀攀昀氀攀挀琀攀搀漀渀琀栀攀攀砀琀攀爀椀漀爀椀渀琀栀攀挀漀渀琀爀愀猀琀戀攀琀眀攀攀渀琀栀攀昀氀漀愀琀椀渀最瀀氀愀渀攀漀昀琀栀攀爀漀漀昀愀渀搀琀栀攀猀漀氀椀搀椀琀礀漀昀琀栀攀猀琀甀搀椀漀眀愀氀氀猀⸀ 吀栀攀攀昀昀攀挀琀椀猀昀氀漀愀琀椀渀最瀀氀愀渀攀漀昀琀栀攀爀漀漀昀愀渀搀琀栀攀猀漀氀椀搀椀琀礀漀昀琀栀攀猀琀甀搀椀漀眀愀氀氀猀⸀ 栀攀椀最栀琀攀渀攀搀戀礀琀栀攀氀椀最栀琀挀漀氀漀甀爀漀昀琀栀攀爀漀漀昀愀渀搀戀礀琀栀攀搀愀爀欀Ⰰ 愀渀琀椀ⴀ最爀愀昀昀椀琀椀瀀愀椀渀琀漀渀琀栀攀攀砀琀攀爀渀愀氀猀甀爀昀愀挀攀猀漀昀琀栀攀氀漀眀攀爀氀攀瘀攀氀猀漀昀琀栀攀戀甀椀氀搀椀渀最⸀

Ground Floor Plan

First Floor Plan

Second Floor Plan

Section A-A

Section B-B

Section C-C

Site Plan (not to scale)

匀琀甀搀椀漀刀漀漀洀㄀ ⠀䜀爀漀甀渀搀昀氀漀漀爀⤀

倀攀爀猀瀀攀挀琀椀瘀攀瘀椀攀眀愀琀搀愀礀

䰀椀瘀椀渀最愀爀攀愀 ⠀匀攀挀漀渀搀昀氀漀漀爀⤀

嘀攀爀愀渀搀愀栀 ⠀匀攀挀漀渀搀昀氀漀漀爀⤀

倀栀漀琀漀猀猀漀甀爀挀攀㨀栀琀琀瀀猀㨀⼀⼀搀椀瘀椀猀愀爀攀⸀挀漀洀⼀瀀爀漀樀攀挀琀猀⼀㌀㄀㔀㄀㐀㤀ⴀ愀搀樀愀礀攀ⴀ愀猀猀漀挀椀愀琀攀猀ⴀ氀礀渀搀漀渀ⴀ搀漀甀最氀愀猀ⴀ攀搀ⴀ爀攀攀瘀攀ⴀ搀椀爀琀礀ⴀ栀漀甀猀攀

䰀椀瘀椀渀最愀爀攀愀 ⠀匀攀挀漀渀搀昀氀漀漀爀⤀

甀搀椀漀刀漀漀洀㄀ ⠀䜀爀漀甀渀搀昀氀漀漀爀⤀

嘀攀爀愀渀搀愀栀 ⠀匀攀挀漀渀搀昀氀漀漀爀⤀

The study focused on the architects response to spatial organisation that accomodate two difference functions and the relationship between interior and exterior. 倀栀漀琀漀猀猀漀甀爀挀攀㨀栀琀琀瀀猀㨀⼀⼀搀椀瘀椀猀愀爀攀⸀挀漀洀⼀瀀爀漀樀攀挀琀猀⼀㌀㄀㔀㄀㐀㤀ⴀ愀搀樀愀礀攀ⴀ愀猀猀漀挀椀愀琀攀猀ⴀ氀礀渀搀漀渀ⴀ搀漀甀最氀愀猀ⴀ攀搀ⴀ爀攀攀瘀攀ⴀ搀椀爀琀礀ⴀ栀漀甀猀攀

The house consists of two art studios and a top floor living space which are separated vertically. The interior organisation is reflected on the exterior in the contrast between the floating plane of the roof and the solidity of the studio walls. The effect is heightened by the light colour of the roof and by the dark, anti-graffiti paint on the external surfaces.

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Public Space Semi-Public Space Private Space

Y1 S2

AD1b

ARCHITECTURAL DESIGN: ASSEMBLY

STRANGELY FAMILIAR

Union

Canal

A HOUSE FOR GLASS MAKER

Leamington Road

Lower Gilm

ore

Leamington Lift Bridge

DESIGN BRIEF

You are to design a house for a small family with one person who works from home. The house should be sufficiently flexible to accommodate the growing family, but is relatively modest in size. DESIGN RESPONSE

The house was design for a glassmaker who lives with a small family. The design focused on providing a spatious workshop with high ceiling for the ritual of glassblowing and adequate spaces for the ritual of its residents. The glassblowing workshop require a large scale working area for performing glassblowing process and putting machines that will use and produce high amount of energy and heat dissipation. The site impose challenge in bringing natural daylight into the space because of the tight space and the surrounding buildings and trees that provide shade to the site. At first, there was an idea to provide a skylight to the workshop but it was changed with high windows because of the need for constant lighting condition and allowing continuous airflow with stack effect.

1 2 3 4 5 6 7 8 9 10 11

early sketches of daylight and spatial study

Buillding on site

Y1 S2

AD1b

ARCHITECTURAL DESIGN: ASSEMBLY

5 2

Ground Floor Plan 1 2 3 4 5

Master Bedroom Bedroom Bathroom Shop Workshop

South Elevation

East Elevation

First Floor Plan 1 2 3 4

Living Room Kitchen Balcony Office

The house is designed with a workshop that occupied double height space of the building. The client required the space to be large enough to perform the glassblowing process with an entrance made of roller shutter door for easy transfer of finished product to the shop. The shop became more like a gallery with the shopfront made of double glazed window to display the artworks for pedestrians walking by. The office is situated on the mezzanine floor with room for design studio and storage. The living and working is clearly separated to provide clear privacy between the work and living. The living courtyard is enclosed with the existing stone wall with the living area situated on the upper floor which get better daylight exposure compared to the ground level. Section a-a

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Section b-b

Y1 S2

AD1b

ARCHITECTURAL DESIGN: ASSEMBLY

Model in Section

Exploded Axonometric

Sketches of internal spaces

The building structure is mostly made of concrete structure system which cast on site. The concrete wall should provide robustness and adequate compressive strengths to the overall structure of the building. The facade is made of grey ashlar stone which picks up the identity of the nearby buildings and trying to blend in with the overall neighbourhood.

1 2 3 4 5 6 7 8 9 10 11

Y1 S2

AD1b

ARCHITECTURAL DESIGN: ASSEMBLY

ARCH08002

TECHNOLOGY AND ENVIRONMENT PRINCIPLES COURSE SUMMARY

PERSONAL REFLECTION

This course introduces you to critical structural, technological and environmental principles that underpin architectural design. It seeks to help you understand not only how buildings need to work functionally to keep their occupants safe and secure, but also how such considerations can produce deeper, more meaningful architecture. You will learn how buildings can be seen as interacting systems and that structural, material and environmental strategies are interlinked.

The course introduces me to with the understanding of the structural assembly and composition of the building fabrics. The series of lectures and workshop also taught me with the process of selection of structural elements and materials; and how it can impact the overall building performance which become one of the beneficial factor in reducing construction time frame and building maintenance.

LEARNING OUTCOMES LO1

Understanding of the key concepts in the physical behavior of structural systems and their application in architecture.

LO2

Appreciation of the integral nature of material assembly and environmental systems to the development of architectural design.

LO3

Breadth of knowledge and understanding of the principles of architectural structures, material assembly, environmental systems and sustainability in the built environment.

Course Organiser Kate Carter

Lower Ground Floor Plan with columns position

BUILDING HIERACHIES: REPORT

GEORGE SQUARE THEATRE

Main Structural Elements

GROUP WORK CREDIT: Razulnizam bin Zulkefli

MOMENT CALCULATION Load from secondary beam

PROJECT BRIEF

This short project aimed at developing skills in understanding of structural and constructional hierarchies in building design. The student will analyse the building structure and its relationship between the skin and load transfer applications.

Force from steel column

Second Moment of Area of primary beams: 700

REPORT SUMMARY

This report is based on George Square Theatre built in 1967 by RMJM & Partners, a post-war university building that provide a stand-alone theatre hall. The building was built mainly with the expressive exposed concrete and visible structure from the outside. The main structural elements comprise of steel columns which are hidden within the building envelope and only visible until the first floor, which it connected to the pre-stressed primary concrete beams that hold the theatre above. The structural element consist of two primary beams holding five extended secondary concrete beams which provide support to the large floor plate of the second floor.

2400

View from the entrance Second Moment of Area of secondary beams: 400

1200

The facade is made of stone cladding but were only applied on the upper part of the building to give the impression of a heavy “floating” structure while the rest of the lower floor and the beams were left exposed. GC

1 2 3 4 5 6 7 8 9 10 11

Y1 S2

TE1

TECHNOLOGY & ENVIRONMENT: PRINCIPLES

BUILDING ENVIRONMENTS

LITTLE HOUSE

Floor Plan 1 2 3 4 5

Roof Build-Up

PROJECT BRIEF

The project involved in developing a design of a simple enclosure looking at proposing key constructional systems and then predicting its environment and carbon footprint. The building data is used to propose strategies that will improve the performance of the building envelope.

Master Bedroom Bathroom Study Room Living Area Kitchen

Plasterboard

12mm

Supporting Battens in between insulation

50x22mm

Vapour Control Layer

1.2mm

Timber Rafter in between Insulation

275x50mm

Decking Board

22mm

Breather Membrane

1.5mm

Waterproof Membrane

2mm

Shed Roof Panel Sheet

10mm

DESIGN

The house sits within an open garden with a clear view towards Salisbury Craigs. The design for this project is a very simple cabin house with a view overlooking towards Salisbury Craigs. The wet area is located at the centre of the house to allow every room to have a great view of the outdoor and increasing the possibility of daylight penetration. The living area and kitchen are designed facing south to create a bright and warmth living space but also maximising the exposure for solar gain.

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Wall Build-Up

Y1 S2

TE1

Plasterboard

12mm

Insulation in between Vertical Battens with Service Void

50x22mm

Vapour Control Layer

1.2mm

Softwood Studs

225x50mm

Plywood Sheathing

12mm

Breather Membrane

0.5mm

Vertical Supporting Battens

50x22mm

Siberian Larch Cladding

22mm

TECHNOLOGY & ENVIRONMENT: PRINCIPLES

A: Key Data The first section of this worksheet asks you for some key data about your project. Information that requires input from yourself is shaded in green whilst values calculated by the spreadsheet are shaded in yellow. Make sure you have key dimensions, areas of different building elements and the thermal properties of your building materials to hand before embarking on this.

student name

Mirza Zuhairi Bin Ismail

building name

A Little House

building location

Mirza Zuhairi Bin Ismail A Little House Brown Street, Edinburgh

windows (type 1)

14.94

1.50

optional windows (type 2) optional rooflights

22.41

ground floor

overall dwelling dimensions

ground floor optional first floor optional second floor optional third & others

walls : unframed

48.80

145.49

either constructions only or walls : framed

0.15

83.77

0.00

48.80

7.32

x20

0.00 m /hr

number of fans or vents

x10

3 20.00 m /hr

0.11

8.75

passive solar gains

For overshadowing, enter 'A' for heavy (>80%), Enter 'B' for moderate (60-80%) Enter 'C' for average or unknowng (20%-60%), Enter 'D'for minimal (20%) glazing orientation overshadowi glazing heat gains area/m2 ng

north north east east south east south south west west north west rooflights

additional infiltration

0.00 A.C.H

this takes into accoun the height of the building through the number of storeys

structural infiltration

total fabric heat loss W/K

0.35 A.C.H

you should enter either 0.25 for steel or timber frame: 0.35 for masonry construction

41.05 W/K

389.33 W

This section calculates energy gains from passive solar radiation based on window size & orientation. It does not however take into account unheated conservatories that should be ignored. You should enter the glazed areas of your building according to orientation.

number of storeys in building

2 227.82 m

63.40 W

total internal gains/w

building fabric infiltration this section examines air loss though gaps in construction joints, windows external doors and compensates for whether the building is sheltered.

0.00 78.60

from water heating/W

this is heat from the buildings hot water system calculated on building size

expressed in air changes per hour 0.14 A.C.H air loss in buildings is normally expressed in terms of air changes per hour

draught lobby?

this indicates the rate of heat loss for every degree temperature difference between inside and outside.

3 145.49 m

number of open flues

325.93 W

this sum is worked out for you based on the size of your building

20.00 m3/hr

optional other

dwelling volume/m3

3 0.00 m /hr

x40

1.62

lights, appliances, cooking & metabolic

infiltration due to chimneys flues and fans

0.14

roof unframed

either constructions only or

total area of elements/m2

total floor area/m

48.80

constructions only

roof framed construction only

Mirza Zuhairi Bin Ismail A Little House Brown Street, Edinburgh

internal gains

m3 per hour

1.50 1.50

if your building is protected by an adjacent tree shelter belt or other buildings

enter the number of sides of the building that are protected you should enter the internal floor areas of your building and then the internal volume of the heated part of the building volume/m3 area/m2

student name building name building location

building services infiltration this section examines air loss through the building due to open chimneys, flues and extract fans.

number of chimneys

area/m2 U value/W/m A x U/ W/K 1.71 1.50 2.57

element doors

enter number of sides protected

Mirza Zuhairi Bin Ismail A Little House Brown Street, Edinburgh

number

Fabric Heat Loss

Section D deals with heat gains to the building from people, machines, lighting in addition to passive solar gain.

student name building name building location

You should input values in the table below based on the design of your building. You should know all the relevant element areas - remember to subtract doors & windows from wall and roof areas. You should have U values for all the main building elements of your design.

Brown Street, Edinburgh

enter number of storeys

C: Heat Loss - Ventilation Section C deals with heat loss through ventilation, infiltration and exfiltration.

student name building name building location

This package is based on the UK government SAP 2009 calculation method but has been simplified fo use in an educational context.

D: Heat Gains

B: Heat Loss - Fabric Section B deals with heat loss through the building fabric such as walls floors and roofing

8.94

321.84

3.6

129.60

2.4

45.90

total solar gains/W

497.34 W

0.05 A.C.H

if there is no draught lobby to the building enter the value 0.05 here

window infiltration

to proceed, click on the tab below marked 'E' heating demand

0.00 A.C.H

this assumes 100% draught stripping

steady state design temperatures

external air temperature

these are set design temperature reflecting common internal and external conditions in winter

enter internal temperature

20.00 C

enter external temperature

-1.00 C

total infiltration rate

-1.00 C

from section A

internal air temperature

number of sides of building sheltered

20.00 C

shelter factor

862.02 W

1.00

this is a correction value to take into account how shetered the site is

this indicates how much heat loss is experienced by the building through the building fabric at the above external and internal temperatures

to proceed, click on the tab below marked 'B' fabric loss

from section A

total fabric heat loss/W

0.54 A.C.H

adjusted infiltration rate

0.54 A.C.H

effective air change rate

to proceed, click on the tab below marked 'C' ventilation loss

0.64 A.C.H

Where ACH is low, this corrects infiltration rate to reflect measured behaviour

total ventilation heat loss: W/K

this is calculated as Ventilation Heat Loss = 0.33 x n x V where 0.33 is a correction factor, 'n' is the air change rate & V is the building volume

Environmental Performance Calculations

to proceed, click on the tab below marked 'D' internal gains

E: Heating Demand Mirza Zuhairi Bin Ismail A Little House Brown Street, Edinburgh

student name building name building location heat loss fabric heat loss

41.05 W/K

1.62

Choosing materials for the house was significantly important in giving a good affection to the overall rating. Timber frame was chosen instead of masonry materials to improve the overall performance rating and also reduced the thickness of the wall which is perfect for a house with small area. The good insulation of the house can greatly reduce the amount of heat loss and the energy cost. The house achieve SAP rating of 86% which is an ideal score above the the world average at 69%.

ventilation heat loss

30.94 W/K

From section C, this is the heat lost through gaps in construction, windows, chimneys & flues

total heat loss

71.99 W/K 2 1.48 m

heat loss parameter

This is the total heat lost per square metre are of the building

heat gains

From section D

interal gains solar gains

389.33 W 497.34 W

total useful gains

886.67 W

internal temperature

20.00 C

12.32 C

These are the heat gains of the building expressed as a temperature value to be 'set off' against the design comfort temperature when calculating the amount of heat required in the building

base temperature

7.68 C

heating demand base temperature' is the range needing heat to bring the building up to the designfabric comfort heat temperature loss ventilation heat loss degree days 550 internal gains This is a conversion factor taking account of UK climate characteristics allowing calculation solar gains of an annual space heating requirement.

space heating requirement

code 0 1 2 3 4 5 6 7

950 KWhr/year

1 2 3 4 5 6 7 8 9 10 11

The energy cost factor for this building is:

emissions:

solar gains internal gains ventilation heat loss fabric heat loss heating demand

0.00

500.00

1000.00

my building excellent good fair pass fail

if you have a secondary fire, then enter code from table 'A' - heating systems efficiency of main system

1 100 %

space heating requirement - main system space heating requirement - secondary fire

910 kWh/year 95 kW/h/year

100

120

CO2 Use The total amount of CO2 your building emits in a year through energy use for heating and lighting. It does not account for energy used in the construction of the building - this is known as embodied energy .

Your building CO2 consumption is:

1777 kW/h/year

This is calculated for you based on the size of your building.

Your DER is:

654 KgCO2/year 13

DER stands for 'dwellings emissions rate' that calculates CO2 use per square metre of your building.

-500.00

This compares your building with current best practice comparisons your building good practice % of target Energy Demand/kWhr/yr 1005 687 68% Energy Cost £ 178.50 £ 153.03 86%

heating demand breakdown

-1000.00

The SAP rating for your building is:

7 94 %

water heating energy required for water heating

1 1/2

The 'energy cost factor' calculates your SAP score as a combination of energy efficiency & fuel cost based on the data amassed from your building. It is expressed as a fractional number.

poor very poor

1 0.1

enter code from table 'A' - heating systems efficiency of main system

1500.00

to proceed, click on the tab below marked 'F' heating systems

CO2 emissions - from your building over the year space heating - main system 177 kgCO2/year space heating - secondary fire 40 kgCO2/year hot water heating 345 kgCO2/year lighting 93 kgCO2/year Fuel costs for your building for the year space heating - main system £72.79 per year space heating - secondary fire £7.60 per year hot water heating £79.96 per year lighting £18.15 per year total energy cost

SAP is short for 'standard assessment procedure' that rates new housing in the UK.

kgCO2/kWh type efficiency: % fuel price:p/kWh no system 0.01 0 0.00 electric storage heaters 100 8.00 0.42 gas fire [open] 63 4.50 0.19 gas fire [closed] 72 4.50 0.19 open coal fire 37 3.00 0.29 woodburning stove 65 5.00 0.03 gas boiler 75 4.50 0.19 condensing gas boilers 94 4.50 0.19

select your main heating system

Section H summarises your building performance

SAP Rating

student name Mirza Zuhairi Bin Ismail building name A Little House building location Brown Street, Edinburgh table 'A' heating systems

does your building have an open fire or stove? Enter 1 for yes, 2 for no. fraction of total heating from secondary fire

From section A: this is the design comfort temperature for your building

intenal temperature rise from heat gains

Section G deals with heating system characteristics in terms of efficiency, fuel cost & emissions

CHART 1 fabric heat loss ventilation heat loss

From section B, this is the heat lost through walls, floors, roofs, windows etc.

The location and orientation of the building was crucial to determine that it can received the most sunlight from winter and summer without compromising the main attraction landscape. With a lower percentage of being overshadowed by the tree and building nearby, the building received high daylight penetration thus provide high efficiency in thermal performance and greatly reduce energy cost. All the rooms except bathroom, are benefiting from morning sun, designed with tall windows, light can get even more back of the room. The large window area facing south will increase the amount of solar gain. This will reduce the energy demand during the day and lowering carbon emission.

G: Ratings and Summary

F: Heating Systems

Section E summarises the heating demand for your building through a calculation of heat loss and also heat gain

THERMAL EVALUATION

30.94 W/K

£178.50 per year

Y1 S2

TE1

TECHNOLOGY & ENVIRONMENT: PRINCIPLES

ARCH08005

ARCHITECTURAL HISTORY REVIVALISM TO MODERNISM COURSE SUMMARY

PERSONAL REFLECTION

This course surveys key topics in architectural history from the early nineteenth century to the late twentieth century. It examines the nineteenth century stylistic revivals, and introduces the apparently contradictory theme of modernity in architecture. It also discusses the nineteenth century development of new and more sophisticated typologies along with the novel materials and technologies that made this possible.The revivalist and the modern are also discussed in terms of the conflict between industrial and anti-industrial that saw the architectural technology of the Crystal Palace juxtaposed with the emergence of the Arts and Crafts Movement. The course traces the complex ideas that lie behind the emergence of Modernism in the early decades of the 20th century. It concludes by considering the revision of Modernism in the 1950s and 60s and the recent emergence of a Post-modern consciousness.

This course has taught me with further understanding of the architectural revolution and evolution in design and technology from the industrial revolution period until the post modernism revival. I also particularly enjoyed examining buildings in Edinburgh and learning about its history while writing the essay about the National Gallery of Scotland located at The Mound. The course continues to improve my ability in being more rigorous and precise in developing arguments and delivering presentations.

LEARNING OUTCOMES LO1

Knowledge of the major movements in nineteenth and twentieth century architecture.

LO2

Skills in researching, analysing and writing in relation to LO1.

LO3

Verbal and visual communication skills in relation to LO1

Course Organiser Dr Ian Campbell

PRESENTATION

Rationalism and Constructivism in Russia

What was the differences between Rationalism and Constructivism in post-revolutionary Soviet architecture. Give examples.

In this presentation, it was interesting to assess two important architectural movements in Russia that were regarded as the birth to the modernism period after the post-war. Both movements were born in the early 20th century revolution in Russia, where the Bolshevik party rose to power and the introduction of communist state by Vladimir Lenin which he push for a radical effor in improving social and politics of the country which gave effect in the transformation of art and architecture.

Rationalism

Constructivism

Heaquarters for the Supreme Soviet, 1923 by Vladimir Krinsky

Palace of Labour, 1923 by Vesnin brothers

Rationalism involve in the spatial awareness of that specific problems of function and structure concerning a new aesthetic imaginery, could not be answered without mastery of new formal possibilities. Rationalists promote the idea of ‘rationality’ in design based on how we perceive space and the psychology of perception of architectural mass.

Main Idea

Constructivist on the other hand promote the idea that a new architectural form has to be directly undestood by the people which its functionally arises from the purpose of the given building through its material construction and production conditions. It create a practical attitude in functional interpretations of the new design and relying on the artistic labour of material production in conveying aesthetic qualities.

The key architects in this movement were Nikolai Ladovsky and Vladimir Krinsky where they formed Association of New Architect (ASNOVA) or so called the ‘rationalist’ group. The influence for the rationalist movement was to study the biological and psychological sides of our perception in relation to our emotional and aesthetic sensations. The functional method to economise on the physical energy used when moving around in a building. The idea of a building should maintaining straight lines and simple geometrical forms which required less physical energy to perceive.

influence

The key architects were Moisei Ginszburg and Vesnin brother where they formed Association fo Contemporary Architect (OSA). Constructivism rely on industrial and material production as the means for outlining the spatial organisations for the new building. It interpreted the aesthetic qualities of suc materials such as metal, wood and glass or any formal possibilities can create functional methodd of a new technology and of its logical, rational constructions.

Krinsky ‘skyscraper’, a sculptural to be conceived the idea of its aesthetic form from the outside with its internal organisation playing no special role in generating its form.

Architectural manifestations

The Palace of Labour by Vesnin brother was planned to built with concrete with visible skeletal frsames articulated from the exterior. The idea was to approach form through the structural and functionality aspect of buildidng design.

Key references Anderson, R., Russia (London, 2015). Khan-Magomedov, S. O., Lieven, A., and Cooke, C., Pioneers of Soviet Architecture : The Search for New Solutions in the 1920s and 1930s. (London,1987). Kopp, A., Constructivist Architecture in USSR (London, 1985).

Conclusion

The two groups, ASNOVA and OSA, formed the main alignments of what we may call a scientific Modernism within the Russian avant-garde. The existence of various trends clearly formulated and shape an innovative movement towards Russia architecture. Both movements have produced such a great future architects and also highlighted a new international image. They influenced the international development for a new architecture. But later in one sign of the times, they were all unite together in to resist traditionalist trends and eclecticism and later shape a new artistic orientation of an identifiably Soviet architecture.

Lodder, C., Russian Constructivism (New Haven and London,1983).

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Y1 S2

AH1b

ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

ESSAY

National Gallery of Scotland

Design and critical analysis of National Gallery of Scotland by William Henry Playfair. Introduction

Design of the National Gallery

The National Gallery of Scotland was one of the neoclassical building in Edinburgh by the famous Scottish architect in early 19 th Century, William Henry Playfair (1790-1857). It lied on The Mound with another neoclassical building which was also built by him, the Royal Scottish Academy. The history of these buildings are inextricably linked even though there were not built in the same time of the year. The Royal Scottish Academy building was built first in 1822-1826 then enlarged and ornamented later in 1830-1831. About 30 years later the National Gallery was built in 1851-1859.

In the picturesque setting of The Mound, the building’s position situated at the very centre of the great natural amphitheatre. The design had to blend in naturally with the beautiful setting without causing any major alteration to the existing conditions. Without any history of participating in Grand Tour or expeditions to Greece or land of Romans, Playfair manage to produced drawings that incorporate Classical elements and Romanticism. The drawings manage to overwhelm the jury which fits the driving architectural propositions of Edinburgh as the ‘Modern Athens’ at that time. The gallery consist of Ionic columns which intentionally to be a contrast to the Doric elements of the Academy building on the opposite side. Structural Foundations

The Gallery situated on top of The Mound, which was an ëxcavated earth mound above a lake named Nor’Loch which was formed by the rubble of leftover of the construction of New Town. To overcome the unstable foundations, Playfair designed the Gallery to be situated at the centre above the railway tunnel that were running underneath the Mound, thus to ensure that the building’s weight will be evenly distributed. A shallow bridge was formed from from a series of stone arches to minimise the direct pressure on the the tunnel linings and strengthened with iron beams which were arranged in triplets under each wall so that the stresses are relayed sideways from the tunnel itself. Building’s Interior

View of The National Gallery from Princes Street Gardens https://www.flickr.com/photos/ smithandjones/8072123364/

The building interior consist of two parallel galleries which are separated for different occasions during his time. For each gallery contain three octagonal room like honey comb shape, the centre is more bigger and paired with smaller octagon, continue with another pair of irregular octagon and square room for other services. Each room also varies in height and this was because of the area of each octagons were different and this also was to allow how the light can entered the space with different size. Playfair also designed the section of the roof to be like an octagonal cupola, with coves above the cornices, to allow the daylight to be reflected by the wall-faces thus produced soft light to illuminate the paintings hung on the wall.

To conclude, the National Gallery represent the classical identity and regard as an architectural symbol of Edinburgh as a city that represent the attitude of classical philosophy throughout his building. Despite having no experience with grand tour or travel to Greece nor Italy, the architect managed to build architecture that relied on monumentality and heavy modelling of forms to emphasise the Classical beauty and the Greek Revival style of Edinburgh,

Hewitt M., Representational Forms and Modes of Conception: An Approach to History of Architectural Drawing, Journal of Architectural Education Vol.39 No.2 (Winter, 1985).

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Y1 S2

AH1b

ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

YEAR 2 SEMESTER I

SEPTEMBER 2017 - DECEMBER 2017

ARCHITECTURAL DESIGN : IN PLACE TECHNOLGY & ENVIRONMENT : BUILDING ENVIRONMENT DESIGN THINKING AND DIGITAL CRAFTING

ARCH08007

ARCHITECTURAL DESIGN IN PLACE COURSE SUMMARY

PERSONAL REFLECTION

First year architectural design, Elements & Assembly, examined ways in which architecture is indebted to its own means of construction; it introduced students to a tectonic vocabulary and a range of materials and building systems. Architecture conceptually is an intriguing enquiry of the mind. How to produce a building from one’s own ability as a hard ask, it will bring with it huge rewards and is essentially a creative act. The studio will begin with the research and development of an attitude to what architecture is as architectonics. Running parallel, a site for the building is chosen to develop a brief for an ‘architecture school’ - as well as reflecting on this process. The brief is developed in a structured team of several classmates to working on a design to a high level.

The exploration of architectonic vocabulary developed my design skills in considering spatial and functional qualities in relation to the social, political and materials forces that revolve around the site given for the project. As per working in group, i was exposed to the process of architecture as collective individuals working together and collaborate to bring out and agreed on an idea together. Designing an architecture school made me more conscious of the space i am inhabiting in and being critical in designing the spaces for the rythmic activities as an architectural student.

LEARNING OUTCOMES LO1

Investigate through design-research architectural and urban issues that impact on architectural design decisions.

LO2

Respond to brief and site by synthesizing a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3

Effectively explore and communicate design ideas and propositions, articulate by visual means an architectural argument, individually and in teams, in a range of digital and analogue formats.

Course Organiser Douglas Cruickshank

ARCHITECTONICS

2000 MODELS PROJECT SUMMARY

The first five weeks focused on developing the understanding of architectonics vocabulary through the process of model making. The models produced developed my understanding of architectural expressions in spatial form, mass and space construction through three dimensional realisation of an idea. The exploration process contributed to the concept development for the architecture school proposal in the second half of the semester.

2000 Models studio exhibition in Hunter Building

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Y2 S1

AD2a

ARCHITECTURAL DESIGN: IN PLACE

FORM & SPACE

CIRCULATION

DESIGN RESPONSE

The exploration for the form and space revolved around a series of iteration of offset and arrange scrap mdf blocks to produce an ambigous architectural explorations. Thinking through models encouraged me to bring out the idea of spatial forms and arrangements through the process of imagining on how each overlapping and interconnected spaces can create an interesting spatial qualities of solids and voids that can be inhabit or assign to an activity.

Circulation is a network of nerve that connect space between spaces and captures the process of experience moving around a building. In this exploration, I was interested to explore the sequence of spaces and how atmospheres encountered through the movement can provide visual connectivity that will encourage people to explore the space.

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Y2 S1

AD2a

ARCHITECTURAL DESIGN: IN PLACE

REPETITION

SHADOW

DESIGN RESPONSE

The exploration of repetitive elements involved in creating a form that share identical traits to create a common or intervals that can be individually unique either in space or the structure itself. The pattern can be varied in form but the exploration on the rythmic patterns provide continuity and sequence that can lead us to anticipate what comes next.

In this exploration, I was interested in exploring the revealing process of space through the casting of shadow. I was inspired from Louis Kahn’s idea on how mysteriousness of a space can become a treasury of shadow. Every glimpse of light in area of the space can elucidated the level of darkness which can trigger the unveiled the desire for exploration of the space.

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Y2 S1

AD2a

ARCHITECTURAL DESIGN: IN PLACE

ARCHITECTURE SCHOOL GROUP WORK CREDIT: Daniel Anderson, Izzi Taylor, Hannah Penwarden, Trevor Lin

PROJECT SUMMARY

The main task of this project is to design an architecture school in Edinburgh. From the site chosen, the knowledge of the physical conditions of the site, the social and cultural makeup of the school population should feed into the design itself. The project is particularly interested in developing the students’ skills in the laying out of a building: circulation and access systems; communal and public spaces; considerations of function and use; spatial organisation. The designs are expected to suggest spatial qualities and functional rigour; to consider inhabitation as a social act; and to account for the building’s relation to its locus.

Selected maquettes from 2000 models

From the 2000 models, we collectively gathered our ideas into one unified manifesto of spaces for the architecture school. With the exisiting challenges on site, we took inspiration from the existing Edinburgh Closes as a way to connect the different elevation in height and the different in programs for each individual block. Each block will form a cascading terrace that will allow daylight to illuminate the interior and creating a rooftop overlooking the Princes Street Gardens.

DESIGN PROPOSAL

The architecture school is proposed as part of a masterplan in Castle Terrace Gardens. The school will be part of a development of projecting volumes. This would help develop the appeal of the site to the public by creating a destination as well as a path at the site, improving further the character of the area. A wider development would emphasise the character of the site as a hybrid space, sitting between Princes Street Gardens and the West End of Edinburgh and so combining gardens and urban development. The buildings across the site would be connected by a channel that cuts through the landscape and runs across the contours of the site, creating a journey perpendicular to that of the main staircase and linking together the new buildings.

Princes Street Gardens

Edinburgh Castle

Site massing explorations

Castle Terrace sits at a significant point within central Edinburgh close to the key destinations of Princes Street, Edinburgh Castle and Lothian Road. The area is therefore a point of convergence for residents and tourists alike. The site is currently occupied by a multi-storey car park serving the city centre, which acts as a physical blockade between destinations. Our design therefore proposes opening pathways through the site to reconnect the city and create a busy, thriving environment in which to place an architecture school.

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Lo th

ian

Ro a

Y2 S1

AD2a

ARCHITECTURAL DESIGN: IN PLACE

Ground Floor Plan

First Floor Plan

As the site was original a part of the Princes Street Gardens, the building was be embedded with the sloping ground thus integrating the building with the ground as one coherent landscape. The site has the advantage of becoming a focal point of interest with a great view of the castle hill.

Most part of the building especially the frontage were designed with transparent curtain wall suppported by the concrete structure extending on each floor. The design intent was to maximise the daylight penetration into the interior studios as much as possible so that the students will be blessed with good interior quality while working with their work. The studios take two blocks on the left and the shared resources facilities were located on two adjacent building on the right. The public circulation staircase parallel to the building intersect with the perpendicular private circulation on the inside on the first floor, creating an internal lobby where students can socialise. The cafe and exhibition space however intended to be shared use with the public as the space will be use by the student to showcase their artworks or projects as people passing through the building when they use the central staircase.

Second Floor Plan

Programmme

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Y2 S1

AD2a

ARCHITECTURAL DESIGN: IN PLACE

Visual connectivity is maintained for each blocks. Each studio spaces will be visible when viewed from different level. The students will have the opportunity to see each other projects and will be attracted to visit each other spaces. With the high transparency of the curtain wall, the school itself became like a display box, which showcase the daily process and progress of architecture students. The school became a platform where the students will be proud to display and share their works.

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View into one of the studio

View into the cafe and exhibition space

Y2 S1

AD2a

ARCHITECTURAL DESIGN: IN PLACE

ARCH08028

TECHNOLOGY & ENVIRONMENT BUILDING ENVIRONMENT COURSE SUMMARY

PERSONAL REFLECTION

Building Environment will introduce you to concepts related to the environmental siting and analysis of buildings, considering various environmental issues and climatic conditions through two main assignments. Throughout the semester, skills and abilities to assess, analyse and design buildings in relation to exterior environmental conditions will be developed. Case study project, site visits and design-based coursework place emphasis on design integration and applying theory to practice.

This course expand my knowledge regarding the technical assembly and changing behaviour of a building. The lectures and case studies introduced me to suitable environmental strategies which can be use to achieve environmental comfort and the best possible building performance. Analysis in depth of these strategies provided me with comprehensive understanding behind the reasoning and its application according to its materials, positioning, construction and the involvement of mechanical systems.

LEARNING OUTCOMES LO1

Recognise key exterior and interior environmental principles in architectural design.

LO2

Apply these principles to architectural designs that integrate with site; address human thermal, acoustic, and lighting comfort; and minimise energy consumption.

LO3

Communicate the relationships between building and environment using appropriate visual, verbal, and written means.

Course Organiser Michael Lewis

ASSEMBLY METHOD Glasgow

ASSIGNMENT 1

WIKIHOUSE, BALTIC STREET Lil y

et re St

lt Ba

S ic tre et

Wikihouse

Co n

Vegetation

Assembling foundations and timber runners.

Ground preparation.

Road

All the components are assembled together to form a frame and placed on the timber runners.

Connectors are set up to connect with the next frames.

t tree nal S

25 m

PROJECT BRIEF

The assignment aimed at student to investigate and analyse the successes an failures of two Wikihouse projects with connection to ESALA. The student will make a diagnostic analysis, environmental sections and complete a detailed environmental analysis of the selected case study. A basic overview of the Wikihouse building type also need to be provided.

Ballast support boards are inserted in between the connectors.

Internal and external sheathing with the insulation are fitted into the structure.

Breather membrane is wrapped around the house-

Windows and door are installed. The Wikihouse is ready.

Wikihouse assembly method

ENVIRONMENTAL ENVIRONMENTAL ANALYSIS ANALYSIS PROJECT SUMMARY

SUMMERSUMMER

WINTER WINTER

The wikihouse project in Baltic Street is a collaboration project between ESALA and Baltic Street Adventure Playground. The wikihouse situated in an open garden which is shaded by a group of decidious trees from the south. The site which is located in Glasgow, experienced mild and harsh cold wind coming from the southwest and it can be very windy thorughout the winter. The wikihouse however do not receive much of daylight during winter because of its location surrounded by the 9 meters flats around the south except during noon. However during summer, the trees around the wikihouse play a vital role in acting as a shelterbelt that protect the house from excessive summer daylight. The wikihouse also exposed to good natural ventilation that are coming from the southwest and northeast.

LIGHTING LIGHTING

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WIND

LIGHTING LIGHTING

WIND

During winter, theDuring wikihouse winter, experienced the wikihouse a very experienced low aWind verycan lowbe very Wind crucialcan across be very winter crucial season. across winter season. Lighting can be vital Lighting but unnecessary can be vital during but unnecessary summer. during summer. Glasgow is exposed Glasgow to the is frequent exposedprevailing to the frequent prevailing Environmental study angle of sunlight angle whichof is sunlight around 11°. which Withis its around location 11°. With its The location wikihouse experienced The wikihouse highexperienced percentage high percentage A high angle of the A high sun angle whichofis the around sun 58° which gives is around a 58°winds gives acoming from windsthecoming western from side.theBut western side. But is surrounded by is3 storey surrounded flats , by the3wikihouse storey flatsdid , the notwikihouse of wind did not distribution of wind mainly distribution from the mainly south- from the southgood daylight around good the daylight wikihouse. aroundThe thelandscape wikihouse. The landscape during summer, the during windsummer, from thethe southwest wind from the southwest receive much sunlight receive throughout much sunlight the day. throughout Even if the the day. Even west ifwhich the is verywest coldwhich and windy. is veryThe coldbuildand windy. The buildaround also helparound in reducing also help the solar in reducing gain forthe thesolar gainand for northeast the carry andfairly northeast the same carrypercentfairly the same percentleaves of the treesleaves are gone, of the thetrees timeare forgone, the wikihouse the time for the ings wikihouse around helpings in reducing around help the impact in reducing but the impact but wikihouse. This also wikihouse. reduced This the free alsoheat reduced giventhe byfree the heat given age by distribution the age respectively. distribution The respectively. wikihouse The wikihouse exposed to the sunlight exposed is very to theminimal. sunlight is very minimal. there is still openthere areaisonstillsouthwest open area which on southwest which sun which unecessarily sun which needed unecessarily during summer. needed during summer. was built parallelwas to built the direction parallel toof the bothdirection of both inviting the wind inviting into the the spaces. wind into the spaces. winds which can be winds good which for the cannatural be good ventifor the natural ventilation. lation. N N N N

VEGETATION+ACOUSTIC VEGETATION+ACOUSTIC

Trees play a vitalTrees roleplay for the a vital environment role for the of environment the of the wikihouse. Mostlywikihouse. the vegetation Mostlyisthe decideous vegetation trees. is decideous trees. During winter, they During helped winter, in increasing they helped the solar in increasing gain the solar gain for the wikihouse.for Butthe without wikihouse. the leaves But without during the winter, leaves during winter,

Y2 S1 TE2a TECHNOLOGY & ENVIRONMENT: BUILDING ENVIRONMENT VEGETATION+ACOUSTIC VEGETATION+ACOUSTIC The role of trees Thebecoming role of trees more becoming crucial during more crucial during summer. They acting summer. as a solar Theyshade actingwhich as a solar reduce shade thewhich reduce the solar gain. The location solar gain. of the Thetrees location also did of the nottrees inter-also did not interfere with the direction fere with of the the main direction prevailling of the main windsprevailling winds

LANDSCAPE - Protect the wikihouse from wind - Bushes and shrubs to form a border for the WikiHouse - Protect the house from rubbish that it may pull onto the site

ASSIGNMENT 2

MICROCLIMATIC PAVILION GROUP WORK CREDIT: Hannah Penwarden, Izzi Taylor, Xi Zhou, Qianhui Tang

THERMAL PERFORMANCE - Trombe wall helps slow down heat transfer between interior and exterior. - Green house traps solar energy in the room which is essential for the growth of plants - Solar shading on top of the green house refect some of the sunlight when the solar angle is high, preventing the green house from over-heatinng.

WATER MANAGEMENT - A water collection device for the Wikihouse that collects rainwater - Harvested rainwaterthat can be used to water the plants in the greenhouse and garden. - The pond could also contribute to the local eco-system. It could be used to grow lilies and other water based plants. - A water filter and water tank is placed underground

Solar Diagram PROJECT BRIEF

From the Wikihouse precedent study in Assignment 1, the students will improve it’s environmental performance and create a series of architectural devices that educate children about environmental principles. Your design will environmentally resolve siting, programme, material assembly, and services as well as thermal, lighting and acoustic comfort. Your proposal will be responsive and appropriate to its temperate environmental context.

LIGHTING & VENTILATION - Rooflight is efficient to lit up the interior space - Rooflight can be opened to allow the warm air to escape (night time cooling) - West window and east door (when opened) provide cross ventilation - North window introduces diffused light into the room.

ENVIRONMENTAL STRATEGY OVERVIEW

INSULATION

VENTILATION

PROJECT SUMMARY

We decided to design a wikihouse that would function as a greenhouse and social gathering place for the Fountainbridge canal community. We realised that this community doesn’t have a space where they can store their plants when their boats are being repaired, or even a collective place to grow and tend to plants and meet as a community. For this proposal, we utilise the addition of the glazing units that can allow for greater solar gain, which results in high thermal energy receive by the building. The addition of the trombe wall, along with the insulation within the walls and roof of the main body kept the thermal energy much longer, thus maintain the internal temperature at a comfortable level much longer. The addition of the second pitch in the the glasshouse section means that amount of rainwater collected will be doubled which will beneficial to be used for growing plants. The transparency and active use of the wikihouse will have a positive impact on the canal community and will also help enhanced the local ecosystems. GC

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Wall Insulation

Cross Ventilation

Stack Effect

Floor Insulation Insulation Strategy: Walls, floors, and the roof are insulated to increase the capacity of the house to store thermal energy. On sunny days this will create a warm environment in the glass section and then it will be transferred to the central area of the wikihouse. We have designed a trombe wall to act as a thermal mass in between the two sections of the building, so that the bricks will store up the thermal energy on a sunny day and re-release it during night. The use of trombe wall is necessary in the winter as there are only a few hours of direct sunlight in Edinburgh during these months and therefore all the thermal energy that has been harnessed will keep the house at a comfortable temperature.

Ventilation Strategy: Due to the amount of glass in our new design we felt that it was important to make sure the Wikihouse could be well ventilated, especially during the summer months. To do this we have made sure that there is cross ventilation from the door to the window on the west side. Additionally we have included skylights that can be opened to allow warm air to rise and escape through the roof.

Y2 S1 TE2a

TECHNOLOGY & ENVIRONMENT: BUILDING ENVIRONMENT

ENVIRONMENTAL SECTION [SUMMER]

LANDSCAPING STRATEGY [WIND PROTECTION]

ENVIRONMENTAL SECTION [WINTER]

WATER MANAGEMENT [RAINWATER COLLECTION] Water Collection Pond: We have designed a water collection device for the Wikihouse that collects rainwater that can be used to water the plants in the greenhouse and garden. The water collection pond could also contribute to the local eco-system and we propose that it could be used to grow lilies and other water based plants.

To the SW we have only planted coniferous trees so that they can protect from the predominant winter wind. We are aware of not planting the trees too close the building so that it is not overshadowed. We have decided to plant a mixture of coniferous and deciduous trees to the NE of the building so that they can protect wikihouse from the summer wind but allow as much sun onto the site during the winter. The repositioning of the building to be near the canal has also helped to protect the Wikihouse. The change in height from the canal walkway to the site will help to protect the building from prevailing winter winds and from some rainfall.

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The water collection system works by the rain water being collected from the two gutters on the roof. It then flows down the drain pipe into the pond which acts as a buffer for the volume of water before it is passed through the filter. The filter is quite small therefore the pond is needed to store the water before it is filtered. Once filtered some of the water is pumped up to the small basin within the building and can be used for drinking and washing hands. Water can also either be taken from the tap system of from the pond itself to water the plants - and as the main function of our building is to be a place for the canal boat community to be able to garden in, it is great that the building will be harnessing the water that is needed to care for the plants.

Y2 S1 TE2a

TECHNOLOGY & ENVIRONMENT: BUILDING ENVIRONMENT

SOLAR TRAJECTORIES The diagrams on the right show the solar trajectories in a year. The house is positioned facing the south to maximise the amount of solar gain. In the evenings of both equinox, the wikihouse is partially overshadowed by the neighbouring buildings as the sun is at a very low angle in the sky. The same can be said for both the mornings and the evenings during winter solstice. As a result the wikihouse will not harness as much solar energy during those months. During the summer months however, the wiki house is positioned to benefit from as much solar gain as possible.

LIGHTING ANALYSIS [INTERIOR]

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ACOUSTIC ANALYSIS

Y2 S1 TE2a

TECHNOLOGY & ENVIRONMENT: BUILDING ENVIRONMENT

ARCH08038

DESIGN THINKING & DIGITAL CRAFTING COURSE SUMMARY

PERSONAL REFLECTION

The course will offer an introduction to computational design and digital fabrication techniques and strategies on two levels of discourse: a theoretical and an applied one. You will be introduced to the methodology of the digital workflow. You will be educated in developing a critical and analytical approach to computational design and digital fabrication by introducing you to basic strategies in terms of digital computation and fabrication and offering an insight to the current theoretical debate regarding the “Digital Turn” in architecture.

The course had significantly improved and developed my design and presentational skills with the introduction of 3D modelling process and digital technologies. Although the course mainly focus on using Rhinoceros software, it initiated my curiousness in exploring various other digital softwares that can developed the speed of my design production and possibilities. Designing through digital developed my research and evaluation of my design development and planning process before preparing for presentation and 3D fabrication.

LEARNING OUTCOMES LO1

Able to understand the technical and geometrical limitations of the different digital tools, both in term of software and hardware.

LO2

Apply the digital crafting and manufacturing techniques by making use of advanced manufacturing processes, such as laser cutting, 3D printing and CNC milling.

LO3

Able to develop a series of physical models according to weekly presented design briefs using appropriate visual, verbal, and written means.

Course Organiser Cristina Nan

ASSIGNMENT 1

CELLULAR AUTOMATON GROUP WORK CREDIT: Anson Leung

Base 1

Base 2

Final 3d Model

BRIEF

We were asked to explore geometric patterns aiming for developing our rhino modelling and parametric design skills. The project was to design a tile with dimension of 300mm x 300mm. DESIGN

Following the Rhino digital tutorial and casting techniques learned from the workshop, we managed to produce a 3d model based on the inspiration from the complex Islamic geometric patterns. We began to develop a form from 3 different intersecting lines to form a ‘shuriken’ shape that were connected to three node points. The form was propagated to form identical repetitive patterns interweaving from each of the centre points. The final iteration was cleaned to be fit in into a dimension of 300 mm x 300 mm. The final design was sent for CNC milling to form a mould made of PU foam which it later was used to cast the tile with plaster.

Formation

Propagation

Connection

Trimming

Concept explorations

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Final tile model cast with plaster

Y2 S1 DTDC

DESIGN THINKING & DIGITAL CRAFTING

ASSIGNMENT 2

TOWER AND BRIDGE GROUP WORK CREDIT: Anson Leung

Form finding iterations BRIEF

We were asked to explore the basics of advanced 3D modelling and 3D model fabrication techniques made with waffle grid. The explorations were followed with a design project of an interconnected system of tower and bridge.

DESIGN

The concept idea for the tower and bridge project was to design a building that will become a landmark and beacon for business and entrepreneur in a futuristic city. The design development involved in a series of form finding through the use of grasshopper plugin to form an interesting and realistic idea that can be generated. The design intent was more focused on to convey the understanding behind the process of generating parametric designs and understanding of the algorithmic data workflow that allow for an interesting design production.

Circulation Diagram

Functional Diagram orange: office blue : elevator shaft green: public space

Final physical 3D model

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Y2 S1 DTDC

DESIGN THINKING & DIGITAL CRAFTING

ASSIGNMENT 3

PROTOSTRUCTURE GROUP WORK CREDIT: Anson Leung, Jamie Begg, Peter Brewser, Kerry Zhou, Rui Zhang, Kitty Lai, Chloe Su, Ilia Asinimov, Olivia Drave

Individual prototype exploration BRIEF

For the final assignment, we were tasked to collectively design and fabricate a 1:1 installation, based on the knowledge and skills that have acquired during the first seven weeks of the elective. The fabrication of its structure must be seen as an intensive design exercise, with special focus on the relation between design, material, fabrication process and assembly logic.

SUMMARY

The aim behind the installation was to design a structure that will refract the light coming from the north window and to enhance people’s perspective towards the lobby space. We took the inspiration from SOFTlab installation in driven people from a far and attract them to the intended space. The installation was formed by a repetitive parametric panellings which ensure the structure of the installation was constructible. The installation were made mostly using photo paper for its high reflectivity of light and within a given budget.

Final 3D model iteration

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Final structure in Minto House lobby

Y2 S1 DTDC

DESIGN THINKING & DIGITAL CRAFTING

YEAR 2 SEMESTER 2

JANUARY 2018 - MAY 2018

ARCHITECTURAL DESIGN: ANY PLACE TECHNOLGY & ENVIRONMENT : BUILDING FABRIC ARCHITECTURAL HISTORY : CULTURE AND THE CITY

ARCH08006

ARCHITECTURAL DESIGN ANY PLACE COURSE SUMMARY

PERSONAL REFLECTION

ANY PLACE will explore again Architectonics and architecture’s relation to the dynamics of its situation through the design of a Library. The written word will provide the course with a metaphor to think about Architecture: Students will be asked, on the one hand, to consider design relation to the dynamic performance of the city - exploring architectures relation to dynamic phenomena that cut across its site, and developing an architectural language that corrals and choreographs the performance of its use and on the other, to consider the physical performance of their designs; exploring their relation to the environmental context, and developing an architectural language that resolves specific environmental requirements of a Library.

The series of spatial explorations through models in the first four weeks had built up my conceptual thoughts in developing social and interacting spaces that canr espond to a dynamic non local conditions of a site. Following with trip to Rome, i was able to explore design possibilities on the site based on the conceptual approach that i had developed and began to integrate and synthesise possible programmes and components that related back to its community and environment. Designing a library involved in varying complexity of programmes and circulations. The design development stage made me to thoroughly consider the possibilities of connecting the programmes with the local community and designing architecture that acting as a focal point that connects the people with the history.

LEARNING OUTCOMES LO1

Demonstrate ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research.

LO2

Demonstrate capacity to synthesize a range of programmatic components, formal, spatial and technical strategies of modest complexity within an architectural design that responds to specified urban conditions.

LO3

Demonstrate ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

Course Organiser Douglas Cruickshank

PARTI EXPLORATIONS

NON-LOCAL CONDITIONS BRIEF

HUMAN TERRITORY

Explore the buildings relation to specified non-local conditions through which it relates to a broader context of human networks and cultural phenomena, which inform it. Using skills gained during the digital tools workshop sessions, students will develop and diagrammatically present at least three different spatial ‘partis’ for the library project.

DESIGN RESPONSE

DESIGN

The first four weeks, i divided each week to explore the partis concept on how the series of explorations will respond and provide the idea of spaces needed for a library. The aim is to have these concept models become the ‘spatial’ and ‘functional’ partis that will be developed to define the library proposal.

Human territoriality is the main concern in designing spaces for library. Public territory—giving people the freedom of access to the space without any limits but not always of action (may be against the law not to play around, litter). Home territory— a public space that is dominated by a certain group of community, groups or individual. Interactional territory—area which became the social interaction or gatherings took place. Body territory— is the very personal spaces that acquire by an individual of that public space. The idea behind this is that the library can provide flexible spaces that can accomodate these different territory but at the same time function well to its purpose.

SPATIAL INTERACTION DESIGN RESPONSE The interaction between people and architecture are really important. The dynamic of the dialogue is that the spaces interact with the people by acting as impeder or enabler according to its function. This design idea is the main feature of the library. The series of partition will shape the volume of the space needed by following its functional requirement. The gaps created will allow for the interaction between floors and also shaping confine spaces realating to the human territoriality.

CIRCULATION DESIGN RESPONSE

PUBLIC REALM

The concept of circulation for the library is that how can the space between the spaces can allow a connective function between them and provide routes for the people to walk through around the building. The alignment of the spaces in the library has to be planned by following architectural consideration such as direction of movement, public or private, frequency of use of the space and also the time of its usage.

DESIGN RESPONSE

With the general design idea of partition, the circulation routes is shaped according to the space that are carved by the partition. The circulation inside the library will be choreographed by the partition according to the sequence of the spaces.

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To design a library for a community, the harmony of each spaces is the key to create an intergenerational platform between community. With the target not only for the people in Rome but also the tourists that have their vacation in Rome. The library will provide a place to relax and shade from the hot summer sun or the wet rainy winter. The idea behind public realm is that the library will have an area that is wide enough to accomodate a plenty amount of people. The realm will be the locus point of the library and become the centre of the circulation. In other words, this space is the place of engagement for the people that come to the library.

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ARCHITECTURAL DESIGN: ANY PLACE

SITE SURVEY

ROME BRIEF

Teatro Marcello

Prepare for a group site survey in next week’s visit to Rome, prepare a specified urban site. Prepare to explore the sites relation to specified non-local conditions through which it relates to a broader context; the networks of human movement, and environmental phenomena, which cut across it. San Nicola in Carcere

Rome is a city that filled with history and culture of its greatest civilization of the Roman Empire. It also maintained as a popular city throughout human civilisation, from the ancient times, Middle Ages, Renaissance and the Modern Era where are in today. Its geographic location is different than Edinburgh, Rome experienced the climate that is less humid that in Edinburgh. The highest sunlight angle during summer is 71° and as in winter it gets low as 25°. The average temperature during summer is 26 C and the average temperature during winter is 8 C. The location of Rome is also very near to the Mediterranean Sea which mean that the prevailing winds throughout the year mainly coming from the South West. But only during winter, the wind direction is coming from the North.

er ib rT

SITE SUMMARY

PIAZZA MONTE SAVELLO The plaza is located near to San Nicola in Cacere, a church that was built in 6th Century. The archeological of the site shows that it has multiple layer of history beneath it which contain the spread of ruins in the majority area of the site. The site is surrounded by important historical landmarks such as Theatre Marcellus and Piazza Venezia towards north, Forum Romanum and Palatine Hill on the east and Tiber Island on the west. The network of routes to these landmarks has made the site as the locus point of those routes.

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ARCHITECTURAL DESIGN: ANY PLACE

LIBRARY

Concept development

A LIVING ROOM OF THE CITY

The idea for extended concrete ribs to become an expressive structure, perceived from both inside and outside of the library. The ribs present similar message as the classical Roman columns which to express the symbol of a civic pride.

BRIEF

The internal spaces were carved from each of the ribs and also become a shelf for the books, tables and sitting area for reading spaces.

The brief asked students to design a centre that responds to the need to make architectural space coupled with the buildings need to respond to other(s) - environmental characteristic of their site & the buildings users. Develop the design of your library on a specific urban condition of the site. The Library should responds to the patterns of movements and environmental phenomena that cut across its site, and to the dynamic character of the programme it accommodates.

DESIGN

The idea for the Monte Savello Public Library is to provide archive and reference information about the history of Rome, offering visitors with wide range of books of architectural history, literature, engineering and cultural information. With the advancement in technology, the library provide computers lab and classes that can teach local residents about the ICT. The concrete ribs formed an exciting spaces from inside and outside of the library. The expressive ribs combine the structure and functionality of the library into one architectonic element that creates a dynamic aesthetic identity for the library.

5 2

2 4

1 2 3 4

Information Children and Juniors Area Cafe Loans Return

Ground Floor Plan

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Study Area Stack Computer Room Meeting Room 1 Pantry Office

The library offers comfortable spaces for study and rooms to hold a meeting for the nearby community. It becomes a medium not only jsut for community engagement but also a place for visitors to get to know the history of places in Rome.

First Floor Plan

Sitting on top of the historical ruins, the library is carefully design not to give any damage to the existing ruins by elevating the floor of the library supported by concrete columns.

1 2 3 4

Stack Tutorial Room Meeting Room 2 Meeting Room 3

Second Floor Plan

1 Rooftop Terrace

Rooftop Plan b

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ARCHITECTURAL DESIGN: ANY PLACE

DESIGN

The concrete foundations were carefully planned to sit on the area that are less exposed to the ruins. The slabs span across 13 metres to cover much of the spaces needed for the library. The internal spaces were arranged to allow for a great view of the ruins beneath and the church on the south-east.

THIRD FLOOR

The library consist of three floors which are connected with two atrium on the entrance and the cascading floors from the cafe to the first floor. The main entrance is located on the south part of the library and another visitor entrance is from the north next to the loans return machine. There is also private entrance for the librarian on the opposite site of the second entrance.

Services Outdoor lounge Community Garden

Emergency stairs which are located next to the private entrance provide accesss straight to the first floor and the rooftop. The library also equipped with a lift that connects with all the floors and the main function of it is to assist librarian in returning the books to its location on the subsequent floors.

SECOND FLOOR

Collections Study area Computer room Meeting Room Pantry

FIRST FLOOR Collections Study area Computer room Office Pantry

GROUND FLOOR Souvenir shop Information desk Gallery Cafe Cloakroom Repository

Public Realm The monolithic concrete and glass facade conveyed a strong idea of a library as a symbol of civic dignity. The public spaces around the entrance became a large social gathering place and focal point of engagement.

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ARCHITECTURAL DESIGN: ANY PLACE

Section a-a (cut through rib)

Section b-b

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ARCHITECTURAL DESIGN: ANY PLACE

ARCH08027

TECHNOLOGY & ENVIRONMENT BUILDING FABRIC COURSE SUMMARY

PERSONAL REFLECTION

The course explores the applications of the principles of structural analysis and design, and also construction technology, implemented in the first year technology and design courses. Moving up the degree of complexity in design, structural stability and serviceability is examined as a result of a wider range of actions.

Designing for a sensistive design insertion into the site of Dirleton Castle, the course invited challenges in developing critical analysis for the structural configurations and contruction process. Both of the assignments had developed my justification in designing structural systems and alongside improving my reasoning in making tectonic choices, as well as the building's envelope and roof performance. This course has definitely polished my technical knowledge and its applications in order to achieve design aesthetic and its functional requirements.

The process of dimensioning structural elements is scrutinised to provide insight to the rationality involved. Discussion of the design of these elements and their expression in structural forms classified broadly as linear and cellular addresses the majority of medium-sized construction and covers collectively the main material systems (timber, steel, concrete, masonry), highlighting their relevance to architectural design. This is further explored in their tectonic expression in processes of material system choice, architectural synthesis and assembly, actually the essence of how a building communicates its qualities to its users.

LEARNING OUTCOMES LO1

Apply the mechanisms of design of structures that address increasingly complex interactions between forms, human use and the environment of a site, in terms of imposed actions and the impact of the chosen material.

LO2

Understand the process of choice and assembly of material systems in the design of buildings to provide internal conditions of comfort and its aesthetic expression.

LO3

Understand the range of applications of the principles of assembly and structural performance with regards to the main material systems (masonry, timber, steel and concrete) in the design of medium-szied buildings.

Course Organiser Dr Dimitrios Theodossopoulos

ESSAY

Outline the technical, economical but also cultural parameters that affect the choice between the main natural and manufactured materials reviewed in this course to resist the applied loads and environmental conditions in medium-sized buildings (up to 5 storeys high). Your answer should refer to the main load-bearing structure and its assembly, but also the strategies for the envelope. Regarding the process of choice, give an example of how one of these material systems could overcome the limitations of another. Illustrate your answer with a relevant case study for each system.

Discuss the main differences in the construction of solid envelopes in stone between a load-bearing masonry building faced in ashlar and a concrete frame. Outline the strategies for waterproofing and thermal comfort in the climatic conditions of Edinburgh, the fixing on the main structure, the constituent elements and their assembly. Structure your answer clearly around these points and be critical when you present a specific technique or strategy. Use diagrams and case studies to illustrate your answer.

Timber is the only material which is used naturally in its occurring form. It is not stiff as steel but because it is a lightweight material, it is relatively stiff to its weight which is suitable for low-rise building frames or shed and rigid frame. Speed of erection for timber is quick compared to other materials and nowadays people tend to choose timber because of its energy efficiency and the ability to integrate very high levels of thermal insulation.

Walls are divided into two parts which are load-bearing masonry and frame. Masonry wall was the main construction method throughout history which is considered as the most economical form of construction. While framework is a modern construction technique which provide more advantage and overcome the limitations of in masonry. Load-bearing masonry was constructed with the purpose of fulfilling of dual functions at the same time; supporting the loads of floor and roof and also forming space enclosure and division internally.

MATERIAL PROJECT BRIEF

The student will be asked to submit a short essay of approximately 700 words on a topic related to the previous lectures. The intention of this essay is to encourage you to review and reflect consistently on the lecture materials.

Steel has high strength/weight ratio and it is completely manufactured material which can achieve high-quality control. Steel is a very stiff material and therefore it is relatively an economic material because a small amount of it can carry a huge amount of load. With this big advantage, steel is usually chosen so that the building will provide more generous spaces thus reduced the spaces needed for the load-bearing structures. But it will come at a cost because it has a durability problem which needs another material to protect and properly maintained to prevent it from corrosion. Concrete is a mouldable material which can be formed into structurally continuous elements. It has the freedom that can turn into any desirable shape and it is durable and good in fire resistance. It also provides good thermal insulation and noise insulation because of its robustness. Construction using concrete is labour-intensive and usually takes longer time compared to timber and steel frames structures as concrete is half manufactured material and it normally needs time to mix all the ingredients before it can cast. Some material is not independent as it is and usually it needs other materials to provide with more strength and overcome limitations. Concrete stiffness and strength/weight ratio are low compared with steel and timber. To overcome these limitations, concrete is usually will be reinforced with steel bars or prestressed with steel cables and wires to prevent buckling. Reinforced concrete will usually be seen in any concrete structure and it is suitable for a short span and high rise building frame while prestressed concrete can be applied to wide-span building and rigid frames. Some design required strong materials that can span far enough to accommodate a large open space. Economically timber is the cheapest choice, but it cannot span long enough because of their limited strength. It is only possible by using glued laminated beams (Glulam) where the thin slices timber is glued together but glulam beams are not usual in the UK because of its high cost. Steel plates and bolts are used in timber construction to strengthen the connection of two or more timber beams. A lattice girder beam would usually be used to span greater distances.

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ENVELOPE

Load-bearing masonry can be very robust and thick, with the concrete blocks provide the strength and stability while stone cladding act as a good weather resistance to the building. Air cavity is created between stone cladding and internal wall to avoid any moisture penetration. Stone cladding usually incorporated with a hook in the back fix onto a steel beam attached to the main concrete blocks with restraint and support brackets. With a great amount of thickness, the strength of the wall is strong, but it reduced the amount of interior spaces. Strength and stability of a building is achieved by limiting the width of openings in order to provide sufficient bearing area of the wall. Usually load bearing wall are limited to three-storey building in order to provide sufficient strength. Concrete frame building is the alternative to the masonry in providing a large area building. It also makes the building more flexible in terms of arrangement of space and with much less material intensive. Multi-storey buildings have frame structures because it can provide a large amount of space with a minimal volume acquired for the wall envelope. Stone cladding and receiving wind load are transferred to the floor through restraint fixing and to the column through load bearing fixing. Thin walls in frame structure allows the building to utilise with open floor plan and glazing windows. The structural frame only serves as the load bearing structure while internal wall provides with enclosure for creation of rooms inside the building. For some cases, cladding also important to distribute the shear forces to the rest of the floors. Masonry wall has a huge advantage in capitalizing passive solar gain with its large volume of thermal mass. With addition of using stone cladding, it will add the amount of solar absorption for a masonry wall. In masonry, adequate sealing must be applied to prevent any loss of heat and careful design of external joints must be carried to prevent any rain penetration through cavity wall. As for frame structure, they have small volume of thermal mass compared to the masonry but with its thin wall, it allows the building to have large space of glazing windows which can be benefited to capitalise solar gain even with smaller volume of thermal mass.

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TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

ASSIGNMENT 1

TIMBER WALKWAY GROUP WORK CREDIT: AIman Bin Azman, Razulnizam Bin Zulkefeli, Ewan Malloch

PROJECT BRIEF

You will design and dimension a single tier walkway in exposed timber construction that can carry loads from pedestrians. The platform must be constructed with care for its durability and location. In order to highlight the complexities of building in an archaeological site, assume supports that cause minimum disturbance and determine the key stages in the installation process of the structure.

DESIGN PROPOSAL

The timber walkway will be situated along the edges of the Dirleton castle, with some parts being above the damaged walls. We hope to revive the original impression of the area’s volume by this approach, while creating a new way of viewing the castle. We aim to not disrupt the existing elements of the castle’s ruins by having a clean and elegant walkway design. The number of columns are kept to a minimum, allowing views and circulation around the castle to be maintained as visitors are able to walk under the walkway as well. Visitors of the castle will have a more enhanced experience as the walkway acts as an elevated platform for visitors to have a wider view of the castle and its surroundings, especially views from the north-west. The journey on the walkway allows flexibility for visitors to access the first floor. Also, it is designed to provide access to the future pavilion that is to be built on the north end of the first floor. We hope to revive the original impression of the area’s volume, especially the ruined walls while providing new circulation and experience for the visitors.

Elevation from the north-west

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Site Plan

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TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

MATERIAL SELECTION [DOUGLAS FIR] In terms of strength, Douglas Fir is easily adequate for both primary and secondary structures. It is light weight in comparison to its hardwood counterparts and the straight grain and light texture create a streamline appearance. Its also considered as a large sized timber and ideal for the large spans needed for the walkway. The high resin content and high durability makes the Douglas fir required very little finishing in order to maintain a consistent appearance. Unlike Larch and Oak, it maintains its light reddish brown colour even after long period of time.

STRUCTURE Each of the main columns branched out into four angled supporting trusses to form a one unit primary load-bearing structure for the walkway.

Column

Primary beams

Secondary beams

Decking

To not distrupt the original circulation andd courtyard around the castle, the height of the columns designed with minimum clearance to allow visitors to be able to walk under the walkway. We aimed to have an elegant and minimalistic walkway without having any expressive connections and bolts. The primary beams are made bigger to incorporate the secondary structures and decking so it will be hidden and not visible from afar.

Staircases

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Glass panels

Hand rails

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TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

CONNECTIONS

Column and Supporting Columns

Details

The supporting columns are designed to be connected to the main column where the metal plate holds them in place. The plate and the metal dowel are hidden within the timber supporting elements and main column.

1 Secondary beam

Secondary Beam Connections

Dimension

150 x 147mm

2 Metal Plate Thickness 1

Radius Depth

The connection of multiple columns were made in such way to make it look simple and clean athough it is a connection of 5 timber elements.

10mm

3 Metal Dowel 10mm 170mm

The idea for the structure is to make it look clean and elegant. Therefore, the secondary beam is hidden within the primary beams rather than on top to achieve the clean look which allows the connection to be bold and stronger without affecting the aesthetic of the structure.

4 Metal Dowel 1 Radius Depth

10mm 160mm

5 Primary beam Dimension

Details

The metal plate supporting at the bottom of the secondary beam makes the connection more rigid and stable.

150 x 195mm

1 Angled supporting columns 1

Dimension

Radius 10mm Depth 125mm 3 Metal connector for supporting element Thickness

150 x 150mm

2 Metal Dowels

Base Plate The foundation for the structure was designed in a way that will minimise the damage done to the historical site.

10mm

4 Metal Screw Radius 10mm Depth 100mm

Moreover, the simple design was made to make the structure feel more clean and simple while making the base more rigid and stable.

5 Column 5

300 x 300mm

Foundation Details

1 Column

Primary Beam

The plate to connect the supporting column is designed at an angle so that it will be hidden within the supporting column with enough length so that it can provide a rigid and strong connection with a simple and clean finish.

Radius Depth

150 x 195mm

2 Metal Dowels Radius Depth

10mm 150mm

Douglas Fir decking was used to make the whole structure look as one. Thus, the connection is simple and clean which makes the decking less distracting so that people can enjoy the view around the castle.

4 Metal Dowels 1

Dimension 10mm 125mm

Dimension

30x139mm

2 Metal Screw Radius Depth

5 Supporting Column

500x500mm

1 Decking

Thickness 10mm

Radius Depth

Thickness 10mm Dimension

Decking Details

3 Metal Plate 3

10mm 100mm

Decking

Dimension

20mm 320mm

4 Metal Plate

Details

300x300mm

3 Metal Screw

The primary beam connections consist of horizontal plates to provide vertical support to resist bending stress at the connection point between 2 primary beams.

1 Primary beam

Dimension

2 Metal Dowels

150 x 150mm

10mm 70mm

3 Secondary beam

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Dimension 150x147mm

TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

CALCULATIONS

LOADS

Live load (imposed) Dead load Total q Point load p

5.0 kN/m2 0.5 kN/m2 5.5 kN/m2 4.5 kN/m2

TIMBER CHOICE

Douglas Fir for columns, primary and secondary beams

In SS (Special Structure) grading, therefore a C18 strength class: Bending strength, fmk Compressive strength parallel, fc,0,k Shear strength, fv,k Mean Elasticity Modulus, E

PRIMARY BEAMS:

18 N/mm2 18 N/mm2 2 N/mm2 9000 N/mm2

Load on beam (UDL), w = q s = 5.5 x 2 = 11 kN/m

a) Sizing Beam for Bending Moments

i) Maximum Bending Moment, Mmax

- Mmax (UDL):

- Mmax (Point Load):

- So, total Mmax = 5.5 + 2.25 = 7.75 kNm ii) Empirical Evaluation of Depth, d

- d = L/16 = 2000mm/16 = 125 mm iii) Permissible Bending Stress, fm,d

- Material: Solid timber - Service Class: 3 (External use, fullyexposed) - Load Duration: Medium-Term (Imposed floor load, snow)

Thus, - Strength modification factor, kmod = 0.65 - Depth d is assumed > 150 mm. So, size factor, kh = 1.0 - Full torsional constraint of the beam is provided. So, the instability factor kcrit = 1.0 - Beams span is 2m, less than 6m apart. So, the load sharing factor, kls = 1.1 - The material is solid untreated timber.

So, the partial factor, γm =1.3

b) Sizing Beam for Shear Stress

4. SECONDARY BEAMS:

i) Maximum Shear Force, V

Span, Ls : 1.7 m Spacing, s: 0.5 m So, w =qxs = 5.5 x 0.5 = 2.75 kN/m

For beam size (150 x 147) mm, Ixx = 39.71 x 106

- V (UDL):

V = q s L/2 = 5.5 x 2 x 2/2 = 11 kN

- V (Point Load):

V = p/2 = 4.5/2 = 2.25 kN

- So, total V = 11 + 2.25 = 13.25 kN

ii) Maximum Shear Stress in Rectangular Section, Td

iii) Permissible Shear Stress, fv,d

Load sharing is possible, therefore:

Permissible Bending Stress, fm,d : 9.9 N/mm2 Permissible Shear Strength, fv,d : 1.1 N/mm2

a) Sizing Beam for Bending Moments

i) Maximum Bending Moment, Mmax

- So, Td ≤ fv,d 0.679 N/mm2 ≤ 1.1 N/mm2

Thus, the primary beam size is acceped.

- Mmax (UDL):

- Mmax (Point Load):

c) Checking Deflection of Beam

i) Maximum Deflection, Wins

- Wins (UDL): - Wins (Point Load):

- So, total Wins = 0.84 + 1.29 = 2.13 mm

ii) Final Deflection, wfin

Consider creep (long-term deformation under con stant load) and modify initial deflection:

- Duration factor kdef = 2

- So,

- So, total Mmax = 0.993 + 1.91 = 2.9 kNm

wfin = wins (1+ kdef) = 2.13 (1 + 2) = 6.39 mm

ii) Minimum Beam Depth, Zxx

iii) Maximum Permissible Deflection

- L/150 = 1700/150 = 11.33 mm

- So,

c) Checking Deflection of Beam

For beam size (150 x 195) mm, Ixx = 92.69 x 10⁶

a) Maximum Deflection, Wins

- Wins (UDL):

Maximum Permissible Deflection > wfin 11.33 mm > 6.39 mm Thus, the secondary beam size is accepted. - So, we choose (150 x 147) mm as size of secondary beam

b) Sizing Beam for Shear Stress

i) Maximum Shear Force, V

- V (UDL):

V = q s L/2 = 5.5 x 0.5 x 1.7/2 = 2.34 kN

- V (Point Load):

- Wins (Point Load):

- So, total Wins = 2.75 + 0.90 = 3.65 mm

b) Final Deflection, wfin

Consider creep (long-term deformation under constant load) and modify initial deflection:

- Duration factor kdef = 2

- So,

V = p/2 = 4.5/2 = 2.25 kN

- So, total V = 2.34 + 2.25 = 4.59 kN

ii) Maximum Shear Stress in rectangular section, Td

- So,

Thus, the secondary beam size is accepted.

wfin = wins (1+ kdef) = 3.65 (1 + 2) = 10.95mm

iv) Minimum Beam Depth, Zxx

c) Maximum Permissible Deflection

- L/150 = 2000/150 = 13.33 mm

- So,

Maximum Permissible Deflection > wfin 13.33 mm > 10.95 mm

So, we choose (150 x 195) mm as primary beam size.

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# As Maximum Permissible Deflection is greater than Final Maximum Deflection, the primary beam size is accepted.

Td ≤ fv,d 0.312 N/mm2 ≤ 1.1 N/mm2

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TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

5. SIZING THE COLUMNS a) Loads on Column

- Assume column dimension 300 x 300 mm (Table 12: 300 x 295) - Total area of floor carried by column, A = 2 x 4 = 8 m²

- Total load carried by each column, Pt:

- UDL:

A q = 8 (5.5) = 44 kN

- Point Load: p/2 = 4.5/2 = 2.25 kN - So, Pt = 44 + 2.25 = 46.25 kN

kc,90 = 1 as there is no increase the bearing strength because the applied length ℓ of the uniformly distributed load q is 3.6 m > 150 mm (typical value for most beams under UDL)

b) Effective Length, Le

- Assuming bracing provides additional restraint to column,

Le = (2.0m/3.5m)L = 0.57L = 0.57 (3.5m) = 2m

c) Slenderness modification factor, kcy

- The compressive strength parallel to the grain,

d) Permissible Stress of Column, fc,0,d

fc,0,k = 18 N/mm2 - The 5% modulus of elasticity parallel to the grain,

E0.05 = 6 kN/mm2

e) Actual Compression Stress, σc

The check for buckling strength therefore yields: 0.51 N/mm² 0.51 N/mm²

σc

≤ kcy x fc,0,d ≤ 0.9678 x 9.9 ≤ 9.58 N/mm2

Thus, the column is safe from buckling

6. SIZING THE FOUNDATION - Therefore,

- Assuming: -Floor Type: Timber -Walls: Front -Loads From: Floors Only -Soil Type: Stiff Clay

- Slenderness ratio,

Where the radius of gyration about the axis of the section x-x rxx = 85.2 mm,

So, using these values or C18 strength, the slender ness modification factor, kcy = 0.9678

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Thus, the load category is Category C.

- Therefore,

- As we are using metal plate, provide only width, L.

The minimum foundation width, L is 400mm.

So, we choose (500 x 500) mm for size of foundation.

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TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

ASSIGNMENT 2

DAIS CHAMBER PAVILION GROUP WORK CREDIT: AIman Bin Azman, Razulnizam Bin Zulkefeli, Ewan Malloch

PROJECT BRIEF

Expanding on your first project that started recreating the visitors’ experience in the Haliburton phases of Dirleton Castle around the Great Hall, you will complete the project by designing and detailing a pavilion on the North end, the Dais Chamber, which eventually “stitches” visually the medieval past of the castle, restoring the original impression of the volume of the area. The new pavilion will be the educational area, hosting temporary exhibitions, shows, projections. It should accommodate flexible seating for 30 people and provide a comfortable environment for such events. DESIGN PROPOSAL

Continuing from the timber walkway project that stands along the edges of the castle, the pavilion is situated in the middle of the north pavilion area, being sort of wrapped by the walkway. To not disrupt the existing views of the castle created by the timber walkway, the pavilion‘s height does not exceed the walkway’s height. Thus, a monopitched roof design is incorporated.

Development sketches

By having doors along the facade of the pavilion, the entrance creates a very open and inviting atmosphere for the visitors of the castle. Also, the glass facade situated behind the entrance doors allows views to reach through and into the pavilion. Visitors of the castle will have a more enhanced experience and circulation as the pavilion has access to the walkway by a stairway and also an outdoor space behind the pavilion. The wide space in the pavilion can accommodate events of most kinds, especially exhibitions. The landing before the entrance can also be the screening space for events that need projections, as the floor is elevated from the Castle’s floor. All in all, the clean, simple and elegant design helps create a calm and interesting atmosphere for visitors of the Dirleton Castle.

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Y2 S2 TE2b

TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

Frame Structure

STRUCTURE The pavilion utilise steel frame structure for a faster construction process and provide lightweight structure that can minimise contact with the existing structure. It should provide adequate stiffness and support for the structure that can ease the process of installation to reduce labour effort. The floor is elevated from the ground by using steel columns cap witrh base plate to prevent dampness and provide breathability.

Floor Envelope

Connection A: Steel plates and bolts used to connect the I-studs onto the tilted I-beams

Steel floor framing

Connection B:Connection between steel column, I-beams and tilted I-beam

Foundation pads

Section

Foundations Pads

Floor Plan

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Y2 S2 TE2b

TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

2 3 4

DETAIL: WALL

The tongue-and-groove timber cladding technique is chosen for the design because of the interlocking feature leaves no gap between the cladding that keeps snow and rain from entering the cladding.

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WALL BUILD UP

8 9

Cavity tray is used in the design to avoid water build-up and keep the durability of the timber frame.

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The drip profile is necessary to prevent rainwater from flowing into the ventilated cladding.

42x32.5mm 12.5mm 45mm 2mm 125mm 22mm 2mm 22x22mm 22mm 125x60mm

U-steel stud Gypsum Fibreboard Rigid Insulation Vapour Barrier (VCL) Mineral Wool Insulation Plywood Sheet Breather Membrane Timber Batten Dougles Fir Cladding Steel I-Beam

WALL & FLOOR SECTION DETAIL

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SLIDING DOOR SECTION DETAIL

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4 5 6

7 8 9

Sliding Door Section

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1 22mm Tongued-and-Grooved Dougles Fir Cladding 2 2mm Breather Membrane 3 22mm Cavity + 22mm Vertical Timber Batten 4 22mm Plywood Sheet 5 42x32.5mm U-Steel Stud 6 125mm Mineral Wool Insulation 7 2mm Vapour Barrier 8 45mm Rigid Insulation 9 12.5mm Gypsum Fibreboard 10 210x210mm Steel I-Beam 11 2mm Cavity Tray DPC 12 3mm Synthetic Sheet 13 10mm Base Plate 14 Concrete Pad

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Y2 S2 TE2b

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2mm Cavity Tray 20mm Timber frame 2mm Top Rail 60mm Aluminium Frame 24mm Double Glazing 4mm Bottom Rail 20mm Douglas Fir Decking 20mm Timber Frame 2mm Vapour Barrier (VCL) 165mm Mineral Wool Insulation

TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

ROOF BUILD-UP

2mm Zinc Roof Zinc roof is used due to its durability, being corrosion resistant and is self-healing (any scratching will recover given time). Apart from having a low maintenance regime, zinc roof is eco-friendly as it requires less energy to be made compared to other metal roofs and has better aesthetic approach.

DETAIL: ROOF

2mm Breather Membrane

When designing the roof for our pavilion, we took consideration of the timber walkway and the site. As our walkway wraps itself around the edges of the north pavilion area, we decided to have a monopitched roof that begins from the walkway’s railing height. This allows the views from the walkway to the castle to be undisturbed.

An aqequate size for an air-tight building paper that has a hydrophobic face on the outside and a hydroscopic face on the inside for waterproofing.

15mm

Plywood Sheet

A sheet that provides stiffness for the roof.

The monopitched roof has a much more cost-effective construction method as they are much simpler than constructing a typical gable roof and take much less time to assemble. They also provide the illusion of extra space in the buillding’s interior.

25mm

Profiled Metal Deck

Metal deck is chosen due to its lightweight, durability, fireproofing and its easy on-site handling qualities.

195mm Mineral Wool Insulation

The parapet design gives added fire protection as it protects the roofing from wall fires. It also supplies a level of wind resistance as it creates uplift and reduces wind force on the pavilion.

Generous thickness of stone wool material that provides thermal, fire and acoustic insulation effectively.

Steel Structure

To maintain the clean facade, a hidden gutter is built within the roof.

Lightweight structure with long spans, high durability and reversibility

2mm Vapour Barrier (VCL)

Continuous layer that protects the pavilion from interstitial condensation.

45mm Rigid Insulation Lightweight insulation that offers a lot of protection that also increases the structural stability of the pavilion.

12.5mm Gypsum Fibreboard

Internal finishing that has high impact resistance, fireproofing and efficient acoustic qualities.

ROOF SECTION DETAIL

DRAINAGE STRATEGIES

Monopitched Warm Roof We decided on a warm roof build-up so as to eliminate cold bridging especially at the eaves of the roof. The pavilion’s drainage strategy works through the pitch as the single shallow angle of the roof directs the precipitation down into the hidden gutter. Flashings Flashings that sit on the parapet and gutter help guide the water down into the hidden gutter and help to avoid splashing and water building up on the roof. Hidden Gutter A uniform uniterrupted facade was important to our design ambitions and so the gutter is hidden so as not to interrupt the clean entrance facade of the pavillion.

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2mm Zinc Roof 2mm Continuous Breather Membrane 1.2mm Aluminium Flashing 2mm Aluminium Gutter 1.2mm Aluminium Flashing 9.5mm Vent Slot 195mm Mineral Wool Insulation (Roof) 125mm Mineral Wool Insulation (Wall) 160x125mm Steel I-Beam 2mm Continuous Vapour Barrier (VCL) 45mm Continuous Rigid Insulation 12.5mm Gypsum Fibreboard

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8 9 10

Rain Chain

Instead of a conventional down-pipe, we adopted the use of a rain chain. The rain chain provides an interesting and elegant alternative to a standard down-pipe. It also mitigates the impact on the ground below. This was essential given the historic site.

Y2 S2 TE2b

TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

ARHI08007

ARCHITECTURAL HISTORY CULTURE & THE CITY COURSE SUMMARY

PERSONAL REFLECTION

The course studies the notion of the City as the exemplary setting of our social condition. Whilst the city is understood to embody organising principles and to be constituted according to the commands of political thought, the course concentrates upon the city conceived also otherwise. It is the scene of self-conscious community and is our monument to shared memory. If the essential act of the city, politically conceived, is one of walling or penning, the city conceived socially is a scene of processing and gathering together. The architecture and city planning of accord is the subject of the course.

This course challenged my understanding and perspective on the political, ideological and social implications that it can have from the architectural manifestations. The influenced of ideas from architectural proposals reveal the deep connection between the change in society and development of architecture. Presentation and essay has helped to explore in-depth into specific sociopolitical conditions and the architectural influences onto the society.

LEARNING OUTCOMES LO1

Knowledge and understanding of connections between architecture and the social, economic and political circumstances within which it is located. (tested by the Essay)

LO2

iDemonstrate ability to evaluate urban phenomena in social contexts. (tested by the Exam)

LO3

Research, analyse and present, in written and report form, themes appropriate to the model content. (tested by Presentation)

Course Organiser John Lowrey

PRESENTATION

Neue Staatsgalerie, Stuttgart

This presentation explore the architecture of Staatsgalerie in Stuttgart, Germany designed by James Stirling and Michael Wilford.

Summary

Staatsgalerie or State Gallery in Stuttgart is one of the leading art gallery in Europe. It has two buildings which were designed in a different time, Alte Staatsgalerie, designed in 1838 by George Gottlob Barth and Neue Staatsgalerie designed in 1977 by James Stirling. The building also was designed to comprehend with an art school, a painting gallery and department for prints and drawing. After the World War II, the gallery was severely damaged, and it was reconstructed in 1945 and reopened in 1948. In 1977, the Prime Minister of Baden - Württemberg held a private international competition for a new state gallery as a part of the Stuttgart new city planning. The purpose of the competition was to invigorate and rejuvenate the cultural influence in Stuttgart. Stuttgart was never visited for its museum or for anything excepts its ballet, and the idea was to erect a building which could become the key attraction for visitors to come. There was not many building were successfully attracting people after the war as Germany took a huge loss.

The designed purposely echoing the older neo classical building and implemented with some referenced of the Altes Museum by Schinkel and Pantheon in Rome. The quality of interior, the rich of referenced recalled the architectural fragments such as Ecole des Beaux Arts in Paris or Sir John Soane’s Museum.The original U-shaped courtyard is followed and build much wider. On the centre of the courtyard, it is occupied with circular roofless drum which we can see significantly follows the traditional domed centre of the Altes Museum in Berlin. Despite being closely related, Stirling deals with similarity by implementing some addition of abstract to design which differ from representational components of Schinkel. The design for the gallery was simple in concept yet filled with some complexities. The organisation was easily being understood, the external roofless rotunda, the raised terraces above the motorway and descending path that links them together. The high-tech railings of the entrance ramp coloured with pink and blue, neo-historicist entrance canopy and the green steel rail windows façade, he thought that museum is also a place of popular entertainment. The special thing about this building is that it has no specific façade that can be proud with. It was about the order, the carefully patterned paths and walls, the selection of materials and how it arranged that matters to redefine the beauty of the architecture itself.

Neue Staatsgalerie, Stuttgart https://kultur-online.net/node/17486

Key references Girouad, Mark, Big Jim: The Life and Work of James Stirling (London, 1998) Rowe, Colin, James Stirling: Building and Projects (London, 1984) Waterfield, Giles. “JAMES STIRLING’S MASTERPIECE?” Apollo (Archive : 1925-2005) 126, no. 305 (Jul 01, 1987): A41, A42, A43.

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The Neue Staatsgalerie recall the precedent from the historic buildings, but rather than copying the exact same characteristics, it was better to reinterpret into their language, establishing a dialogue between modernism and tradition. The courtyard re-formulates the recurring personification of Pantheon of Rome, with roof made of blue sky. The neo-classical rotunda pretty much enlighten the space, with roman sculpture placed around the wall. Either interior or exterior, the museum presents a continuous expression of architectural and urban forms with regards to its function and symbolical requirements. The U-shaped courtyard and the central court were the main concepts which can found in numerous historical examples. The new gallery revoked a fundamental debate between postmodernism architecture and modern architecture. It was not about criticizing either Modernist, High-Tech or Neo-Classical, but much more about self-reflection of using these modes. The sooner people observed the Staatsgalerie the sooner they realised that it was a piece of architecture that fill with parodies. It also seems that Stirling was expressing the Romanticism who used architectural parody to hide his intense passion for architecture. Abstract versus Representational, Traditional versus High Tech, a parody that plays a defensive role in architectural interpretations. He preferred to think that his work was not simple, and within his design, an act will always be followed by a counter act. James Stirling was exceptional a good collagist architect, designing buildings with a lot of compositions from architectural fragments.

Y2 S2

AH2b

ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

ESSAY

Industrial Revolution

What impact did industrialization have on urban life in the nineteenth century? Discuss examples from Britain and Europe in providing your answer.

Summary

Industrial Revolution had changed the way people works, from home to the factory, where social and economy of a person had changes dramatically. The revolution that were started from the agrarian sector, especially cotton and wool, caused such inventions to the coming machinery which was essentially needed, thus creating industrial innovation and improvement to other sector such as transportation, economy, social class and urban planning. The impact that it caused were way beyond imagination as in the nineteenth century was the peak of the radical changes towards modernisation, where the revolution of ideas was accomplished in such far-reaching changes in the physical world.

The productivity of the agricultural output had created new demands in the economy which then stimulated the idea for new inventions of machines especially the steam engine so that it could keep up with supplying the demands. The development of machinery had created new jobs opportunities for the people and resulted in new towns and industrial cities to be accumulated with people coming from the rural areas. It was a follow up through the agricultural revolution, population growth and urbanisation that lead to the transformation in the way of life of people live both in rural and urban area. The rose of mills and factories also resulted in the break-up of home industry. The works that were once made by hand of group of families has been shifted to the factory for a large-scale production. With machines taking over the jobs, the work had shifted to the factory and every member of the family had to travel to work.

Working conditions during period of Industrial Revolution. https://fee.org/articles/the-industrial-revolution-was-dirty-but-pre-industrial-europe-was-worse/

Key references Floud R., Johnson P., The Cambridge Economic History of Modern Britain (Vol.1): Industrialisation, 1700-1860 (Cambridge, 2004) Hudson P., The Industrial Revolution (London, 1992) Knowles L. C. A., The Industrial and Commercial Revolutions in Great Britain during the 19th Century (London, 1944)

With the huge growth in population and people shift to the urban areas, it has caused a major effect in industrialisation which lead up to the creation of cheap labour supply. A huge number of people migrating from the rural areas searching for jobs opportunities in the cities had accelerated the growth of population in the urban areas causing the cities to be overcrowded. Among all the elements in a production, labour was the important element in any industries. With cheap labour, more affordable price of the product will be produce, the widely expansion of markets can be attained, and more capital accumulation can be gained.

The migration from rural areas to the city had transformed the way and quality of life of the families. In the early years of Industrial Revolution, skilled workers were the ones who were majorly impacted with the transformation as the life that they lived before in rural areas were completely different to the urban areas. Long hours of work and few number of holidays, these shown how the employment in a factory was harmful to the health and quality of life of these workers. The migration of people had caused a major demographic impact which was the high urban mortality. Overcrowded dwellings in the cities had caused a more serious health conditions and creating new viruses which resulted from uncontrolled sanitisation and the lack of immunity from these diseases.

The impact of the industrial revolution had on urban life has put us on alert to not repeat the same mistakes as our predecessors did. The necessary changes that transformed the quality of the urban life in nineteenth century made the city or country went through a ransformative economic, social and cultural impact, and re-established the foundations for modern society.

Marx K., Fowkes, B., Capital: A Critique of Political Economy Vo. 1 (London, 1976)

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Y2 S2

AH2b

ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

YEAR 3 SEMESTER I

SEPTEMBER 2018 - DECEMBER 2018

ARCHITECTURAL DESIGN: EXPLORATIONS ARCHITECTURAL THEORY ARCHITECTURAL PRACTICE : WORKING LEARNING

ARCH08006

ARCHITECTURAL DESIGN EXPLORATIONS COURSE SUMMARY

UNIT 5: THE PRODUCTIVE CITY

PERSONAL REFLECTION

This course extends Stage 2 level architectural design and communication skills by foregrounding experimentation. It is focused on developing students’ familiarity with different approaches to architectural design experimentation and the processes that this entails. Students are asked to develop an approach to specific design themes based on the identification of problems, opportunities, sources, methodologies and inventive strategies. The course is offered in a number of parallel design studios that sustain the overarching pedagogical aims through varying and distinctive sub-themes.

In this unit, we will investigate the relationship between architecture and cinema, specifically focusing on how we can borrow filmic techniques to create compelling, spatially complex architectural journeys.

This course has helped to enhance my perspective on working with spatial analysis through the experimentation with the mechanics of camera lens in unfolding depicted physical spaces. Investigation of unfolding space through a camera developed my awareness to pay particular attention to the underlying narratives behind the process of revealing spaces, the evolution of cinematic experience of a space that closely related to the architectonic conditions, key thresholds, lighting, materiality, mood and inhabitation. Working in group for this project has allowed me to weight on the analysis of interpretation of space from different individual perspectives and perception.

We will explore architecture as a choreography of time-rooted spatial experience and human interaction through an analysis of cinematic strategies and visual language. We will deconstruct complex spatial navigations of the lens and consider the role of off-screen infrastructure necessary to facilitate tracking shots by architectural mapping and speculation. This analysis will provide a language and vocabulary of conditions that can be adapted into architectural proposals that occupy and navigate existing site conditions and mental landscapes, focused around concerns of domestic versus public space.

LEARNING OUTCOMES LO1

Demonstrate ability to adhere to a design methodology that builds on the conceptual framework and key theoretical, cultural, and representational concerns outlined in the project brief.

LO2

Demonstrate knowledge of the ways in which research and analysis of context, program and construction inform architectural design and the ability to synthesize these concerns to develop a coherent architectural proposal.

LO3

Demonstrate ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written production.

Unit Tutors Michael Lewis & Sebastian Aedo

Course Organiser Simone Ferracina

CINEMATIC SPACE PROJECT BRIEF Your group will generate drawings and models that map your selected filmic sequence, paying particular attention to movement of the camera through space, materiality, reflections, human movement, lighting, etc. GROUP WORK CREDIT: Aiman Bin Azman, Razulnizam Bin Zulkefeli

SEQUENCE MAPPING; FILMIC ANALYSIS This project began with the analysis of a penultimate shot from the Passenger (1975) which is a one-take of a 7 minutes long tracking shot. From the sequence of the scenes, the experience recorded by the camera constantly change throughout the journey: starting from inside the dark and confined room, moving through the window, into the outside world, the 180° rotation and followed by the a view back into the room. The unfolding process of spaces by the movement of the camera itself creates perspectival illusion as a result from the movement of the objects and the shift in focus occurred inside the camera lens towards every change of objects throughout the scenes. Film timeline and investigation of camera movement

Film scene link: “The Passenger - Penultimate Shot” from the 1975 film Passenger directed by Michelangelo Antonioni. https://youtu.be/ke2CFuLQ6t8 Youtube video by djcrs1. December 7, 2010.

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Recorded camera sensor movement object tracking change in focus

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ARCHITECTURAL DESIGN: EXPLORATIONS

Gate mechanism

The change in camera's focal length throughout the scene.

The site was designed and constructed specifically for the scene itself. The confined room is actually a film set built for the scene, including the window. As seen on the film scene, the camera passes through the bars of the window from the interior of the room to the outside space. Thus, the window plays an important role in separating the interior and exterior spaces. The gate mechanism assist the process of unfolding the spatial experience by the camera’s journey moving through the window.

Revolving around the multiple explorations and findings of the filmic analysis, we integrated the investigations into one overview drawing that demonstrates the overall theme and research of our filmic analysis: The Spatial Transition between Interior and Exterior The graphical representations have been integrated together with the gate mechanism of the window that creates an axonometric drawing to convey our exploration theme. Throughout our exploration of the Passenger film scene, the spatial transition of the window between interior and exterior spaces creates a metamorphosis, where the journey to and fro between the interior and exterior spaces has its own spatial quality in terms of circulation and real-virtual experience.

The overview of sequence and spatial revealing process throughout the scene.

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Y3 S1

AD3

ARCHITECTURAL DESIGN: EXPLORATIONS

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ARCHITECTURAL DESIGN: EXPLORATIONS

SURVEY OPTICS: CONTEXTUAL INVESTIGATION PROJECT BRIEF Your group will select a site from the closes around the Royal Mile and adapt your established mapping technique to this new set of geographic conditions. You will borrow from the logic of your Sequence Mapping to rethink the survey drawing + model. Our explorations of spatial transitions between interior and exterior spaces continued with the exploration of alleyways or 'closes' in Royal Mile, Edinburgh. Chalmers' Close is one of the close resemblance of the linear movement in the Passenger film scene. Also viewing at a larger scale, the close is juxtaposed in a rich context that includes tall hotels,churches of different styles, a tree plantation area and its connection toJeffrey Street which looks over Waverley Station and across towards Calton Hill. The interior-exterior relationship can also be applied in different ways as the Royal Mile (High Street) and Jeffrey Street could resemble exterior spaces while the close becomes the interior. Another way to look at it is the ‘tunnels’ of the close being the interior and all spaces outside the ‘tunnel’ as the exterior. This flexibility on applying the interior-exterior relationship allows us to explore our themes much further.

Micromoment 1 [Forsyth's Tea Room]

Micromoment 3 [Jury's Inn]

Micromoment 2 [from Bailie Fyfe's Close]

Micromoment 4 [Scottish Book Trust]

Jeffrey Street

Jury’s Inn

Scottish Book Trust Chalmer’s Close

Carruber’s Christian Centre Forsyth’s Tea Room Trunk’s Close

Bailie Fyfe’s Close

We analysed each building’s circulation through model-making. Thus, these circulation models are able to convey more information in terms of transitional spaces between interior and exterior.

High Street

Further exploration has resulted in researching the hidden mechanisms behind the transition journey through each building. These mechanisms thus create the experience in these buildings. We call these micromoments.

Circulation

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Transition Medium

Transition Direction

10m (Scale)

The mciromoment studies are colour-coded to distinct them from one another and to create their identity. The following are the circulation models integrated with their respective micromoments.

Micromoment 5 [Carruber's Christian Centre]

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ARCHITECTURAL DESIGN: EXPLORATIONS

DOMESTIC OVERLAY: ARCHITECTURAL APPLICATION PROJECT BRIEF Again working with your group, you will establish a set of complimentary programmes that address the live/work typology. Each member of the group will select a programme according to an architectural dialogue between the other members. Proposals for these programmes will be developed individually, but always in communication with other group members. Our initial approach in creating our architectural proposition is integrating all the micromoment studies into the programme. The photographer’s gallery mostly adopts the door mechanism of the Scottish Book Trust in creating a linear journey across Chalmer’s Close, with frames being situated along the ramp and bridge. The photographer’s workshop is situated along the entrance of the close, creating a transitional journey for clients in entering the workspaces. This transitional mechanism is enhanced through light path mechanisms as seen on the micromoment study of the teahouse. Floor Plan

For the domestic space, again the transitional mechanism is applied throughout the journey from the close to the house. The stairways and frames further enhance the experience, integrating micromoments along the journey.

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Gallery Bedroom Living Room Shop

5 Atelier 6 Dark Room 7 Studio 8 Foyer

Site Micromoments Jeffrey Street

Jury’s Inn

Scottish Book Trust Chalmer’s Close

Domestic Space

Gallery Carruber’s Church Centre

1 Workshop

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Gallery Bedroom Living Room Shop

Forsyth’s Tea Room

5 Platform

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Royal Mile Bailie Fyfe’s Close

Abstract Site Plan

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ARCHITECTURAL DESIGN: EXPLORATIONS

The path along Chalmer’s Close’s relevance possessed similar linear circulation with the camera in the Passenger film scene. Also, the journey from the Scottish Book Trust towards the gallery resembles the film scene where its gate mechanism is applied in form of partitions. These mechanisms are also integrated into the circulation from the workshop to the domestic space, creating a macromoment through multiple micromoments. The macromoment is created in the form of a spline that connects every micromoment with one another, producing a rich, activating environment.

to Gallery

Royal Mile

Workshop

Church

to Domestic Space

Chalmers Close (New Courtyard)

Section through shop and domestic space

View from Book Trust

Section BB’

High Street

Section through photographer workshop and shop

Section CC’

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ARCHITECTURAL DESIGN: EXPLORATIONS

MACROMOMENT OF A PHOTOGRAPHER The resulting outcome of the micromoments of the gallery, workplace and domestic space creates a macromoment that involves the circulation around Chalmer’s Close that includes the Royal Mile and Jeffrey Street that connects the 5 micromoments its surroundings. This macromoment considers the photographer’s live-work atelier as a spatial transition across and along Chalmer’s Close, further enhancing and creating a cinematic experience of people walking around the close. The drawing is an overview of this macromoment that shows how the micromoments of the surroundings of Chalmer’s Close connect and inform the photographer’s live-work atelier together with the spline in creating a macromoment of the photographer living and working in the close.

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Y3 S1

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ARCHITECTURAL DESIGN: EXPLORATIONS

A PHOTOGRAPHER'S PLAYGROUND Throughout our cinematic space exploration on spatial transitions between interior and exterior, both the filmic analysis and hidden mechanism of The Passenger flim scene and the contextual exploration around Chalmer’s Close have been heavily applied into our architectural proposition for a photographer/videographer’s live-work atelier. Thus, the outcome of this exploration results in the creation of a photographer’s playground. The film scene’s linear directionality and gate mechanism became the basis of the design as the micromoments of the buildings surrounding Chalmer’s Close further develops the micromoments and macromoment of the spaces. Here, the photographer is able to live and work in his own world, as the photographer’s gallery, workshop and domestic space are filled with cinematic aspects of spatial transitions between interior and exterior. Hence, each step into every corner of the spaces fascinates the mind and therefore creates a rich and conducive environment for a photographer’s live-work atelier for everyone to experience.

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Y3 S1

AD3

ARCHITECTURAL DESIGN: EXPLORATIONS

ARCH10002

ARCHITECTURAL THEORY COURSE SUMMARY

PERSONAL REFLECTION

This course explores the relationship between theory and architecture. We will use a range of case studies to look at how theory can challenge assumptions and offer new ways of thinking about key problems. the course will support students in exploring the relationship of architecture to other areas of culture. It will also provide you with an expanded interpretive framework through which to understand architectural production. The sequence of lectures is thematically organised and explores the timings and spacings of architecture, including architectural origins, the everyday nature of technology, as well as architecture’s role in supporting and/or challenging social boundaries around gender, nature and power. Students will develop skills in reading and writing about complex texts, as well as developing critical perspectives on how architecture might respond to a range of contemporary social issue.

Architectural theory enabled me to explore and understandw the relationship between architectural discourse and the real life practice. Reading about theory has developed my own critical perspective on how architecture might or should respond to a range of contemporary social issues. The study of theoretical texts and writing journal entries became a new exercise in constructing concise and rigourous arguments on the trend and environment which shape the architectural events.

LEARNING OUTCOMES LO1

Knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of architectural design.

LO2

Ability to demonstrate and analyse through careful argument how architectural production fits within wider philosophical, historical, social, political and economic discourses.

LO3

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing.

Course Organiser Dr Dimitra Ntzani

CRTITICAL REFLECTIVE JOURNALS

JOURNAL 1

Library as a Healer of Unhealthy Society

JOURNAL 2

Architectural Signage

BRIEF

The reflective journals provide an opportunity to develop skills in engaging critically with architectural theory, exploring the relationship between architecture and theory more widely, and producing succinct, well-supported accounts of your own position on selected issues.

Picton Reading Room, Liverpool imposed indirect surveilllance.

Vanna Venturi House by Robert Venturi.

Camera Belly/Flickr.

Carol M. Highsmith/Library of Congress.

From Bentham’s model of prison, Foucault saw its function as a kind of laboratory of power. Concerning the idea of Panopticon, library derived its positive applications and serve a place to pursue enlightenment of healthy imagination, at the same time tackling prejudice by inviting adventurous questioning of customary modes of thought. But how does a library can eradicate social diseases and improve the people’s state of mind?

Key references (Journal 1) Black, Alistair. The Library as Clinic: A Foucauldian Interpretation of British Public Library Attitudes to Social and Physical Disease, ca. 1850-1950, Vol.40(3)(Libraries and Culture, 2005) Foucault, Michel. Discipline and Punish: The Birth of The Prison. Translated by A. Sheridan (Harmondsworth: Penguin, 1979). Foucault, Michel. The Birth of the Clinic; An Archeology of Medical Perception. Translated by A. M. Sheridan (London: Routledge, 2003). Key references (Journal 2) Colin Davies, Thinking About Architecture: An Introduction to Architectural Theory (London: Laurence King Publishing, 2011) p.28. Robert Venturi, Denise Scott Brown, Architecture as Signs and Systems for a Mannerist Time (New York: Belknap,2004) p.45. Robert Venturi, Denise Scott Brown, Architecture as flexibility; form follows functions. webofstories, 2010. https://www.webofstories.com/play/robert.venturi.and.denise.scott.brown/1;jsessionid=01FE390190625F013C62C6989CDBC941

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A clinical gaze harness by a medical practitioner is parallel to the function of a librarian as a ‘gatekeeper’ in a library.( This was referring to Foucault’s idea of the clinic stating that clinical observation is comprised of the hospital domain and teaching domain. In a library, we always be conscious of the surveillance that interacts with us both physically and administratively and at the same time, the existence of intrusive ‘gaze’ instils meticulous habits and self-control. Picton Reading Room in Liverpool constructed in 1906 incorporates Panoptic design in the interior and Roman colonnade on the exterior which to inculcate indirect surveillance and bureaupathic behaviour architecturally. Back in the early Nineteenth-Century, the library was as an agent of government which educate the community about the market economics, laws and issues about sanitation. But, it is not just the panoptic design of a library that discipline its users, but the ocean of books around that tend to civilize them and the mechanism of access of the library. In conclusion, the library is an institution that incorporates the Panopticon to work as a mechanism that improves the social well-being of a community. Although in a certain situation library can become a tool to advocate policy by a government, it should not be politically biased as it can disrupt the social balance within a community.

Colin Davies states that, from a viewpoint of legibility, the less signage the better the building. But perhaps for Robert Venturi, a building is just like a poem which can have several meanings at the same time. In this entry, I will discuss Robert Venturi’s exploration of the architectural language of symbolism in Post-Modern architecture and its effect on today architectural language. Vanna Venturi House is an example of the explorations of complexity and contradiction in architecture. Venturi deduced that architecture must be a Mannerist rather than Expressionist which it should be used as a sign rather space. As a rejection towards modernism, he substitutes the dull and uncommunicative with richness and ambiguity. The complexity is derived from the alteration of classical symbolism and juxtapose the architectural qualities with a sign that most people can understand. On many occasions, architects tend to explore a form as they are in pursuit of aesthetic expressions before accommodating the functions. The architectural qualities of post-modernism are deliberately contradicting to modernism as it tends to give a new way of understanding architecture. But as a result, nowadays post-modernism is has become only a way of thinking about architectural sensibilities and functionalities meanwhile modernism evolving into a new interpretation of digital architecture as per the development of technologies. A building means not what the architect intends it to mean but what all the users of the language of architecture will allow it to mean. To conclude, post-modernism has become a historical style and language that speaks about the relation of sensibilities and functionalities of a building. But the architecture of today has become more complex and contradictory, with the design has already evolved to explore new architectural ambiguities.

Y3 S1

ARCHITECTURAL THEORY

JOURNAL 3

Body in Space

Maxxi Museum in Rome by Zaha Hadid. Iwan Baan.

Habitus can be an adaptation of our body in space resulted after familiarizing with the conditions. But we are all different in identity and maybe the way we experience space may influence by our behaviour, feelings or thoughts. In this entry, we will discuss how spatial experience can be different according to our bodily cognition.

Key references (Journal 3) Bernard Tschumi, Architecture and Disjunction, (Massachusetts: MIT Press, 1999) Colin Davies, Thinking About Architecture: An Introduction to Architectural Theory, (London: Laurence King Publishing, 2011). Jonathan Hale, Merleau Ponty for Architects, (New York: Routledge, 2017).

Key references (Journal 4) Adrian Franklin, Journeys to the Guggenheim Museum Bilbao: Towards a revised Bilbao Effect Annals of Tourism Research,59 (University of Tasmania: Elsevier, 2016). Carol Burns, “On Site: Architectural Preoccupations” in Drawing/building/text ed. Andrea Kahn (New York: Princeton Architectural Press, 1991). Michel de Certeau, The practice of Everyday Life (London: University of California Press, 1984)

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Ponty suggested that a process of adaptation to a certain tool will become a ‘medium’ for us to experience spaces. The incorporation of the tool into body schema is gradually sedimented into a person habits, which then withdraw from direct awareness and become a part of a bodily repertoire of skills and abilities. From Maison de Bordeaux by Rem Koolhaas, functional expression of bodily experience is designed which the platform has become a part of the user, a muscle memory that acts as a ‘medium’ to experience the space. But in contrast to Ponty, Tschumi sees that our bodily engagement becomes the operation of the reason for space which interplays with its perception and rational means. Architects become an instructor of performance of spatial experience. Maxxi Museum by Zaha Hadid challenges the body schema by composing circulation which let the people subsume into a complex spatial experience. The consciousness of a body is extracted to let the architecture of the room influenced the ‘architecture’ of the human body thus creating a spatial experience as instructed by the architect. The spatial qualities that we are designing can always be far beyond just a shelter that accommodates the people. Space itself is always self-evident, but the way we see it maybe not.

JOURNAL 4

Architectural Preoccupations

Guggenheim Museum in Bilbao by Frank Gehry. Erika Barahona-Ede.

The idea of a site-specific building can be very crucial in coping with the site landscape and the normal understanding of people with the art or architecture themselves. The indefinable excess of a site allows the freedom of design ideas for the site which can be predetermined by the architects themselves. In this entry, we will look at the architectural preoccupations of Frank Gehry’s Guggenheim museum both in Bilbao and Abu Dhabi. The site of the Guggenheim Museum in Bilbao was already a practice place. The city of Bilbao provides a space for the museum that has incorporated the mobile elements and intersections of circulation on the site which support de Certeau’s argument that space is a practice place. The Bilbao Effect was only the oversimplification of the idea that the architecture of Frank Gehry begets the profit. While many argue that the museum desecrates the value of the Basque culture, it has already been designed to be site-specific to its historical context of a city of the shipbuilding industry and the design itself was the flagship for the city regeneration plan. Whereas for Gehry’s Guggenheim Museum proposal in Abu Dhabi, the massive cleared site of the city provide the opportunity for the architecture to establish an image for the city as a city of culture. We can relate that for the space to be a proper place as describe by De Certeau, the cleared site is not necessarily opposed to the idea of the constructed site but the association of these two elements provide a productive potential of the site itself. To conclude, architecture is not like a sculpture where it can be widely perceived. The interwoven of a building with the fabric of the city is what makes the architecture real and lasting in value.

Y3 S1

ARCHITECTURAL THEORY

JOURNAL 5

Technology-Aided Architecture: Evolution of Designing or a Pursuit for Aesthetic?

Concept Drawings by Peter Eisenman. Eisenman Architects.

Avermaete and Teerds state their concerns on how the architecture can lose its depth when it turns its focus only into the aesthetic idioms. With such many technologies nowadays can generate any form with right sets of algorithms, the architecture has pushed the functions to ‘fit’ into the form. In this entry, we will look at the interaction of technology, media and design with architectural qualities..

Key references (Journal 5) Bernard Tschumi, Architecture and Disjunction, (Massachusetts: MIT Press, 1999). Jared Langevin, “Reyner Banham: In Search of an Imageable, Invisible Architecture”, Architectural Theory Review 16, no. 1 (2011). T.L.P. Avermaete and P.J. Teerds, “The Roles of the Architect: Toward a Theory of Practice” in On the Role of Architect: Lexicon No. 1 ed. Salomon Frausto, (Delft: Delft University of Technology, 2016). Key references (Journal 6) Colin Davies, Thinking About Architecture: An Introduction to Architectural Theory (London: Laurence King Publishing, 2011). Henri Lefebvre, Writings on Cities translated and introduced by Eleonore Kofman and Elizabeth Lebas (Oxford: Blackwell, 1996). Mark Purcell, “The Right to the City: The Struggle for Democracy In Urban Public Realm”, Policy and Politics 41, no. 3 (2013).

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Banham enumerates that architectural form should lean towards sociology and technology as factors of the architectural form. He established his opinions from Fuller’s Dymaxion House which nurturing artificial environment for dwellings defined architecture as a service of ‘fit’ environments for the human activities. Whereas with the emergence of computer-generated and parametric design which explore algorithms to set out the form, architectural design has become more towards environment ‘fit’ the architecture rather than the opposite. Tschumi argued that the negativity of stylistic concerns at the expense of programmatic ones poses to making architecture regards as knowledge of form instead of a form of knowledge. He also elaborated that this semiotic interpretation reduces architecture to become just mere decorators with disregard the spatial and programmatic concerns. The exaggerating uses of technology by discarding the concern of what architecture should have been about designing spaces for inhabiting can lead to the breach of architect codes of conduct. To conclude, we should conceive and construct the theory of practice which composes the soil of the reality itself with the forms of architectural knowledge that we have. The evolution of design from these parameters that we set digitally should be parallel to the ‘fit’ environment that we will produce.

JOURNAL 6

Traditional or Modernist?

Voisin Plan proposal in Paris by Le Corbusier. 2013 Artists Rights Society (ARS), New York / ADAGP, Paris / F.L.C.

Spatial and social clarity defined the characteristics of a particular city of its own identity and the collective rights that belong to the community. But the urban forms are the one that allows for the ideal dream of a city for the people. In this entry, we will discuss how the urban forms affecting the engagement of the community with its own urban fabric. Lefebvre notion of a city is that its users manage the urban space for themselves which emancipated from the state. Stavrides support that the right to the city goes beyond the needs of a high level of common, but also a way to transcend the pure utility of the common itself. But the idea of this urban society exists because of the traditional urban form of the city that allows this notion of democratic awakening. In contrast, the functionalism of a modernist city preventing spaces to function as it or we Intended to, which can be turn out into a formless and meaningless open space. Lefebvre right to the city may be seen as a counterexample to the modernist city. He argued that architects dogmatized some of the significations and elaborated them not from the awareness or experience from those who inhabit, but from their interpretation of inhabiting. Purcell interprets that Lefebvre sees the urban inhabitants are passively used as a political agenda, functioning only as a consumer and not as a citizen. To support Lefebvre, Davies argues that the tight correspondence between urban and social forms is neglected in a modernist city. The city only works as an engine for the economic growth that feeds the elites. To conclude, the idea for the right to the city is not suggesting that we should be going back to traditional cities, but it is simply reverted to the rights and quality of urban life.

Y3 S1

ARCHITECTURAL THEORY

ESSAY BRIEF

The student must present a considered response to a given question about an area of architectural theory. The student can choose between 10 possible questions, each one relevant to a different topic presented in the lecture series. The essay should display an in-depth understanding of the chosen topic. ESSAY QUESTION

Drawing references from the main and recommended bibliography, summarize the main points of critique of Scott & Venturi to the modernist movement. Then present one (maximum two) architectural precedent and argue for or against their characterization as ‘ducks’ or ‘decorated sheds’, following Venturi’s and Brown’s criteria.

Villa Savoye by Le Corbusier Andrew Kroll, Archdaily.2010.

Key references Harries, Karstein. The Ethical Function of Architecture. Cambridge: MIT Press, 1997. Venturi, Robert, Scott Brown, Denise and Izenour, Steven. Learning From Las Vegas. Cambridge: MIT Press, 1977. Venturi, Robert. Complexity and Contradiction in Architecture. New York: Museum of Modern Art, 1977. Vinegar, Aron. I am a Monument: On Learning from Las Vegas. Cambridge: MIT Press, 2008.

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Las Vegas was seen as an event of architectural communication provided a debate for the dissatisfied modernists towards traditional architectural conventions. The issue raised by Venturi and Scott Brown against modernism was particularly about the language crisis of discarding ambiguity which resulted in the loss of architectural meanings. Venturi thought that the Modernist architecture was bland and uninteresting because, without ambiguity, they overvalued simplicity and clarity while the world has become more complex and contradictory. Because modern architecture rejects ambiguity, they suggest that the architecture should embrace the ambiguities of traditional architecture, so it can speak to the people about its reasoning behind it. To understand the problem of architectural communication, architecture should be understood like a language, the less word we used, the heavier the meaning it carries which practically just like how architecture would work. This metaphorical idea was applied in architecture to give meanings to our buildings so that it will correspond with its user and thus the architecture will be appreciated. Architecture is considered as a language not because it makes assertions, but because of its style and specific configuration of elements within that style. Sometimes in designing, asymmetrical was intended to break the architectural conventions, just like what Modernist architects tried to express their language of simplicity through “form follow function”, the complexities and contradictions between each element allow for more interpretation even it was done deliberately. For Venturi, “more is not less”, and this idea of ambiguity in design is to fight against the unpopularity or familiarity that we can find in modern buildings. To Modernist architects, because of their interest was more towards function rather than meaning, they saw engineering could achieve a new form of design that they wanted to, and be believed that it could be a practical solution to a functional problem – at the same time hoping that aesthetic values will follow naturally from a utilitarian standpoint. Karstein Harries supported the argument, “to construct decoration is to make it autonomous, is to create a self-sufficient aesthetic object”. But if we look into the pure aim of utility in modernist fashion, prioritizing function to be flexible rather than pursuing aesthetic identity, is a contingency plan to adapt with the fast-paced technology and digital age that we lived in. Aron Vinegar argued against the aesthetic driven statement by the trio in Learning from Las Vegas with the question of how architecture should be when space was no longer dominant and no longer directed towards urban scale? The question posed by Vinegar maybe will be blurry if it emerged after the post-war, but the modernists seem to figure out the future for their functionalist movement. The architecture of the future should always be ahead of its time, rather only focus on expressing architectural meanings, it should seek the way to accommodate the best possible way for any intended use in the future so that the building will not lose its clarity and can be easily adapt to a new function after some time. Villa Savoye by Le Corbusier is a residence that has purely simple in appearance but in fact, it has its own because of its pure in form from the outside appearance, but because of the intricate details of the spatial programs on the inside made this building can be label as a ‘decorated shed’. Venturi as he illustrated his point from the example of Villa Savoye, that architecture should embrace complexity and contradiction between exterior and interior. Villa Savoye explored a new language of expressive transparency into its decoration, distorting the normal syntax of the traditional architectural language. The internal configurations of Villa Savoye were contrasting with its pure form of symmetrical facades with the dialogue between the element also try to tell that the building was more than what it already is. The ‘decorated shed’ suggest in Villa Savoye was an architecture of inexpression, with its ‘shed’ for secret, but rather the choice for its material and location questioned the practical use of the building rather than its aesthetic quality. Harries also add that because not all house supposed to look ordinary, it will then depend on the choice of structure, materials and its placement to the urban context. Every building has its own voice and whether it wants to keep both aesthetic and functional approach, they will seek to submerge into symbolism to acknowledge the identity behind their architectural meanings. ‘Duck’ and ‘decorative shed’ must not be seen as negative prejudices towards modernist architecture but it was rather a symbolic representation to understand the relationship of those terms with its function and how it expressed considering the form, space and program. Early in the book, the trio calls for “the architecture of styles and signs is anti-spatial, it is an architecture of communication over space; communication dominates spaces as an element in the architecture and in the landscape”. It was a reflection from the scene that they had experienced from the strip of Las Vegas and maybe it was not what they are expecting as of what is happening afterwards. The architecture of ‘duck’ in modernist buildings has now had its form dominates the architectural scene while the architecture of ‘decorated shed’ only become generic buildings that represent specific function such as a house or an office. This is the shared nature of architectural events caused by the factor of the architects, clients and users have their own responsibility in the creation of new architectural meaning. Whether it was occurred intentionally or not, a building means is not always how the architects want it to mean but what all of its users will allow it to mean. With the invention of new technology in design with the aid of the computer-generated drawing, architects tend to find new forms that could possibly communicate their ideas for the future and become a symbol in their own language or bound to a site-specific.

Y3 S1

ARCHITECTURAL THEORY

ARCH10027

ARCHITECTURAL PRACTICE: WORKING LEARNING COURSE SUMMARY

PERSONAL REFLECTION

This course introduces students to architecture as a professional practice. The course addresses a range of topics - the architect/client relationship, the role of professional bodies, legislative framework and modes of procurement – in order to offer students a framework of professional knowledge, preparing them for future employment.

This course has provided a much clearer understanding of architectural profession in real-life practices. The essays had introduced me to the research on the institutional and governing factors that oversee and regulate the design and construction process. Making a design report allowed me to understand the architectural response and pertinent factors that were considered based on the client and statutory requirements.

LEARNING OUTCOMES LO1

An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered.

LO2

An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects.

LO3

An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry.

Course Organiser Mark Cousins

SHORT ESSAYS

ESSAY 1

ESSAY 2

Architectural design in the UK is subject to a wide range of regulatory requirements. Describe the governmental purpose and architectural implications of a selected regulation of the Building Standards (Scotland).

An increasing number of architectural firms are choosing to organise themselves as an Employee Owned business. In what circumstance is this form of office structure advantageous, and why?

From 2007 to 2013, refinements in energy standards were made to improve the energy efficiency and carbon emissions reduction for Scottish buildings. This essay will mainly be focused on the architectural implications following government regulation on energy standards (Section 6) for domestic buildings.

Employee-owned business through an Employee Ownership Trust (EOT) has become a promising office structure within architectural practice. In this essay, we will be looking at why this type of ownership is advantageous to the whole organisation.

Section 6 addressed the effective measures have to be taken to conserve fuel and energy consumption by the dwellings. These measures are taken to combat with the inefficiency of Scottish buildings which resulting in high energy bills and waste of money. The aim is suggesting the designer design holistically as to reduce energy demand at the same time ensuring the future buildings works of the site can minimize the use of energy and fuel cost. Consideration needs to be taken on how the logistics can minimize the impact of carbon emissions as well as choosing the right materials which can reduce the delivery time and cost-saving. Although designing a new building to high standard to high standard is vital, but the whole energy problem lies from the poor standard of the existing buildings.

EOT is a popular business model because the way it works is very collaborative and safeguarding the future of the company. The values and purposes of the company are shared across all the employees and the reciprocity gained can benefits the practice and employee collectively. With the implementation of EOT, the day-to-day management of the office has become more transparent as ever. The involvement of employees in the business is crucial for a better understanding of the practice practicalities as the role and responsibilities of the management are circulated the staff. It makes the practice more self-aware of its decisions and planning as the discussion is taken from a collaboration between the management and its employees.

REGULATIONS

OFFICE STRUCTURES

BRIEF

This assignment is intended to test students’ understanding of issues of professional practice introduced in the lecture series. Through four short essay questions, it asks students to investigate a selection of those issues in greater detail. Prepare four short answers, of maximum 500 words each, in response to the questions listed.

Key references (Essay 1) Hopfe, Christina J., and McLeod, Robert S. The Passivhaus Designer's Manual a Technical Guide to Low and Zero Energy Buildings. (New York: Routledge, 2015). Ross, Ann and Hetreed, Jonathan. Architect’s Pocket Book. (London: Taylor & Francis Group, 2011) Scottish Government, “Technical Handbook 2017 Domestic”, last updated 03 July 2017 https://www.gov.scot/Topics/Built-Environment/Building/Building-standards/techbooks/techhandbooks/th2017dom.

Key references (Essay 2) Bennetts, Denise. “The Evolution of a Practice”, Architectural Practice: Working Learning. Class lecture at University of Edinburgh, 16 October 2018. Marrs, Colin. “Power To the People: The Rise of The Employee-Owned Practice”, The Architect’s Journal, posted on 12 January 2018. https://www.architectsjournal.co.uk/news/powerto-the-people-the-rise-of-the-employee-owned-practice/10026872.article?sm=10026872 Morris, Neal. “Shared Ownership in Practice”. RIBA. posted on 03 May 2018. https://www. architecture.com/knowledge-and-resources/knowledge-landing-page/shared-ownership-in-practice.

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The advantage of implementing renewable technology can give a great opportunity to reduce carbon dioxide emissions efficiently. Following with Standard 6.1, states that every building needs to design and construct with energy performance that capable of reducing carbon dioxide emissions. This standard mainly focused on the design for the new building design as it will have a great advantage on implementing low carbon equipment (LCE) such as photovoltaics or solar water heating which can easily comply with the standard. The existing building also needs to improve its standard to comply with the regulations although it cannot well incorporate those fancy new technology of LCE. But sustainability is the key to the design of an energy-efficient building. Following with Standard 6.2 until 6.10, it focused more on the individual elements which need to be improved and achieve optimum efficiency in energy saving. This has a lot to do with the standard of incorporating Passivhaus design which has been implemented in other European countries. It is important to consider the important parameters such as maintaining air-tightness of the wall, increasing the insulation levels, avoiding thermal bridges and optimizing solar gain to maintain a high standard of thermal insulation which then provide energy-efficient buildings. The government investment and dedication towards this energy regulations are something that we must look upon as it improves the way designer approach to the design of a building as well as improving the living standards of dwellings. While we seek for cost-effective design, it is important for designers to look back on the sustainability of the design and how well can it maintain the parameters on its initial standard we invest for the future.

Many architects are keen to work with this business culture because of its tax-friendliness and collaborative work environment that it offers within the practice. As the employees themselves are the shareholders of the company, the incentive gained from their shares can be exempted from capital gains tax and also automatically eligible for tax-free bonuses. Some companies also reward their employees for their efforts and success they bring to the company with Enterprise Management Incentives (EMIs) which offers the employees with an agreed price of the shares at the future dates. The principle of the EOT itself is that it is a business that runs for the interest of employees. In the traditional director-ownership model, succession and decision planning of a company can be affected by emotion, financial issues and difficulties of not finding the right successor to the company. With EOT, employees’ involvement can improve the works environment of the practice as the mode of works has become more collaborative and engaging. With positive ethics exist within the practice, it attracts more clients to the practice and marketing the services that the company had offered. A company that runs through an employee-owned business tend to care about its employees and it puts a good perception towards the way a company cares about the projects and its funding. This is a good way to maintain the legacy of the practice and prevent it from a shutdown which can waste all the amount of hard work put into developing the practice. While this mode of business is not fit for some architectural practices, it is worth to look at what it can give to increase the productivity and corporate outcomes of the company. The benefits will always be distributed to the overall team of the practice depending on the amount shares an individual has acquired.

Y3 S1

APWL

ARCHITECTURAL PRACTICE: WORKING LEARNING

ESSAY 3

ESSAY 4

Consider how the architect’s design responsibility differs between ‘Traditional’ and ‘Design + Build’ contracts?

The ARB maintains the register of architects in the UK but how successful are they at safeguarding the architect’s title and function?

Each project has its own process and scope of how the work is done. In this essay, we will be discussing how an architect’s design responsibility is different between ‘Traditional’ and ‘Design and Build’ contracts.

ARB is established following the enactment of the Architects Act in 1997 which regulate the architects’ profession in the UK. Not to be confused with the RIBA, the ARB controls the standards of professional conduct and practice by the registered architect which is important in maintaining the benefit of the public and architects. In this essay, we will discuss how the ARB as a professional body protect the architect’s title and function.

CONTRACTS

In the ‘Traditional’ route, an architect needs to exercise reasonable care and skill during the production of the design and specification of the project because they are appointed directly from the client. Because of the high degree of design control given by the client, the architect can operate independently, without any direct financial interest in sacrificing quality to minimize cost. The quality of a design is important for the architect to carefully considered its buildability during construction. Because of the complete separation of responsibility from construction, the architect must prepare the tender which includes drawings, work schedules and bills of quantities. Although the financial risk for construction does not fall to the responsibility of an architect, if any design information is incomplete in tender, the cost can be significant to the client and legally, the fault for design defects can befall directly onto the architect. It is important for the architect to administer the contract until the building is finished.

Key references (Essay 3) Carey, Steven. Tomlin, Melanie. “Procurement Route”. In ICE Manual of Construction Law, Edited by Vivian Ramsey. London: ICE Publishing, 2011. Clamp, Huge. Cox, Stanley. and Lupton, Sarah. Which Contract? London: RIBA Publishing, 2007. Cousins, Matthew. Architect’s Legal Pocket Book. New York: Routledge, 2016.

Key references (Essay 4) Architect Registration Board, “The Architects Code: Standards of Professional Conduct and Practice”. http://www.arb.org.uk/architect-information/architects-code-standards-of-conductand-practice/. Ostime, Nigel. Handbook of Practice Management. London: RIBA Publishing. 2013. UK Government. “Architects Act 1997”. The National Archives. https://www.legislation.gov.uk/ ukpga/1997/22.

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Meanwhile for ’Design and Build’ route, a contractor will be appointed by the client to carry out all the design work, and because the design is not the contractor’s speciality, an architect will be subcontracted or novated to carry out the design process. The architect will carry out the elements of the designed which have been outlined specifically by the client. Usually, the client will also appoint another architect as an independent adviser to review the design proposal from the contractor and administer the contract. There will be a novation of obligations and liabilities undertake by the contractor on novation of the design team which is intended to give the contractor recourse when there are errors in the design. Therefore, the quality of the design that will be carried out needs to be aligned with the client’s brief and specification. With all the work solely combined into a single contract, this means the involvement of the contractor in the early design process can reduce the buildability risks which help in minimizing the delays and reducing the cost. Contracts are just a medium for allocating risks of the design and various other responsibility that are exist during construction. As an architect, we need to provide advice to the client on the best possible procurement method, and be wariness about any additional delays and cost that will result from future consequences that has been agreed within a contract.

PROFESSIONALISM

The duty of an architect is carried out based on their diligence and reasonable care in the professional attainment. In Section 20 of the Architects Act 1997, states that “a person shall not practice or carry on business under any name style or title containing the word ‘architect; unless he is a person registered under this Act”. The architect profession is protected from being manipulated or overtaken by the building contractor, which are more speculative and profit-oriented. This also prevents the architect’s title is misused from the public in any projects and protect the clients of all risks from dealing with an unregistered professional architect. In Section 13 of the Architects Act, “requires the ARB to issue a code which set standards of professional conduct and practice”. The Architect Code was then published by ARB which courage anyone who registered as an architect under the Act needs to meet the standards of the code. It is a good blueprint to follow as it prescribes all the professional conduct that are essential for an architect when they carried out their work and dealing with clients and customers. But when there are a serious incompetence and unprofessional conduct of an architect, ARB’s Professional Conduct Committee put their ethics and moral code back in check thus maintaining the professionalism of the architect profession. Section 4 of the Architects Act 1997, states that “ARB is given the statutory responsibility to prescribe the qualifications that are needed to become an architect”. In regards to the Section 4, ARB suggests that one needs to complete the Part 1, Part 2 and Part 3 architectural qualifications and another minimum period of two years in practical training to gain legally the title ‘architect’. It ensures that the architect profession is associated with a fully trained and qualified professional with their ability is recognized through examination and certification and their trustworthiness through complying with the rules and regulations. An architect is not only just a design-based job, but they are professionals that administer the contract and manage various type of project. As the responsibility of an architect become more diverse, it is important for a regulatory body to exist to keep the architect’s profession always in check with the existing law and handle any violation and misconduct with disciplinary action that keeps the relationship harmonious between the architect and society.

Y3 S1

APWL

ARCHITECTURAL PRACTICE: WORKING LEARNING

DESIGN REPORT

YSOL BAE BAGLAN BRIEF

This work-based learning assignment asks students to consider the implications of issues raised in the lecture series on a design project they have experience of. It familiarises students with conventional professional media, in this case, the ‘Design Report’. Students whose Practice experience does not offer them experience of a relevant design project should use this exercise as a means of gaining further understanding of professional practices, through research into a specific project, or interviews with practitioners. The report should focus on building procurement and statutory frameworks, but not be too long: a 2-4 page A3 format document with a maximum 800 word count is recommended.

CLIENT Neath Port Talbot County Borough Council

TEAM ARCHITECT

Stride Treglown

PROJECT ARCHITECT

Dean Southcombe

LANDSCAPE ARCHITECT

Stride Treglown

PROJECT DIRECTOR

Simon Trew

DESIGN TEAM

Phil Grant, Faye Morrison, James Page, Claire Symons (landscape), Gareth Brown, Dean Southcombe, Nicholas Price, Gethin Davies

STRUCTURAL ENGINEER

Cambria Consulting

QUANTITU SURVEYOR

Faithful & Gould

PROJECT MANAGER

Neath Port Talbot CBC

PROJECT BRIEF

LOCATION

The school is designed to amalgamate three comprehensive school and one primary school in the area of Port Talbot. The idea is to provide better education facilities and services for the local community. Design for the school will not just be an investment for transformation in education but a civic pride that can be proud of and connects the community. The challenge to the design is to establish a new architectural language into the city and giving a refresh look to its industrial landscape that has been dominating the town for a century.

The site for the school (figure 1) is located at the edge of the city in the north-west where most of the local housing areas for the people of Port Talbot lives. Port Talbot itself is an industrial city which famously known for its steelworks and most of the businesses around the site mainly benefitting the low-cost energy from the Baglan Energy Park. The site sits on the open green field and a kilometer away from the sea which make the site exposed to the south-west wind from the Atlantic Ocean.

CONCEPT DESIGN i. Providing better facilities and opportunities for young children to succeed in the future.

Key references Architects Journal. “Ysgol Bae Baglan”. Accessed on 1 February 2019. https://www.ajbuildingslibrary.co.uk/projects/display/id/7976 Neath Port Talbot Council. “Planning Applications”. Accessed on 10 February 2019. https://democracy.npt.gov.uk/documents/s27574/31.1.17%20SECTION%20A%20-%20 P2016%201023%20New%20Welsh%20School%20Sandfields.pdf

iv. The design should lead by example as a building that lean towards sustainable development throughout the design.

ii. Acting as a medium to connect the local community and hub for any recreational activities that can improve health and wellbeing.

v. Resolve the local issues regarding the high density of traffic around the site particularly with the high number of students that are registered to the school.

iii. To provide a building which will give a sense of ownership towards the local community and a new civic pride.

Stride Treglown. “Ysgol Bae Baglan”. Accessed on 30 January 2019. https://stridetreglown.com/projects/ysgol-bae-baglan-neath-port-talbot/

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Y3 S1

APWL

ARCHITECTURAL PRACTICE: WORKING LEARNING

Pre-existing site condition before the construction begins

PREPARATION & BRIEF The site given to the project is vast and design needs to consider its surrounding residential areas and landscaping that need to blend well with the visual amenity of the area. The windswept site with beautiful undulating hills that becomes the setting for the building’s landscape influence the design process that needs to respond with its overall site context rather than mirroring the rectangular blocks of industrial structures that have been dominating the surrounding area. The site was previously occupied by Sandfield Comprehensive and Traethelyn primary schools which combine total floorspace of approximately 13439 square metres of land and landscaping areas. The architect supports the client’s idea of reducing any greenfield development around its authority and site for the school resolved the problems of many parents that have to send their children to the school that have long daily travel journey. The area is flat and very close to the sea which make the soil consist of high-water table which have risk of polluting the lower water aquifer. The team has proposed along with collaboration from National Resources Wales and Cambria, that the site should be going through a dynamic compaction method which can increase the density of the soil and reduced any relative risks that could affect the project. The people in the area of the Port Talbot are mostly reside by the working-class families and the people within the area had struggle with the employment and parents are struggling with sending their children to a long journey school location. The design team hold a huge responsibility with the client’s development plan to provide high education standards to all the people of Port Talbot and delivering a good quality of educational facilities that could change the future of the children. Finalised design on-site

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Y3 S1

APWL

ARCHITECTURAL PRACTICE: WORKING LEARNING

high vertical windows with composite panels

Colourful facade panels enlighten space around courtyard

Double height entrance create an inviting entrance

DEVELOPED DESIGN 1. The ‘H’ plan with each arm of the building bent inwards create a swooping roof that reflects the landscape of the surrounding hills. With the shape of the plan, it shields the courtyard inside reduced any interference by the winds. The design is cap at two storeys to respect the surrounding areas along with its visual and residential amenities. The location for the sport pitches is carefully considered along with the planning of hard landscaping in respect to any potential noise and disturbance that could affect residential area on the south-east of the site. 2. From west elevation, the external façade consists of high vertical windows with composite panels constructed on a dark brick plinth. The elevation from the teaching areas have simplified design with colourful wall elements that enlighten the mood of social space around the courtyard. But the main entrance made use of double height glazing with overhang roof which create an inviting public space that appeal to the eyes of visitors. The combination of these different elements ensures that a visual form of design in the area is acceptable to the local development plan. 3. The rectangular hall at the ground floor will be the main space and theatre for any multi-purpose events for school and the community. The space comprises large movable screens on the centre which can be retracted and produce two spaces for another use. The ‘heart’ space is the key to the communal ownership programme of the area. This multi-purpose hall along with the indoor sports hall is designed closely intact to function as an active space for the highly intense programme held either by the school or community. 4. Following the guidance from the client along with the educational vision from the Government, the school layout is planned to be adaptable and versatile according to the school management. The design respond to the vision that all teaching subjects shift from conventional learning spaces into more informal personalized learning areas for any large group project, collaboration study or big group activities. The science rooms are located on the top floor while heavily services such as design and technology rooms, they are put at the ground level . For an easy and direct access to these practical and scientific rooms, all standard classrooms are located in between them.

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Y3 S1

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ARCHITECTURAL PRACTICE: WORKING LEARNING

REFLECTIVE ESSAY BRIEF

The final assignment is an essay offering a personal reflection on a topic relevant to contemporary professional practice. The choice of topic should engage with architecture as a profession in its wider social and economic contexts. Students who secure practice experiences in an architects practice might select a topic that affords reflection on their own work-experience. The essay should be be no more than 2000 words in length.

ESSAY TOPIC Reflection on Architectural Pedagogy and Education in Preparing Architecture Graduates for Professional Practice.

Valuing myself with the experience and skills that I have gained over the years, some issues need to discuss whether the architectural education has prepared me with essential qualifications and skills needed as an architecture graduate or whether it only prepare me with theoretical and architectural terminology which will force me to consume more time for its practical applications during practice. Carraher, Smith and Delisle argued that there is lacking follow-through of collaboration in architecture industry which essentially a result of lacking academic and professional training for this subject. They elaborated that the current architectural pedagogy teaches the students about designing buildings but not to lead or participate in multidiscipline students with different personalities and backgrounds which are commonly practised in the real-life situation as an architect. Just like how Design and Build procurement includes the early participation of engineer to fasten a project, I agree with their statement that myself as an architecture student is lacking in collaborative exposure with others students such as engineering or interior design which are involved professionally with the architect during construction projects. While most of the students will be experiencing this type of situation during their placement period, the collaboration across disciplines within the structure of architectural education can give brief information about their abilities and limitations not only about them but also those professional partners that involve in the projects so it will prepare them with the essential knowledge during the practical experience. The collaboration across multi-disciplinary departments with architecture has been one of the long debates for the change needed in the architectural pedagogy to include this professional education. The pedagogical approaches as suggested by Lawrence is that the current education has to be responsive and adaptive to the dynamics of the marketplace and respond with the professionalism of architecture that which keep on expanding in the business and construction environment. Architect played a crucial role in harnessing the collaborative potential of a diverse team. They are a team leader that needs to have awareness of each team member’s skill set, background and experience so that they can foster a framework of collaboration that fits into their specific roles. The exposure of responsibilities of each related team members that will be cooperating with architects needs to be clarified in the early stage of professional education because without a leadership within a collaboration, it will affect the effectiveness of the projects itself and the team lose respect and trust from the clients. This can relatively affect the architectural practice and its ideology which to provide leadership and assistant in construction management. The institution itself caught in between two competing forces, profession and the market, which demand changes to its very core. While the existing role of architects is already challenging to fit with the demand of providing quality design and sustainable architecture, the growth of the procession also demands the architects to master disciplines which have been beyond the capacity of any individual. During the elective course of Design Thinking and Digital Crafting that I have partaken in the university, I had realised the scope of knowledge for an architecture student has to expand along with the advancement of technology in the current market. Although the course was only participated by architecture students, its learning outcomes have me aware of the involvement of technology in architectural pedagogy has put an added value to my technical skills which in return improve my design thinking relatively and utilise it as a tool for an infinite possibility to explore new ideas. Architecture students are surrounded by an array of projects that constantly follow with demanding deadlines. With the trend of the jobs market that valued most of the graduates with great proficiency in CAD programs or BIM, it has escalated the pressure for architecture students to enhance those set of skills and implementing it into the ongoing design project so that I can improve to be a competitive candidate that possess marketable skills in the jobs market. While the incorporation of IPD and BIM in design offered with a lot of advantage, Lawrence saw that creative aspect of design activity in professional practice has declined exponentially over time, although it still essential in providing architectural services”. The bad side of IPD and BIM is that they made the construction economy and completion schedules are more important than design quality.

Key references Buchanan, Peter. “The Big Rethink Part 9: Rethinking Architectural Education,” Architectural Review, posted on 28 September 2012. Carraher, Erin, Ryan E. Smith, Peter DeLisle, and Christopher Henderson. Leading Collaborative Architectural Practice. Hoboken, New Jersey: Wiley, 2017. Lawrence, Attila. "Changing Architectural Practice Paradigms and Their Implications for Professional Education" Journal of Architectural and Planning Research 17, no. 3 (2000).

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Overall, preparing myself to become a prospective graduate is a huge challenge for me personally. The amount of knowledge that needs to subjugate which seems to exceed individual capacity is the challenge for myself to be more resilient than ever. Although different architecture school have different ways in preparing its graduates for the competitive jobs market, students have to be more effective in producing individual effort with preparation over the real-life situation that comes along with its risk and responsibility. The aim of an architecture school is not to produce graduates that have isolated skills and become a specialist of a certain type of design and leadership skill, but the aim was to mould the student into a holistic practitioner that can equally comprise all of those skills

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ARCHITECTURAL PRACTICE: WORKING LEARNING

YEAR 3 SEMESTER 2

JANUARY 2019 - MAY 2019

ARCHITECTURAL PRACTICE : REFLECTION WORK PLACEMENT

ARCH10026

ARCHITECTURAL PRACTICE: REFLECTION COURSE SUMMARY

PERSONAL REFLECTION

This course offers the opportunity for study in the workplace environment. While the student is undertaking a period of employment, a range of topics are examined through five succinct journal entries. The journal entries focus on particular aspects of architectural practice(or related activity) carried out during the Practice Experience period.

This course has equally objective outcomes from Architectural Practice: Working Learning but it provide me with opportunity to analyse and reflect on the newfound knowledge in architectural profession. I was able to study in-depth on the transitioning of working environment particularly issues regarding BIM as well as the ever expanding roles of architects in the construction industry which has become a challenge in either adapt or adapt with the rising pace of evolution in architectural career.

LEARNING OUTCOMES LO1

Demonstrate an ability to identify key themes and issues in practice and the workplace.

LO2

Show understanding through critical reflection of the academic, social and cultural contexts of practice and the workplace.

LO3

Demonstrate an ability to communicate effectively and rigorously the process of your practice period.

Course Organiser Mark Cousins

101

PLACEMENT JOURNALS

JOURNAL 2

JOURNAL 3

Analyse TWO key issues currently facing the architectural profession such as procurement, fee competition, out-sourced drafting services, combating discrimination in the profession, etc. Try to cite examples drawn from your own experience and/or the profession at large.

Globalisation has generated a creeping homogeneity across many countries and cultures. How might architects shape the public debate and help recalibrate our approach to the built environment? Make reference to legal frameworks (such as Planning and Listed Building Consent) where appropriate.

Almost two decades we have witnessed how much all the profession has been evolving just to incorporate new technology and its advancements. Architect is a tough job and its role in the society has been evolving to fit with the demand of providing a better architecture and sustainability towards the future. While efficiency in the construction sector and the quality of design has improved significantly, there are still some issues that affect the well-being of the architects themselves and how we should carefully take care of it.

Globalisation is regarded as the monologue of power that promotes the uniform idea of a mega-development in all nations. The well-established organised system and standards used in planning for the city in Western countries are adopted into the development of developing countries mainly in Asia, Africa and Latin America that are rich with diversity and cultures. But the rapid development of the country in these regions are risking their identity and sovereignty without properly addressing their local issues and limitations during urban planning and design process. There is a need for discussion on how architects should recalibrate their roles in the society and shaping a better approach in planning for the built environment that can meet with their clients’ needs along with meeting sustainable standards.

SPECULATION

GLOBALISATION

BRIEF

The format and nature of the Journal entries will vary according to circumstances, but in general it will take the form of a written document containing illustrations and comprising approx. 750 words (excluding refs, bibliography, etc).

The quality of architectural education has been one of the issues that threaten the architectural profession and its traditional role. The complexity that ever-changing in this profession has caused an increase in demands for architects to master the discipline which has been beyond the capacity of any individual. The architecture school itself has been struggling to follow up with the radical changes in this industry and reform in architecture education system needs to take place immediately. A survey made by the Architects Journal said that a third of architects work more than 45 hours per week. This culture of working long hours probably has been dragged from the period of architectural studies during university and it is a habit that needs to be stopped because it can lead to a mental health issue. As the quality of architectural education imposed a problem to the traditional role of an architect, the architectural pedagogy also needs to be updated with the demands for the industry itself so that graduates can fully understand the workflow of the profession and its requirements. Bob Sheil’s interview with the Dezeen discussed that the existing system needs to incorporate much more flexibility and diversity into the architectural courses which can allow for new talents and knowledge to grow. The role of architects in the community is still not fully integrated with the current architectural studies and while most of the architectural courses were designed to be theoretical and design-based, it still needs to be interwoven with other disciplines that can respond to the current issues and become more collaborative. Key references (Journal 2) “Stressed and overworked: The AJ's survey shows a profession under pressure.” The Architects' Journal, 244, no.7, (April 2017). Buchanan, Peter. “The Big Rethink Part 9: Rethinking Architectural Education,” Architectural Review, posted on 28 September 2012. Sebastian, Rizal. "Changing Roles of the Clients, Architects and Contractors through BIM." Engineering, Construction and Architectural Management 18, no. 2 (2011): 176-87.

Key references (Journal 3) Adam, Robert. "Globalisation and Architecture: The Challenges of Globalisation Are Relentlessly Shaping Architecture's Relationship with Society and Culture" The Architectural Review 223, no. 1332, 2008. Baden-Powell, Charlotte, Ann Ross, and Jonathan. Hetreed. Architect's Pocket Book. Fourth Edition / Updated by Jonathan Hetreed and Ann Ross.. ed. Amsterdam; Oxford: Elsevier/ Architectural Press, 2011. Basta, Claudia., and Stefano. Moroni. Ethics, Design and Planning of the Built Environment. Urban and Landscape Perspectives; V.12. Dordrecht: Springer, 2012.

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Another issue that requires attention is about the process of transitioning from CADbased programs into an integrated BIM (Building Information Modelling) program. CAD has been helping architects for years with architectural drafting until with the introduction of BIM into the industry, it has shifted significantly, and the better outcome can be produced to meet the industry standards. BIM goes beyond than CAD. BIM is a digital integrated model that includes all process and product information which can be measured according to the client’s requirements and building performance. Because of its technological advancements, it requires a steep learning curve to get used to and investment into BIM is the factor that a lot of architecture firms are still negotiating to shift to new software. But BIM software is not affordable either and staff training can contribute to a huge amount of cost that needs to invest. Adapting to a new software while having a project that needs to be carried can cause an absolute challenge to a member of the design team. While we cannot argue about loads of advantage that it can offer, but the concern was about how effective can it be to implement it into an existing system and the financial availability to afford such system. Changes in the architectural profession must come with valuable structures of a plan to avoid any exploitation and pressures that put the architects and the students into distressed. With ever-expanding roles within the society, architect has to begin to adapt into every evolution that progress towards future but the architectural education still far behind in making a revolution towards a better institute which in return reflect the values of architectural practice.

The role of architecture in this globalisation era brings out together the important values of the society at large and improvisation in the project delivery method. The complex regulatory aspects which involved especially building forms, construction materials, minimum lot sizes and adopting European technologies, invite higher production cost and can be time-consuming in which sometimes unsuited for the client with a small budget and those who cannot afford high maintenance. Architects need to be creative with expanding their expertise and provide an alternative to the design problems based upon the geographical area, climate and economy. While modernity provides a solution to the efficiency in project delivery, a good design should reflect its local identity and not adopting design trends that are not suitable with its own environment. Architects need to be more concern with the local problems and provide extensive research and solution towards good planning in design as it will produce a good outcome for the built environment. The legislation of Listed Building Consent preserved the cultural and religious identity of a country from any sort of intervention from any parties. The buildings which are listed based on its age, rarity, architectural merit and method of construction, preserve architectural and historical precedents from and become a reference for the future development and prevent from the identity crisis. The importance of preserving the historic building is to provide localisation precedents for any future design and retain the authenticity of cultural identity for the city. But for a city such as Dubai which has no historical identity or architectural precedents, a homogenous approach in the architecture and urban planning is the reflection into its accumulation of capital and wealth which invite investors from all over the world. Architect and urban planners have to be critical with the sociological, political and economic impact that influence the design for the local area as it is represented as a powerful symbol in the globalised world. The ethics in designing should be readdressed by the architects in their future work. Ethics in the aesthetics during designing will foster appreciation towards art as a form of moral engagement that reflects the identity and cultural values. Architects need to acknowledge the importance of the involvement of communities in the planning and management of the urban area. By raising those values and concerns into the design and planning process, architects subsequently help in promoting a reputation for cultural authenticity and encouraging tourism which in the future improving the economy of the country. To conclude, the role of architects in society needs to redefine in helping to recalibrate architecture towards a sustainable built environment. With the rising concern towards climate change and pollution which came from unsystematic globalisation, architects need to act accordingly to the best interest of society in long-term planning and not only focus towards gaining profit in a short-term.

Y3 S2

APR

ARCHITECTURAL PRACTICE: REFLECTION

102

JOURNAL 4

JOURNAL 5

Building Information Modelling (BIM) creates new opportunities for collaboration in architectural design projects, and may prompt change in the traditional roles of construction industry professionals. Speculate what effect advances in visualisation and data management technology through BIM might have on architectural practice?

Look back over the past few months and reflect on your experience overall. Clarify whether you secured employment (or not) and how your expectations/aspirations were realised. Map out how you hope to progress your career?

BIM has become an essential part of the design and construction process that combines a single virtual 3D design which contains all the necessary building elements and information before the work is constructed. The revolution that it brings to the traditional CAD drawings is that it provides a better workflow and access to the design which better information sharing to other partners that are involved in the design and construction process. The future of the construction industry is very clear with the integration BIM in the design and construction process as it offers a positive outcome in the visualisation of an overall project along with its data management.

The past few months was the early chapter of the professional period in my life to become an architect. The preparation to enter into the professional level of the architect need an intensive and extensive level of preparation. The process of learning during architecture school shaping me to be a leader and collaborator in the profession. From what I have observed is architecture school is not preparing the students only to become a specialist of a certain subject but a generalist that have a tap of knowledge into every speciality.

COLLABORATION

The usefulness of the information in modelling that BIM can provide is that it allows creative designers in the architectural practice to experiment parametric design along with understanding towards the relationship of materials which can guide them to inform choices of new construction and experiment repeatedly with different data. The rate of relevant data being generated has become much faster than our ability to incorporate them into our design process. And with the process of integrated information is still at a slow pace in the AEC industry, architects have to take a step forward in providing better communication with its partners with efficient project documentation. BIM allows for tremendous opportunities in harvesting data during the design process. BIM allows its user to provide textual information about features of the inventory for the design project, and when complete information of data is shown in the model file, it can be exported into a spreadsheet of data to be used outside of BIM. Cost calculation models, energy performance and material take-offs, can be quickly exported based on the data gathered and it allows for faster estimation of the budget for the project. This can transform the rigid working processes in an architectural firm into a highly responsive design workflow. Any changes can be directly from the design models and this can ensure a significant increase in the efficiency of harvesting information and gathering data for the project inventory at the same time reduce the time frame needed for the construction and project delivery.

Key references (Journal 4) Briscoe, Danelle. Beyond BIM: Architecture Information Modelling. Oxford; Routledge. 2016. Foxe, David M. "Building Information Modeling for Constructing the Past and Its Future." APT Bulletin: The Journal of Preservation Technology 41, no. 4. 2010. Morris, Neal. “BIM is a big opportunity for small practices”, RIBA, posted on 16 November 2016

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Incorporating BIM into daily standard use of CAD and other 3D software in designing will required a substantial amount of time and effort that needs to be put during the transitioning process. The output of what BIM can offer is very clear and with a strong possession in the knowledge of BIM, quality standards in design can be improved in every aspect of the design process and this creates a consistency in the coordination of data need for the construction phase. But the cost for implementing BIM becomes a consideration especially for a small practice as the introduction of BIM in a current practice involved in hiring BIM experts and BIM software is not affordable either along with the need for staff training with the BIM technician can contribute to a huge amount of cost that needs to invest. With BIM having a great future in the AEC industry, the job market becomes more competitive and incorporating BIM boosting employment opportunities as architectural practices are seeking graduates that already possessed with substantial BIM knowledge. Hiring a new employee with strong BIM knowledge can cut the unnecessary cost need for a BIM training and allow for a faster understanding and communication with the company design workflows. The integration of BIM in design and construction has its own future in the AEC industry. A practical approach is needed to bring out the existing conceptual knowledge of integrated collaboration of using BIM into architectural practice. With the existence of a medium that provides efficiency into the architect’s scope of works, there is also a need for architects to redefine their roles in the construction industry and society as generally.

CONSOLIDATION

The course for this academic year helped to become more aware of the current issues related to architecture. Architectural education will never be enough for the students to learn during university academic term, but it does prepare in general of every important aspect which is deemed to be essential in pursuing a career in architecture. Even if we are not feeling enough with the education gained in the university, the learning process will always continue during a professional career. The employment market is not easy as it never will be and keeping good ethics and communication during the application period are important in expanding connection with the professional related to our career. Architecture is a creative profession that requires strong interpersonal skills. A good curriculum vitae does not guarantee for the success in the job application but the knowledge and ability to communicate with confidence is an utmost trait that the recruiters are seeking in accepting new employee. Architectural study is a long-term education program for students that have a strong passion in designing and improving the current state of the built environment. It requires a lot of commitment in terms of time and money, but with strong will and effort, I am hoping to succeed and become a certified professional architect. Four years of studying architecture in the UK exposed me to a wide variety of knowledge related to modern architectural design and construction. After successfully graduate and obtaining the RIBA Part I which is equivalent to the LAM Part 1 in Malaysia, my plan is to seek for employment in Malaysia for a brief period before continuing with a professional degree to obtain LAM Part II. This is because experience in practice is important to further progress in the profession and relevant knowledge and ability need to be updated with the current market. CPD (Continuing Professional Development) which is the same as PEDR (Professional Education and Development Record) in the UK, will be filled and update throughout the practical experience as it is a responsibility for each architecture graduate who wants to progress into the highest pedigree of architecture of obtaining the Part 3. Architecture itself is a repetitive process and even if we feel our study did not prepare us enough, the practical experience will help us to understand the workflow and quality of work need to succeed in this profession. Pursuing architecture has made me become more aware of the importance of providing services back to the community and improving the quality of life of the people. Architecture, as a profession, is subject to continual efforts that involve characteristic of technical disciplines and applied sciences. We are a special profession that connects everything in between, we provide the assistant to the people, we promote the cultural values in the society that lose its identity to the modernisation. It is a profession that I always dreamt of and hoping to change and improvise the current built environment and quality of architectural design in Malaysia.

Y3 S2

APR

ARCHITECTURAL PRACTICE: REFLECTION

103

WORK PLACEMENT WORK PLACEMENT AT GDP ARCHITECTS, KUALA LUMPUR After completing the submission for Architectural Practice: Reflection, I had applied for a work placement at GDP Architects in Kuala Lumpur. GDP architects is a Kuala Lumpur based group of architects, designers, builders and thinkers operating within fields of architecture, urbanism, interior design and research and development. The practice is one of the leading architects in Malaysia which has grown to over 500 staff with diversity in portfolio varying from residential, educational, commercial and etc. During my time there, i managed to get involved in several ongoing projects and assisting the architects with the design development process. I was able to expand my knowledge and understanding of a real-life situation and management in an architectural practice. The exposure that I had gained was stimulating and has helped me to develop necessary design and interpersonal skills needed to further succeed in the professional practice.

Housing Competition I was given the opportunity to participate in a design team working for a housing competition entitled Housing 4.0 organised by Malaysian Institute of Architects (PAM). The competition seek to find architectural design solutions for the middle mass housing sector in Malaysia with the incorporation of digital innovation and utilising the use of Industrialised Building Systems (IBS) and Building Information Modelling (BIM). The competition put strong emphasis on the use of prefabrication techniques using the IBS and designing with modularity which can offer flexible layout and reducing the construction cost. I was able to participate in discussion between the architects in charge for this competition and discussed about the arising issue regarding the mismatch between the demand and supply of housing in the country, and the needs to rethink the the societal aspirations and improving the quality of living for the future. We also talked about the adoption of prefabricated construction technique and how we should design the components to be lightweight, easily constructable for a faster assembly process with less wastage. In the design development stage, I was given the opportunity to illustrate our ideas into a typological study and also prepare a sectional drawings in a best possible way.

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Y3 S2

WORK PLACEMENT

104

Time Management Some of the things that I have learned during my internship was how to manage time efficiently as an architect. Every project should have outline of the process to achieve specific task until the final completion. By outlining the process, it can help to see where to eliminate unnecessary steps or make the process more efficient. On the right was an ongoing projects of a medical building which the office is currently working on. i was fortunate enough to be briefed with the project details and timeline for this project with its target for completion. The project was procured with design and build contract because of the client's limited funding and urgently need the new buildings to accomodate new uses. The timeline allow the architect to delegate necessary task to each members of the team with clear target for the tender and construction drawing submissions. The project was divided into three stages to allow for a smooth transition for construction works and the process of occupying facilities and tenants into the new building.

Project timeline for the new extension for a medical hospital in Kuala Lumpur

3D Modelling I managed to develop conceptual 3D models iteration based on the sketches given by the lead architect. From this practice, I was able to develop faster process of conveying ideas from sketches and transfer it into digital models. This process is important because in real-life situation, the amount of time spend on the design process is significant low compared to more of the time spend on managing the project and coordinating with other co-professionals that are involved in the project. From here, i have learned the importance of having a good array of design and presentation techniques to be able to deliver quick and decisive design decisions to the client.

A 3D model of a mosque project

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A 3D model of a mixed-use development project

Y3 S2

WORK PLACEMENT

105

YEAR 4 SEMESTER I

SEPTEMBER 2019 - DECEMBER 2019

ARCHITECTURAL DISSERTATION TECHNOLGY & ENVIRONMENT 3

ARJA10002

ARCHITECTURAL DISSERTATION COURSE SUMMARY

PERSONAL REFLECTION

The dissertation is an important aspect of each of these programmes, allowing students the opportunity o investigate a chosen topic, in written form, at length. The dissertation is also unique within those programmes, being a research course, as opposed to a taught course. The precise area of study is therefore defined by the student. The 10000 word in-depth research offers the opportunity to investigate an architectural study with a greater extent.

Writing for dissertation has encouraged me to evaluate the influence of architectural theory and history on my research of the architecture of the city of my hometown, Kuala Lumpur in Malaysia. This dissertation set up an understanding of the city's urban context through a theoretical approach based on the Foucault's ideas of heterotopia which emanated from the colliding and contestation of spaces in the urban fabric. It also widen my knowledge of understanding the city that revealed its present metamorphoses and diversity of spaces of racial, social and cultural intergration.

LEARNING OUTCOMES LO1

Detailed knowledge of the chosen subject demonstrating sufficient understanding of relevant cultural, historical and philosophical themes.

LO2

Ability to construct and synthesise an intellectual argument expressed against stated objectives and presenting original conclusions.

LO3

Ability to produce a substantial piece of academic writing, coherent, attractive, illustrated, well-written, using correct referencing conventions and the acknowledgement of sources.

Course Organiser Dr Liam Ross

107

METAMORPHIC CITY OF KUALA LUMPUR ABSTRACT

INTRODUCTION

Kuala Lumpur has went through a rapid process of modernisation and urbanisation which can be traced back to the arrival of British in nineteenth century and now it currently serves as the capital city of Malaysia. Being ethnically and culturally hybrid, this dissertation examine the transformation of the urban fabric of the city which has been mould during the colonial period and during the enforcement of two watershed policy after the independence of Malaysia in 1957. Kuala Lumpur as we see today is a crossover of independently different sociology and ecology of human interaction; and these constantly transforming city raise a question of how the diversity of its ecology can form together a city.

Kuala Lumpur as we see today is a crossover of independently different sociology and ecology of human interaction, and this constantly transforming city raises a question of how the diversity of its ecology can form together a city. It serves as the capital city of Malaysia (Fig.1) and become the focal point of industrialisation and commercial activities during the economical shift through the governmental policy from being dependent on the agricultural sector to industrialisation and services. As the city grows with its economy, the city extends its region into a conurbation of a Greater Kuala Lumpur that include Putrajaya, Cyberjaya, Petaling Jaya and Klang which constitute into a mega urban metropolitan area. The city celebrates the diversity in religion and ethnicity, but mainly constructed and evolved around three major ethnicities which are the ‘Malay’, ‘Chinese’ and ‘Indian’. These three major races are omnipresent that constructed the socio-economy and politics of the city and the country as a whole.

THE HISTORICAL BACKGROUND

Key references Alatas, Syed Hussein. The Myth of the Lazy Native : A Study of the Image of the Malays, Filipinos and Javanese from the 16th to the 20th Century and Its Function in the Ideology of Colonial Capitalism. London: Cass, 1977. Friedmann, John, and André Sorensen. "City Unbound: Emerging Mega-conurbations in Asia." International Planning Studies 24, no. 1 (2019). Jones, Gavin. "Southeast Asian Urbanization and the Growth of Mega-urban Regions." Journal of Population Research 19, no. 2 (2002). King, Ross, Kuala Lumpur and Putrajaya : Negotiating Urban Space in Malaysia. Southeast Asia Publications Series. Singapore: Asian Studies Association of Australia in Association with NUS Press and NIAS Press, 2008. Mcgee, Terence. “The Spatiality of Urbanization: The Policy Challenges of Mega-Urban and Desakota Regions of Southeast Asia.” University of British Columbia, Vancouver, 2009. Ryan, N. J. The Making of Modern Malaysia and Singapore : A History from Earliest times to 1966. Fourth Edition, Revised.. ed. Oxford in Asia College Texts. Kuala Lumpur ; New York: Oxford University Press, 1969.

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Kuala Lumpur is located at the centre of a huge valley and surrounded by the high density of tropical forests. Its location on the west coast of the peninsula contributed to its rapid development than any other cities in Malaysia. The name of the Kuala Lumpur itself in Malay literally means the muddy confluence of the two main rivers in Selangor, the Klang and Gombak rivers. Kuala Lumpur in the late 1850s was a riverside where the small boats arrived to transfer all the goods to the port at Klang. The area was mainly developed by the Chinese traders who came to supply goods to the miners worked at the nearby mines that scattered around the area. In the very beginning, the area was mainly populated by the Chinese on the east side of the river and a scarcely observed Malay kampung scattered on the periphery of the new small Chinese town. After several years, shophouses and market were opened by the Chinese traders and Kuala Lumpur began to populate and attracted the people in the nearby villages to trade and buy goods at the town.

The early cartographic map showed the growing Chinese shophouses developed by Chinese traders on the east side of the river.

After independence, the city was really a moderate administrative city that was born from the era of colonial British and Chinese town with a cluster of streets with shophouses. It constituted between three different ecologies, the first being the highly dense Chinese town that constructed with a labyrinth of streets and passages, the second is the remnants of the open and modern colonial buildings and third is the scattered kampungs and urban squalors that filled every bit of space in the city. Over the years, the first two ecology had to swallow the third to form into a much larger urban environment as the land becoming scarce due to private ownership. This city of ghettoes from the result of the Briggs plan and post-war emergency were seen to contribute to the formation of the juxtaposed capital city of the country and the surrounding area that connected to it.

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SPACES OF URBAN COMPLEXITY THE CONTESTED SPACE

The colonial space in Dataran Merdeka symbolised the architectural grandeur and political power of the British colonial rulings; skycrappers around the landscape begin to take form of modern Malay emblem.

Despite being supported through the NEP, the landscape of their capital city itself was still highly represented with the Chinese wealth and ownership of the capital. The ‘horizontal’ city was filled with the fragments of Chinese shophouses and markets dominating the scenes in the major streets of KL. A dichotomy of KL was set to represent the Malays as in the “MALAYsia” and the capital city should be seen to equate as the emblem to the Malay race. The landscape of a hierarchical, ‘vertical’ city was constructed, taking the precedent from the colonial institutions as a symbolic power in claiming the right of the city. A vertical symbolisation is considered a strong orientation tool in exerting the legibility of the city. From the geometrical point of view based on The Image of the City, determining a gravitational point of view is a crucial step for a better orientation of space as it can develop the way we perceived and understood the experience. In the series of attempt on self-definition through the architecture of the city, the first showcase of symbolic power was through the Parliament building completed in 1963 by a British architect, Ivor Shipley, which designed was neither pointing references towards the architecture colonialism of of the Raj forms nor the Neo-Saracenic, but was termed as a “tropical modern” which displayed with the International Islamic style of repetitive geometries. But the attempt by the architect was seen more as an idea of a nation going towards modernisation. Another example of Malay proclamation of the city is the Muzium Negara (National Museum) which also completed in 1963, was explicitly pointing towards the Malay reference of the architecture of the ‘Balai Besar’ (Council Hall in Kedah) from the northern Malay states. It was seen as a statement of a ‘modern Malay state’ which then marked the beginning of a period of modern Malay architectural ‘boom’ of a ‘Malay-owned’ city landscape.

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THE IMAGINED SPACE

The urban planning of Putrajaya taking shape from the hierachical order of power from The Constitution.

The imagined city of modern Kuala Lumpur was to be detached from the colonial provenance of the old revival style that was brought by the British. From the old core of the city that was filled with the old colonial of Neo-Saracenic and British Raj style, a new site was planned away on the north with new high-tech modern building designs that will encapsulate the dream vision of the global city. The Kuala Lumpur City Centre (KLCC) and KLIA were designed to present as a concrete image of a gateway, the entry points into the hybrid spaces of multiculturalism of Malaysia. As the KL gets frequently congested and flooded, A plan for a new administrative capital was needed to relieve the ever increasing pressure in the dense city. The design for Putrajaya relieved from the former colonial identity by taking a new representation of political power. The city was designed as a complete contrast to the complexity of urban fabrics that exist in the KL centre and the idea for Putrajaya (Fig. 17) was to reassert the dominance of the Malay-Muslim through political ascendancy over the Malaysian-Chinese economic dominance of the KL. As opposed to the ‘Malay skyscrapers’ in the centre of KL, the building designs in Putrajaya seemed to draw more upon the Persian and Middle East architectural elements in representing a new Malaysian identity as a contemporary Muslim country as opposed to the traditional Malay architectural elements found in the buildings in KL.

THE FORGOTTEN SPACE

Kampung Baru; a living heritage that existed in the middle of economic region within the city.

The thriving economy and modernisation of the city made the genealogy that coexists with the global city of KL were forgotten and often were getting rid of. The concern lies beneath the representation of Putrajaya for the national identity which somewhat mostly orientated towards the Middle East rather taking precedents from the existing complexity of spaces that can be found in the centre of KL. It seemed as these layers of spaces, formed during the British colonial period were best left ignored or tend to be forgotten. Rather embracing the multi-cultural identity, the Putrajaya was seen to grow into a selective imagination and become an alter-ego to the existing metamorphic of KL. The existing kampung in KL becomes a place of contesting discourses. It is a place of the forgotten, where the authorities were more in league with the private developers rather than protecting the public interests. Kampung Baru is one of the living heritage that existed in the middle of the city although its historical elements have begun to fade over the years. It certainly remains as one of the very old kampungs that existed in the centred of the dense area of the city. Any project development within this area certainly will have a significant impact on the urban space and experience of the city as a whole. The location itself is one of the focal points for the view of Kuala Lumpur as a legible city as it sits near to the prime business district of KLCC. In the process of chasing the status of ‘global city’, some parts of the city were being left behind and yet to be preserved. While finding the external elements to represent and proclaim the identity, the existing fabric that symbolised the long historical existence of the ethnic composition we being left dilapidated. The planning of the city become a political prejudice, selective remembered and selective forgotten.

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METAMORPHOSIS OF SPACES DESAKOTA Desakota is a term in urban geography coined by Terry McGee on his study of the urban demographic in the cities of Southeast Asia. The term ‘Desa’ in Malay is meaning the kampung or the rural area of the village that he encountered during his studies, and ‘Kota’ is an old nuance to describe a town or a city. The contradict forms of the cities in Southeast Asia as described by McGee was a new rising urban form as a result from a mixture of non-agricultural activities coexist with the agricultural activities that are scattered around the core urban area. After the post-war period, the economy and new policy began to transform the development of a city into a centralisation for the economic shift from the agricultural based to industrial and services based activity. The result from the shift in economic policy had create a ‘transactional space’ which involved the existing villages in the urban sprawl began to proliferate and were swallowed into the planning of the urban core as it invited and increase the rural to urban migration which at the same time also supply the working forces for the industrialisation and services activity. The scenario of the interstices of urban forms and rural elements as a result from the magnification of the ‘transactional space’ were the evidence for the development of mega-cities in Southeast Asia such as Kuala Lumpur, Singapore, Bangkok, Jakarta and Manila.

A COLONIAL SOCIETY The understanding of the Kuala Lumpur as a mega urban region has to be seen as juxtaposed, intersected and superimposed of the spaces between the major ethnicity of the country, Malays, Chinese and Indians together with the remnants of the colonial that was inherited and forgotten. The present day KL is a composition of a contested, contradiction and contrast elements of the city which developed since the colonial period. The Malays who once a society that was subjugated by the British, reasserted their dominance in the political rulings through a series of proclamation of spaces in the city and the plan for the ‘vertical’ identity along the major roads in central KL. The proclamation process was a plan to reclaim the context of the Chinese being the ruling metropolitan society in the KL. As a result of being subjugated and not having control of their own capital city, the Malay emerged as a colonial society that began to reassert themselves as the major dominance not only in economic policy but also through the spatial identity of the city. Ross suggested that the forgotten problems that arise within the city, need a diversity of idea, through the power of architectural and urban design completion, to address and reimagine the constructed spaces that the citizens had lived in. Yeoh described KL that was characterised with precolonial urbanism has grown with an elitist spatial amplification of status, prestige and power. This is because the arrival of colonialism brought the cultural of capitalism that affecting both ethnic majority and minority which engendered the peaceful existence of the earlier spatial templates. As a result, the Malays inherited the colonial legacies of patronage practices and redeemed themselves from the socio-economic injustice that was fall upon them.

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The typical spatial expansion of Southeast Asian cities that swallowed its nearby village into the urban sprawl.

CONCLUSION In order to understand the metamorphosis of the spaces in KL, literature through Foucault’s ideas of heterotopia emanate the colliding and contestation of spaces in the city’s urban fabric. Foucault explanation of heterotopia begins with the understanding of utopia as a dream space for the present society that exists in a perfected form. But yet the dream utopia which is conceived to be the real spaces for the society become fundamentally unreal spaces. From utopia, there is heterotopia, a multiple layers of juxtaposed spaces, contradicted, represented and contested, which are not beauty as in utopia, but it reflects the very founding existence of the society and possibly their own inescapable reality. The joint experience of these juxtaposed spaces mirrors the reality and identity of what has had to constitute the form that exists today. The urban development of KL was never going to be the perfect utopian for the multicultural society that existed in it but at the very least it is the real place, the living evidence of what has constituted the city as of today. While the memory of such events is not suppressed, The memory of the past that manifest in these spaces are set to be a reminder to what has constituted to the unity and the multi-cultural bonds that were embraced since the day of the independence. The diversity of the architecture and the urban spaces are the reflection of the multi-cultural richness that exists in the urban fabric of the society.

The present day KL is a heterotopia of its own genealogy, left from the remnants of colonial legacy and constantly change with the economic transformation of the city. KL as a post-colonial city with reference to Foucault’s principle of heterotopian society, involve multiple layers of contradict spaces coexist in a single society. From the old core, it displays the origin of the city formed from three distinct spaces; the openly spacious colonial spaces, the intricately dense of Chinese spaces on the opposite, and the dispersed spaces of Malay kampungs. The coexisting spaces of colonial remnants embedded at the very core of the city but seems to be forgotten as the urban development continue to progress. Kuala Lumpur thus, in essence, is a metamorphic city that emerged from the chaos and clutter of juxtaposed and inconsistencies of spaces that constitute to the urban forms of the city today. As the city grows and the nation progress, does the historically embedded multicultural elements that made up the identity of the city has gone weary or does the city itself slowly redefines into an elitist vision of an ‘ideal city’ that fits the idea of a Malay-Muslim utopia? Nevertheless, the constantly transforming urban identity made the city be profoundly unique. The interstices of Malay space, Chinese space, Indian space, colonial space, space of tradition, the space of modernity, space of commercial and business, all of this multiple layers of spaces constitute into one single city of a uniquely profound diversity. Y4 S1

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ARDE10002

TECHNOLOGY & ENVIRONMENT 3 COURSE SUMMARY

PERSONAL REFLECTION

The course follows on from the 1st and 2nd year courses in Technology and Environment. The course is concerned with contemporary building technology primarily the industrialisation of the construction industry, the building façade and large complex structural framing systems. Change is an inherent characteristic of the construction industry. Designers need to approach the use of technology with this in mind, in an informed rather than an empirical manner. The course will provide a framework for the critical review of contemporary building construction.

The course continued on developing my understanding of the contemporary building technology and new construction methods of industrialisation and prefabrication. Both report and essays provide me with research onto the comprehensive review of recent industrialised construction and structural forms, along with its impact on the constructibility, social and economic factors. Key architectural precedents were discussed which informed the concerning contemporary technology that are continually changing. This course introduced me with the possibilities of incorporating new building technology into design consideration in Architectural Design: Tectonics course.

LEARNING OUTCOMES LO1

Students will understand the key differences informing the design of steel and concrete structures.

LO2

Students will be able to analyse and review contemporary construction methods and technology.

LO3

Students will be able to make informed decisions integrating issues of building technology into their design work.

LO4

Students will have gained an understanding of structural framing using reinforced concrete and steel, the building envelope and the use of manufacturing and prefabrication in construction.

Course Organiser Remo Pedreschi

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TECHNICAL REVIEW

SHIFTING TOWARDS PREFABRICATED CONSTRUCTION GROUP WORK CREDIT: Razulnizam Bin Zulkefeli

PROJECT BRIEF

The project should take the form of a review of contemporary state of the art for the selected topic. It should provide an informed assessment of the current technology and make reference to current products, improvements, innovations and applications. Highly innovative products and methods should be examined within the current context and opportunities and limitations must be thoroughly discussed.

INTRODUCTION Technological advancement has brought innovation to the traditional method of construction with a great feasibility. The flexibility that it can offers acted as an alternative solution to the socio-economic problems which has been arose since the period of Industrial Revolution. ‘Modular’, ‘prefabrication’, and ‘offsite’ are all associated with the same modern construction method which has been developed to adapt with the current demands for housing, client demands and addressing environmental issues. As for this report, we will look at the driving factor that influence the capability of contemporary projects through a series of modern methods; along with several case studies to demonstrate the issues raised.

Key references BRE. Defining the Sustainability of Prefabrication and Modular Process in Construction. 2003. G.F. Gibb, Alistair. Off-site Fabrication: Prefabrication, Pre-assembly and Modularisation. Caithness: Whittles, 1999. Mark Farmer, The Farmer Review of The UK construction Labour Model, Modernise or Die: Time to decide the industry’s future, October 2016. Nick Bertam, Modular Construction: From project to products, McKinsey & Company, June 2019. Ryan Smith and John D. Quale, Offsite Architecture: Constructing the Future. New York: Routledge, 2017.

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Murray Grove demonstrate the possibility of building as a ‘production’ and providing the idea of flexible, adaptable and sustainable can be achieved for a prefabricated social housing project.

SUMMARY FROM FARMER REVIEW The publication of Farmer Review highlight the problem of operation and delivery within construction sector constituted to numerous problems that made the industry lagging behind compared to any other professionals industry. Living in the era of technological revolution, the review suggested that the industry should incorporate digitalisation to allow for more future possibilities and offsetting from the risks of continued reliance from labour intensive approach. Adopting the process of pre-manufacture in construction suggests that the on-site labour intensity and delivery risk are reduced and focused towards more training in research and development (R&D) sector which includes in ‘designing in pre-manufactured & assembly’ approach at all levels. The production can be ranging from the standardisation of components and lean towards the pre-finished volumetric solutions. MMC or ‘prefabrication’ usually associated with poor quality and technical issues of its end product. It also not favoured because of its collaborative culture were something unusual to the followers of the traditional method in construction and tendering process. But recently the MMC has become the ‘go-to’ process because of the request from the clients for a cheaper, quicker outcome of the cycle which also resulted from the high labour cost following with the issue of labour shortage.

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PROJECT SCALE The scale of projects in modular construction has long been utilised in the construction of the smaller scale residential for potentially quicker delivery times. But over the past years, the construction technique has slowly been introduced into high rise residential market which attract developers of the benefits of being able to improve many aspects in construction such as design, engineering, sustainability, scheduling, legal and financial considerations.

Design Flexibility, Logistics Optimisation

Standardisation, Repeatability, Potential Cost Reduction

More 2D Panels

More 3D Volumetric

SINGLE HOUSING

HebHomes is a flat-pack home company that provide a hustle free service in designing their client’s future homes. They offer multiple choices of prefab home designs that can fit variety of client’s demands and needs. As they put great emphasis on the eco-friendliness in their designs, the purpose is to made their client’s choice of home kit can easily blend in with the landscape and adaptable to specific location or requirements.

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SUBURBAN AFFORDABLE HOUSING

hoUSe concept by Urban Splash discovered a consistent demand from customers who struggled of living in the city and having needs of a house that could provide more liveable spaces to their daily chores. They developed the concept by improvising the idea of townhouses which offer more flexible space and easy connection to the city. The hoUSe was made by adopting premanufactured construction for faster delivery and entitled their customers with the choice to design the internal layout of their own hoUSe.

MID-RISE AFFORDABLE HOUSING

PLACE/Ladywell is a sustainable relocatable social housing in collaboration with Lewisham Council to provide local families in high priority need. Lightweighted timber modular construction used to enhance sustainability and make it suitable for relocatable housing. Analysing the social aspect of the design and the sustainability of the building not only for the construction but also the future of the building in term of preservation of embodied energy.

HIGH-RISE MODULAR APARTMENT

101 George Street, Croydon, Europe’s tallest modular building, a high-rise construction with less cost in comparison with the traditional method due to different construction speed. Analysing the speed of construction and the productivity needed for large scale construction to gain an economic advantage in using modular construction methods and its effect on the design, social and construction.

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DRIVING FACTOR 1

DRIVING FACTOR 2

Prefabrication or Modular projects do take a longer time in design process to make sure that every fabricated components or panels are standardised and meet its intended performance. Design process is contrast to the old traditional method as the future of modern methods is about the collaborative work between each professionals within a project team. Planning for design and construction needs to be carry out upfront to prevent any later changes that can add inevitable cost and can be more difficult to execute. Modern method such as panellised, closed panels and volumetric modules can become a catalyst to the acceleration of the project depending upon its scale and specificity. Through factory production and its greater precision, adopting prefabrication methods can deliver potential efficiency to a project along the way.

Most of the modular construction processes involved in a controlled and enclosed factory environment. With the external factors which can usually caused delay in traditional method has been eliminated, the high efficiency level of automation with the capacity to produce products in large quantity, significantly impact in reduction of embodied energy, greenhouse emissions and faster project delivery. The implementation of BIM and the automotive nature in the manufacturing process of modules provide assurance to the finished quality of a unit and all that remains is to ensure that on-site assembly to perform according to the required standards and intended performance.

ARCHITECTURE + DESIGN

SUSTAINABILITY

COMPLEXITY AND SCALE OF MODULAR CONSTRUCTION - COMPARISION OF APPROACHES

Fully functional with complex fixtures

Fully serviced and finished single unit

INCREASING COMPLEXITY

Fully serviced and finshed walls

Fully serviced and finished room

Fully serviced and finished house

Pre finished room

Pre finished house

Limited fixtures in one or more materials

Transitional unit

single

Pre finished panel

Largely structural (concrete, steel, or wood) an Exploded BIM model from Housing & Development Board (HDB) of SIngapore showing the prefabricated panels of their mid-rise residential module. WIth BIM, each of prefabricated elements, can be grouped and labelled, allowing for faster erection and assembly. Single discipline, individual units

Panels

Volumetric units

Complete structures

INCREASING SCALE

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DRIVING FACTOR 3

SOCIAL + ECONOMIC IMPACT

In most part of the world, housing problems is one of the common issue that contribute to the inequality among the people of a country. While modular housing will not be the panacea to the arising problem, but it can act as a bandage to the deep wound. The land scarcity and the rising number of population living in the city will continue to affect the housing market price but prefabricated housing method has the opportunity to increase the affordability of house especially in the city. Modular or prefabricated construction is beneficial in providing a large number of housing demands as it can benefit from large production to gain economies of scale which lead to lower-cost housing.

AVERAGE PROPORTION OF INCOME SPENT ON HOUSING COSTS

With the rising house price and wide disparities between low income and the high income, the problem of affordable house price will continue to remain and causing damage to the society.

DRIVING FACTOR 4

COST

The attractiveness of off-site modular construction for its cost-reducing is a debatable topic without any clarification whether it is more advantages than traditional methods of construction which there are few cases that the cost for the modular approach is higher. Generally, the off-site manufacturer requires a high starting cost, which can be seen as a high-risk approach in comparison with traditional construction. The high starting cost is compensated with the large production scale to achieves the economies of scale. However, large production means its required on-going investment in factories and staff. In most cases, the cost is further reduced with the speed of construction which lead to lower financing as it takes a much shorter time in comparison with traditional methods of construction. To ensure the speed of construction, repetition and standardisation is a common approach for off-site construction. Factory production of prefabricated components or volumetric product also means predictable production and high in quality resulting in less waste thus make the cost cheaper.

MODULAR CONSTRUCTION

Design Development

Planning

AVERAGE HOUSE PRICE AND ANNUAL SALARY IN ENGLAND

Site/Foundations Construction

Unit Assembly

Time Savings

Site/Foundations Construction

Building Construction

Closeout/Site Restoration

TRADITIONAL CONSTRUCTION

Design Development

Planning

Overall cost can be the same for both construction, but with time savings and quality control by fabricating in factory, cost can be reduced. Modular construction offer future design possibilities and convenient project management.

The linear increase in the average house price continue to give a problem for affordable living especially for low income residents and fresh graduates seeking for their future house.

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COURSEWORK ESSAY

ESSAY 1

ESSAY 2

The shift from traditional on-site construction towards increasing off-site pre-fabrication and manufacture is a major source of technological change for the building sector. Discuss the implications of these changes for the building designer.

Select a material used in the design and construction of facades. Write a short essay on the material describing the key characteristics of its performance and use. Consider also evolving trends in recent applications.

Offsite prefabrication has become a game changer that offers a better overall feasibility in the modern world construction method. Thanks to the advancement in technology, prefabrication allows building designers to have a range of innovation to respond with societal challenges, thus providing a diversified portfolio of solutions towards future needs. But as we exploring the feasibility of the shift from the on-site construction towards off-site prefabrication, the implication that it can have towards the designers will be the utmost concern.

The embodiment of modern characteristics in glass has made it evolve to become a significant attribute for an architectural expression. The advancement in technology has pushed its performance and limits to become extremely versatile to meet its wide variety of applications. Its transparent environment and ability to transmit light present a powerful physicality and aesthetic effect that makes it very appealing in an urban landscape . As we explore the performance and use of glass as a facade in the construction industry, a glimpse through a few case study will help us understand of why glass has been widely use as a visual appearance of a building.

INDUSTRIALISATION

FACADES

BRIEF

The intention of this coursework is to encourage consistent work and reflection through the semester by undertaking a series of 4 short essays approximately 700 words each, with each of which considers different components of the course. This replaces the end of semester examination. It will also provide more formative and summative assessment through the semester.

Depending upon the scale of the project, off-site prefabrication needs a proper management plan carried out by the designers in the early construction stage as it will necessarily impact the whole construction strategy. Different projects have different site conditions with their own design and size of the house modules, a proper care in planning will be be needed as it can affect the transportation and cost in access to the site. In a condensed city of New York for example, the designer for Carmel Place has to consider on reducing the on-site construction noise as well as minimising neighbourhood disruption. The designer has to plan carefully for the access of the crane to the site and the reducing the amount of time needed to erect the units. With the design and coordination are proceed in advance, it will simultaneously reduce the overall construction time and lead to economies of scale.

Key references (Essay 1) G.F. Gibb, Alistair. Off-site Fabrication: Prefabrication, Pre-assembly and Modularisation. Caithness: Whittles, 1999. J. Sands. Offsite Construction for Building Services. Berkshire: BSRIA, 2019. Ryan Smith and John D. Quale, Offsite Architecture: Constructing the Future. New York: Routledge, 2017.

Key references (Essay 2) Alderson, Ann. Glass in Buildings. London: RIBA Publishing, 2006. Brown, Phil. “Advances Enable Creative Uses”. Construction Information Service. Accessed on October 24, 2019. Watts, Andrew. Facades: Technical Review. London: RIBA Publishing, 2007.

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Despite its capability to offer affordable and efficient construction, the quality and performance of the building cannot be compromised in order to maintain the longevity of building performance. The effect of geometrical inaccuracies and installation has to be considered on every stage of construction to avoid any unnecessary damage and defects in the future which can expose the integrity of the client and also the end users. The lesson can be learned from the CASPAR house project in Leeds (Figure 2) where it was discovered to potentially have structural problems after a strong wind on the area. While the building was not even collapsed but the structural integrity of the building has compromise the safety of people living inside the building. The reliability of prefabrication method in modular housing to solve the housing crisis cannot be denied, but after all the designers has to consider how a design can resolve the technicality aspects of the build-ability of a building. This include the early participation of the specialised engineers into the early stage of collaborative design process; which then allow for ease of planning construction methods and process without compromising the security and safety aspect of the overall project. Not all designers are well equipped with the experience in taking the advantage of the technology that has been around for quite a while. But BIM (Building Information Modelling) is already making a shift into construction and not many people notice its potential in increasing the overall design, production and quality control of a project. Its complexity requires designer to be trained very thorough in order to fully utilised its capacity in delivering design production efficiency. This example of exploded 3D model of a fabricated housing unit model is not just about virtualising the design but adopting the BIM workflows into the design process can maintain a consistent information across the lifecycle of the project and provide greater insight into the overall cost, schedule and design constructibility. But if we discard the idea of not being able to utilise BIM potential, we are risking of not being able to satisfy the demand to offer a high quality design by achieving affordable building construction.

The adoption of glass in the facade construction is due to its transparency which is always associated with luxury exposing the symbiosis between interior and exterior. But if it is intended to be used as a sole building envelope, glass needs to go through a series of modification in its manufacturing process which will improve the strength and performance that can be fitted in any design needs. Glass is very popular with the facades of any Apple retail stores as it convey an architectural expression that reflect their minimalistic approach in designing electronics. As for their facades, they used laminated glass which is a type of glass that has been heat-strengthened and bonded together in two or several other pieces by means of a viscoelastic interlayer depending upon its mechanical and optical properties. The increase in thickness of the glass improved its resistivity against higher amount of loads especially from wind or physical damages made by the human. The interlayer pieces used in the laminated glass is to provide safety by holding together the shattered pieces of glass if it is broken. But each different interlayers have its own characteristics that involve in providing insulation that result in better solar control and acoustic performance of a building; plus it also can be tinted, translucent, opaque or patterned depending upon the activities on the inside. Some designers wants to provide a space with maximum transparency by minimising the support systems. For a glass to perform as an external element, it is also partially dependent on its method of support and sealers. There are two types of connection used in glazing systems for a curtain wall, first, is patched assembly which the glass panel is supported based on the friction produced between other elements (silicon or rubber) and the panel itself. Secondly, bolted assembly connect each of the glass panels to their respective supporting structure with a mechanical fastener. Minimising support systems means that the glass will probably have a little framing around it and it performance will ultimately depend upon the delicacy during assembly. But both have the same purpose in providing support to redistribute the applied forces and preventing localised stress, and choosing one over the other will depends on design intentions With the ability of 3D and CAD softwares to solve and generate complex geometry to achieve design intentions, glass adaptability to physical changes is converted into possibilities beyond the constraint that it had once before. The construction of The Jewel in Changi Airport is what future possibilities of glass can offer. The complexity in the geometry of the facade is accomplished using those advance softwares with each glass is custom-made to fit into a specific grid based on the functional design of the facade. The curvature of every piece of glass is made possible with cold bending process which bends the individual laminate panel prior to laminating and then laminating them again with the intended curved geometry. QR code was used to determine the glass panel specific location and it require precise coordination to ensure each panels fitted into its right placement. This provide us that even with complex structural system and geometry, constructibility of a design can be achieved despite of any material that will be involved.

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ESSAY 3

ESSAY 4

Advancements in steel and concrete manufacturing, analysis and construction site controlhave allowed designers to go beyond the orthogonal frame in terms of forms, construction speed, variety of sizes and flexibility of space (like open floor, atria, spatial intersections etc). Excluding concrete shells and steel space-frame structures (which are covered in different lectures), outline and compare two areas of technical advancements that have overcome such limitations. Discuss briefly the construction process in each area, the design possibilities and the associated structural strategies to withstand dead and lateral loads.

Discuss a building completed within the last 10 years that shows innovation in at least two of the areas dealt with in the lectures this semester. This can be for example a prefabricated concrete frame with highly expressive stone cladding, a space steel structure produced using advanced manufacturing techniques or an intervention to a historic building using a GluLam structure. Your answer should cover the intentions of the designers, the structural strategy and performance, manufacturing of the fabric and why these advanced methods were used and construction on site.

CONCRETE AND STEEL STRUCTURES

In the era of technological advancements, complex geometry can easily be achieved with 3D modelling software and prefabricated in factory-controlled environment for higher quality control and performance. To increase the flexibility of the floor space, 875 North Michigan Avenue was designed with a bracing system known as the “tube system” which was used to provide lateral stability on the external of the building thus reducing the amount of load bearing walls. The bracing system usually being adopted for building in seismic zone where it can be highly efficient in resisting lateral forces and also the member size used in the structural system can be reduced to provide better strength to weight ratio. But it has a drawback that is the bracing system primarily designed to take lateral load rather than dead load. The dead load is only being transferred by the vertical members at both external and internal of the building to the foundations.

Key references (Essay 3) Designing Buildings Wiki. “Braced Frame Structures”. Last Accessed on 22 November 2019. https://www.designingbuildings.co.uk/wiki/Braced_frame_structures. Fu, Feng. Design and Analysis of Tall and Complex Structures. Elsevier, 2018. Jani, Khushbu, and Paresh V Patel. "Analysis and Design of Diagrid Structural System for High Rise Steel Buildings." Procedia Engineering 51, no. C (2013): 92-100.

Key references (Essay 4) Nick Bertam, “Modular Construction: From project to products,” McKinsey & Company, June 2019. Rob Wilson. “RSHP completes chameleon-like Centre Building for the LSE.” Architects Journal – review” Architects Journal, September, 2019. Roger Stirk Harbour + Partners. “Centre Building at the LSE”. Accessed on 3 December 2019. https://www.rsh-p.com/projects/centre-buildings-redevelopment-at-lse/.

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During construction of Guggenheim structure, the oddity and flexibility in the design cannot be achieved with reinforced concrete due to its plastic in nature and heavy in volume so instead Frank Gehry and his team adopted the concept of shell structure and replacing it with the bracing lattice grid structure to force the steel to behave more like a membrane while at the same time provide the out-of-plane stiffness to resist both dead and lateral loads. In order too minimise the used of concrete, the steel framing was designed in grid-form manner with the diagonal members so that it would resist the shear stiffness. To push steel beyond its rigidity, a universal joint as design to ease connections for the complex geometrical steel members. From the poor efficiency in building performance of using bracing system, diagrid structure was formed to improvise the structural ability and efficiency of bracing structure. Diagrid (combination of ‘diagonal’ and ‘grid’) involved in eliminating the vertical element in the structure and replace it with diagonal members to form a repetitive ‘V’ shaped bracing system. Diagrid system embrace a good visual appearance and provide efficiency to the building structural system by minimising the amount of structure to achieve a complex design and in comparison to the bracing system, it can resist dead and lateral loads altogether due to the triangulated truss configuration. Thus, it will minimise the shear deformation through the axial force on the diagonal members. For diagrid system, the construction of the nodes or connection is the most sensitive part in terms of structure and visual as it is the focus of the load transfer and at the same time usually being located on the exterior of the building. The CCTV Headquarters adopted the diagrid “exoskeleton” structure to become one of the iconic buildings in China . In this situation, the diagrid system is used to create a cantilever overhang that connects two 6˚ lean towers while at the same time providing lateral stability to the whole building. The adoption of diagrid system was due to the location are prone to seismic activity, and diagrid system was designed to overcome the lateral forces which equivalent to at least eight magnitude earthquakes. The steel members also connected with a reduce weld stress concentration to allow for more flexible and light connections for the members in case of the emergency. It is important to note that the used of modern technology provide better analysis to the structural behaviour and ways of designing buildings. While it provide with better efficiency in building performance and use of material in structure, it is important to consider in the choice for fabrication methods for the connection and the logistic aspect of the structural systems as it can affects the aesthetic value and cost of a project.

CASE STUDY

London School of Economics and Political Sciences (LSE) Centre Buildings was designed by Rogers Stirk Harbour + Partners (RSH+P) and completed in June 2019. The proposal was to create a new focal point at the heart of the campus and improving the quality of the spaces in the Houghton Street which was once an intricate network of medieval spaces. In this essay, we will be looking at the adoption of advanced and modern methods in the design and construction process of this building. The adoption of Modern Method of Construction (MMC) for faster and efficient project delivery of the project clearly described the natural constraints of the site by being located in a high-density neighbourhood provided with a very small footprint. With the project being procured under a Design and Build Contract, the design process allowed for the designers and engineers to plan the design and construction simultaneous and effectively. This process is important because the early participation of engineers in design process allowed for early identification of design and construction constraints, thus the solutions or even in a worst-case scenario, a contingency plan can be executed on the early stage of the process and it can minimise the construction cost. In this case, it reduced construction risks and prefabricated materials can be designed efficiently to perform as intended. The construction of the building involved with two linked steel-framed blocks, one with 12 storeys and the other are 6, designed with an exposed steel-framed structure to create more collaborative spaces on the inside and minimised the area required for the structural system. Using steel as a structure conspicuously provide transparentness and continuity thus allowing for better engagement and interaction between the people and the environment. But before the construction of steel frame begin, the sensitivity of the site was identified early on in the construction stages and it required the foundation to be constructed by adopting ‘top-down construction’ method by using plunge columns which act as superstructure for the later vertical construction work thus created deep supports for the site that covered with unstable soil. The prefabricated steel sections encased with concrete was installed horizontally to create a 16m spans for a space of an auditorium beneath but in the same time it will also distribute the receiving loads evenly to each of the piles. A significant time saving was achieved with the rest of the construction which include 60 per cent of the elements for the building was prefabricated and manufactured in a factory for better quality control and later assembled on site. Sustainable design became a fundamental element in designing for a new university building. With the target to achieve BREEAM Outstanding, the team decided to design the building without compromising the flexibility and robustness of its structural system. Therefore, the composite construction method was adopted which reduces the amount of material used by joining concrete and steel together for the construction of the building floor plates. With the adjoining of compression of the concrete and tension of the steel, a shallow floor solution which consists of hollow core concrete planks sits on top of the bottom flanges of asymmetrical beams was installed thus enhancing the structural efficiency of the building which then acts as a very lightweight yet robust diaphragm. Its robustness allows it to act as thermal mass and reducing the amount of energy required to heat and cool the building. The lateral loads are eliminated by the external bracing on each side of the buildings but at the same time become a visible expressive facade for the whole building.

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YEAR 4 SEMESTER 2

JANUARY 2020 - MAY 2020

ARCHITECTURAL DESIGN: TECTONICS ARCHITECTURAL DESIGN: LOGISTICS

ARCH10003

ARCHITECTURAL DESIGN TECTONICS COURSE SUMMARY

UNIT 1: THE PRODUCTIVE CITY

PERSONAL REFLECTION

This course extends the architectural design and communication skills gained through the former stages by integrating a specific tectonic agenda in the conception of architectural design propositions and by achieving a certain degree of precision in its development. The course is offered in a number of parallel design studios that sustain these overarching pedagogical aims of precision and integration through a diverse set of approaches to the role played by technology and tectonics in design.

The Productive City – Living and Working in Edinburgh wants to elaborate a series of projects that speculate on what living in the contemporary city means, experimenting with unconventional distributions of programs and envisioning forms of life that will propose original spatial distributions and arrangements. The projects will merge productive activities (whose definition is an integral part of the research project) with living units in one architectural complex, aiming to challenge conventional architectural typologies and socio-economic patterns.

This course has significantly improved my process of integrating design ideas into one culmination of a coherent design proposal. The research of the site's urban conditions, social and economic activities provided a basis to speculate the best possible productive proposal in reinvigorating Granton. The exploration on the possible production made me aware of the site restorative value which can generate future economic and social values as well as proposing mixed use development that can help mitigate the cities' energy consumption.

LEARNING OUTCOMES LO1

Demonstrate an understanding of tectonic, structural, constructional, environmental and contextual matters.

LO2

Ability to research, analyse, synthesize and integrate with design an appropriate technological approach.

LO3

Demonstrate skills in deploying specified two-and three-dimensional representational techniques correspondent with accepted architectural conventions.

The students will design a mixed-use complex that challenges the conventional understanding of building typologies classified according to programs. Other material qualities and formal criteria become relevant: the articulation of the relationship between the interior and the exterior of the building, the definition of the spatial relationship between the different parts of the building (ground floor vs upper levels, internal voids, etc.), the exposure/concealment of specific parts of the program (e.g. circulation, services, etc.), the presence and performance of structural elements or environmental devices, etc. become fundamental features for defining the character of a building.

Unit Tutors Giorgo Ponzo & Ana Miret Garcia

The proposal for a mixed use building typologies has developed and improved my understanding of bringing two different assemblage of living and working into one final proposal with high level of detail and technical resolution. The incorporation of different programmes, construction elements and social needs pushed me to re-think and be more rigorous in combining multiple design choices in order to construct an attractive architecture proposal that offer valuable spatial and environmental qualities.

Course Organiser Iain Scott

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GROUP FIELDWORK

REDEVELOP GRANTON GROUP WORK CREDIT: Aiman Bin Azman, Razulnizam Bin Zulkefeli

The Granton Waterfront was a major industrial area during the Victorian era, and this legacy can be seen in features such as the 48 metre (158 feet) high Granton Gasometer, the factory and offices of the Madelvic Motor Carriage Company, and Granton Harbour. As of today, many remnants of the important industrial heritage remain, and currently undergoing planning process of regeneration into a potential waterfront city.

Madelvic Car Factory National Museum Collection Centre Edinburgh College (Granton Campus)

Granton, one of the Nortern districts of Edinburgh, is recognized as an ideal test-bed for defining a series of architectural experiments and prototypes that make space to new relationships between different activities. The area of the project currently going through a process of redevelopment – includes abandoned warehouses, decommissioned industrial grounds, and undervalued public spaces. New developments under construction and economic activities (mostly large-scale commercial and small industrial) create a potentially dynamic tension across the site and opportunities for imagining new programmatic and spatial synergies.

Madelvic House

Disused station building

Scottish Gas Headquarters Gas Holder

Granton remain as one of the highly deprive area within the city of Edinburgh with the near absence of public amenities and leisure activities. The data analysis showed that the population of Granton were employed in various industry with residents mostly formed by the working age groups and full time employees. The existing diversity of activities and employment industry can become an advantage to create new experience and innovation for the growing tech sector in the city. With the lacking in creative and commercial activities on the site, a proposal for a mixed use complex can greatly benefit by Granton population thus bring new spatial synergy that can reinvigorate the site.

Proposed Site

Exisitng Activites & Facilities

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Residents Employment Industry Distribution (%)

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PRODUCTIVE ACTIVITY

CREATIVE DIGITAL & TECHNOLOGY Creative Digital production is a process where digitally created and curated ideas and assets (photos, text, video and interactive apps) are translated into different platform of digital media such as websites, banner ads, rich media applications, HTML emails, mobile and social media applications. The output of a digital or tech interface can be anything that has been a part in our lifestyle but with the incorporation of ever improving technology into the chains of the traditional production, the raw data with the means of technology will allow this industry to create digital products that can assist us to make better decisions.

Input

Output

Data is the new raw material for business. Unlike other physical components as output of a production, this material is invisible and intagible. Like a raw diamond, data needs to be processed and categorised in order for it to become valuable; meaning that it can provide meaningful insight.

Once the context has been specified, raw data becomes valuable information that will be processed further into a product/ prototype/interface that can interact or engage with its target end users. The interaction of the outcome is specified even further with a real-time automation that offer interactions with users and the products; from a self-service options that can help to resolve problem quickly, personalising communication to be more relevant or deliver consistent user experience at any time across multiple channel and devices.

CREATIVE DIGITAL PROCESS ideation

brief

research

specification

design/ write

prototype

evaluation

user test/ iterate

realisation

revision/ review

publish

govern/ service/ maintain

TECH ENTREPRENEUR ECOSYSTEM Incubator

Co-Working Space

An incubator is a physical or virtual space that provides entrepreneurial training and business support.

A Co-working Space is a physical workspace that provides basic office services and highly flexible terms at a cost or on a membership basis.

A tech incubator usually support tech start-up or any early stage companies by accelerating growth and success through an array of business support resources and services, including office space and technical facilities.

Co-working is a style of work that involves people who are self-employed or working for different employers, sharing a working environment to share resources, equipment, ideas and knowledge and bring social and peer networking benefits.

Companies typically spend an average of two years in a business incubator being offered peer support, advice and expertise in developing business and marketing plans and often early financial support before moving on to an accelerator or to their own company premises.

Co-working spaces are sometimes reserved for individuals and young, growing companies to provide a social gathering of people who are working independently, but who share similar values, culture and ambition. There is normally no time limit for a company’s stay within a co-working space where they can remain resident and access services.

Example: •Bayes Centre •CodeBase Edinburgh •SeedHaus •Good Ideas

Example: •Barclays Eagle Labs, Castle Terrace •Foxglove Office, Leith •The Melting Pot, New Town •Techcube, Meadows •Tribe Porty, Portobello •WeWork, George St

COLLABORATIVE ROLES

Innovation Centre

Diversity of background within the industry is the main key that allows for a blending of knowledge across multiple diciplines to create new experiences and products that can meet the end user and organisational needs. The nature of innovation in this industry is breaking the barriers of compartmentilise traditional working spaces into more open, flexible locales where separate professions and diciplines can become more easily converge.

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In Scotland, Innovation Centres are collaborations between Scottish universities and industry, addressing industry defined challenges in areas of transformational opportunity. There are eight Innovation Centres across Scotland which deliver exemplar projects and offer specialist knowledge and support to businesses. Blending academic creativity and invention with industrial insights of markets and customers, the innovation centre are designed by industry for industry-led collaboration and whilst supported by the enterprise agencies of Scotland, they are very much guided by industry. Each centre has the specialist knowledge to support businesses to understand the underlying science and to design and develop the technology they require to deliver new products, processes and services to their customers. Creativity of design, engineering and technology are combined to achieve results which bring tangible benefits and they can provide help at any point from raw idea through to market entry. Example: •The Data Lab, Uni of Edinburgh •Edinburgh Future Institute •Informatics Forum •Bayes Centre

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PRODUCTIVE ACTIVITY

DESIGN COMPONENTS

SPATIAL NEEDS

Due to different size of tech company, their spatial needs can be range differently according to their number of local employee or partnership and also the preferable lease arrangement that can meet their financial capability.

SUPPORT SPACES

Private Office Suite

Start-up Space

An office for company that needs its own working environment and expect efficiency. The recommended layout for the spaces ranging for teams of 20 - 250 people.

A co working space but with environment that providing startups with resources needed to test and nurture ideas. The space are usually combined with incubator, accelerator or co-working space.

Dedicated Desk

Co-working Space

Dedicated desk office is a personalised office space for freelancers, small business owners and remote workers need of a reserved, permanent space where they can keep their belongings and that they can return to each day.

An office or working environment shared by people who are selfemployed or work for different employers. Many share a goal of creating environments that foster connections and creativity.

MAKER SPACE

The idea for a maker space or workshop is to provide three core services:

Focus Studio

Makers Commons

A high-tech area that encourage active participation that provides equal opportunity to contribute as people co-create, refine and share ideas. The settings support generative colllaborative sessions and promote fluid interaction between people, ideas, tools and technology.

Socialising ideas and rapid prototyping are essential parts of creativity. These space encourage quick switching between conversation, experimentation and concentration. People are naturally drawn to social spaces with appealing attributes such as comfortable seating, gathering spaces, inspiring architectural elements and rich materiality.

Ideation Hub

Respite Area

A focus studio support the solitary time required for creative work, enabling focus while also allowing quick-shift collaboration. It is a place to let ideas incubate before sharing with others. This space can be owned or shared within a team and offer a controlled environment to get into flow and focus, free from distractions.

Creative work requires many brain states, including the need to balance active group work with solitude and individual think time. A respite area offers a place for the brain to rest, form new connections and access spontaneous thoughts. It is designed with a relaxed posture with environment that feels protected, private and absent of stimuli.

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i. Shared workspace for schools, colleges & individuals to work and develop ideas ii. Skills development and technology education through events & workshops iii. A business accelerator, translating innovative concepts into prodcution of prototypes and related businesses The space will provide access to digital fabrication tools, education workshops, making events and a vibrant community. The range of fabrication tools including laser cutters, 3D printers, milling machines, sewing machines, 3D scanners, traditional hand tools (saws, drills, hammers, chisels etc) and CNC machines.

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LIVING & WORKING IN EDINBURGH

GRANTON STARTUP CITY The proposal for a startup city in Granton is an attempt to develop a new mixed use building that can offer a new agile and flexible workplace environment for tech startup companies and together with new flexible and dynamic housing units. As the site being regard as an ‘empty’ and abandoned space, it become as one of an ideal test-bed for proposing a new mixed use development that can potentially boost Granton into one of the thriving commercial/creative hub thus bringing vibrancy and jobs to Granton.

Although the tech communities having no problem in accessing affordable office spaces for their tech company to scale up in the city capital, the issue of availability of a Grade A office spaces for the tech companies to grow is becoming more scarce. Thus this proposal seek to connect the absence of vibrancy of commercial and creativity in Granton by bringing promising development based on the growing tech sectors in the city centre.

Edinburgh’s tech credentials are well known, with the Edinburgh University’s School of Informatics having nurtured countless spinout tech firms to reach global success. As of 2018, Edinburgh has become one of the best UK location for growing technology businesses as the city itself has transitioned from a hub of finance to one of the city that has produce some of the world’s most productive and profitable tech employers.

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TYPOLOGICAL EXPLORATIONS

Programs. From top to bottom; residential, offices & commercial.

Elevations. Residential neighbourhood offers various housing typologies.

Openness. Double atriums and public plaza provide adequate lighting & transparency to building activities.

Inviting. Sunlight reach on street level and the green belt community area on rooftop floor.

Housing Typologies

Terrace house unit is conceived to be a continous open space that connect the balcony, living room and kitchen from the entrance. Wet areas are organised on the middle of the unit with bedroom place on each of the opposite side to gain outdoor views.

Housing tower floor layout eliminate long and narrow circulation from the core and convert it into a large shared communal are that connect every individual units.

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SYMBIOTIC ENGAGEMENT ACTIVE GROUND FLOOR Begin with the ground floor, the design propose not to have a regular drop-off area around its perimeter which to encourage more on the active travel and green transportation. Instead there will only one entrance to parking area on the lower ground floor from the north west part of the building. The height of the ground floor is double from the rest of the building’s floor which will allow adequate space for exhibitions, conference hall, workshop and open lobbies. the overall perimeter of the floor is recessed inwards by 2 meters to create a comfortable depth for shade and spaces for outdoor seating for the restaurant and shop. The building courtyard is designed with low level hardscape in order to maximise a clearer view of the activity happening inside. The building’s ground floor is intended to allow access for the public which can intiate community engagement between the building users and the visitors thus promote use, activity and opportunities between the building and the surrounding community.

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12 6

13 4 1

3 2

GROUND FLOOR PLAN

1 Central Exhibition Space 2 Gallery 3 Mini Theatre 4 Conference Hall 5 Workshop

6 7 8 9

Makers Space Plant Room Book Shop Information Centre

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10 11 12 13

Cafe Restaurant Bicycle Storage Reception

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THE FUTURE WORKPLACE

PROGRAM DISTRIBUTION

solo

relax

LEVEL 5 - 12 Co Living Units Guest Units

solo

meet

create create

LEVEL 4 Terrace Units Daycare Community Centre

central atrium

solo solo

relax

meet

create

relax

LEVEL 3 Office Spaces

meet

solo solo LEVEL 2 Office Spaces

The workspaces are broken down into several “neighbourhoods” and linked by the first ring of circulation around the central atrium with a grand and internal staircases. The ring will also located the informal and formal meeting spaces that will be highly visible on each floor to provide space for quick interaction or sharing ideas. Dedicated workspaces are distributed around the final ring which to reduce the noise and sound level produce within the circulation ring. Other common shared and relax areas will be situated in between the circulation.

The main goals of the design are to “create communities”, “facilitate collaboration” and “create seredipitous encounters.” The planning is focused on engaging group and individual work into zones to induce collaboration while maintaining privacy. The central circulation around the atrium connect building users from different backgrounds to form a big tightly-knit commmunity.

LEVEL 1 Office Spaces

GROUND FLOOR Conference Hall Exhibition Space Retail & Restaurant Makers Space

SPATIAL PROGRAMMATIC USES Each workspaces are developed into “cellularisation” of various different-sized spaces that can be reconfigured. This is also to accomodate tech startup companies that are vary in the number of partnership/employees and their financial capabilities.

LOWER GROUND FLOOR Mechanical Parking Services

Startup // Freelancer

Micro // Upscale Company

Macro // Unicorn Company

Incubator // Accelerator

short lease weekly / daily

monthly

yearly

admin

1 - 3 people

5 -20 people

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20 - 50 people

10 - 20 people

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FACILITATING MOBILITY The floor plans evokes a campus setting, which two different atrium guide as a high activity zone , drawing people in and also channeling them to their respective destinations. The long corridor connecting to each different spaces encourage users to move horizontally across the space, inviting interaction and collaboration in their daily encouters.

Workspaces

Meet & Create

Chill

The workplace are differentiate into two zones that have different privacy and the worker’s style of work. Private office is for teams with varying number of employee size and co working space or “hot desking” is for individuals that prefers to surrounded by other passsionate professionals.

Meet & Create is a space that will foster engagement, inspire innovation and drive productivity. The meeting area provide both formal and informal informal environment equipped with necessary tech and utilities. Theatre, classroom and multipurpose area are for can be use for a community tech event and discussions.

The chill area is a relaxation zone where individual can have their own think time. The spaces are designed with a serene environment to recharge their psychic energy and work in solitude.

Multipurpose area, Open classroom

Private Offices Co-working Spaces

Library, Fitness, Meditation area

Formal meeting rooms Informal meeting areas

Flexible and Agile workspaces with furnitures that offer different mode of working environment.

Symbiotic working environment provide areas that blends with circulation that can be used for quick meetings and instant collaboration.

Changeable and Adaptable modular office shells. Depending on target users. shells can be changed to accomodate the size of the startup team.

LEVEL 1 FLOOR PLAN

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A ROOFTOP COMMUNITY

The concept of a communal area from the dwelling prototypes is design with aims to create a large community spaces which acting as a bridge; blurring the barrier betwen the working units and housing units above. The interconnected spaces allows residents and office dwellers to socialise, work and have some time alone walking around the garden. On the residential tower lobby, a community centre becoming the official social gathering place that brings the community together. Daycare facilities is proposed to become an intergenerational care that introduce nurseries and nursing homes to one another.

HOUSING TERRACE Housing terrace offers two different variation of housing units which are targeted for group of people bound together by blood or family relationship. The deck-access is a heavily contested circulation type but with potential as a social space acting as collective balcony for the residents.

The floor plan consist of living area conceived as a continous open space spanning from the entrance to the balcony. The kitchen and bathrooms are organised on the centre of the unit allowing the bedrooms to be placed on each side to allow daylight penetration.

DWELLING PROFILES: HOUSING TERRACE

UNIT 1

121 sqm // until 4 people

28 years old, startup founder 27 years old, writer 3 years old, daughter 1 years old, daughter Davide and Cristina were a married couple with two young daughter. They were interested with the apartment where they can exercise their profession in a single building and benefitted from the nursery for both of their daughter.

LEVEL 4 FLOOR PLAN

1 2

UNIT 2

84 sqm // until 3 people

64 years old, Tech Advisor 58 years old, Marketing Consultant 19 years old, college student Patrick is an experience futurist who advice to early startups on industry trends, strategy and innovation. He is a married to Margaret who also work at a tech incubator on the 1st floor providing consulatation with branding and business upscale. They have 3 children that are all grown up but one of them is studying in a local college and staying with them.

Daycare Community Centre

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UNIT 3 - GUEST APARTMENT

48 sqm // 1 - 2 person

GRANTON'S CO LIVING 47 years old, Digital branding expert James is one of the keynote speaker that came from London for a three days tech event at the conference hall on the ground floor. He loves to travel and meet with new people which can enrich his keynote speeches.

The proposal for co living units. Each floor plates hold two aggregation of cluster of dwelling units with each of the unit have different floor plan layout that are designed to accomodate diversity in possible tenants. The long internal circulation of a conventional apartment is avoided by creating a single interconnected communal areas which encourage collaborative and organised activities. The idea is to design a central communal area which can encourage social cohesion between dwellings and develop the elements of community such as culture, economy and tolerance among dwellings and enhance the overall well-bieng of the population. The layout of the design put an emphasis on nurturing the sense of ownership and building trust within a small neighbourhood.

UNIT 4

37 sqm // 1 - 2 person

42 years old, Web developer 40 years old, UX designer Alex and Elisa area married couple without children. Both of them are often busy with their work but they also prefer spend their time with other residents as it can enrich their creative thinking and enrich their knowledge.

TYPICAL FLOOR PLAN

UNIT 5

35 sqm // 1 - 2 person

35 years old, Journalist Kate love to write about technology and doing podcast sharing insight into andvance computing, biotech and innovation. She prefer to have a desk space where she can set up his computer and equipment for her online talks.

UNIT 3

UNIT 6 Two aggregate of residential clusters shared the main lobby and balcony that increase the possibility of engagement between residents.

83 years old, pensioner 81 years old, pensioner 46 years old, accountant

UNIT 4

George and Amy are a married couple with 4 children. They used to have a really active life, but now that they got old, the like to spend more time with the community that they are live with. Currently, they are hosting Laura who is currently working at National Museum Collection Centre. Sometimes she helps Amy to going around for a walk and doing exercise together.

UNIT 5 THE SHARED SPACE

165 sqm

The shared space contains 1 big kitchen with preparing and dining tables. The space also contain two different living area which can be used for socialising, reading, working, studying or having a movie night together. The area also equipped with a small outdoor balcony.

UNIT 7

Louis, Tim and Daniel are close friends and also 3rd year university students currently work as interns for tech companies at 3rd floor and 1st floor. They are all keen to develop their skills and gain more networking with the professionals that are currently living and working in the building.

UNIT 4

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83 sqm // until 3 poeple

21 years old, students 22 years old, students 21 years old, students

UNIT 6

UNIT 7

70 sqm // until 3 people

10 m

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SOUTH ELEVATION

DETAIL SECTION

SECTION

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STRUCTURAL STRATEGY

In order to provide a larger and flexible internal workspace, the building utilitse steel frame structure supported with diagrid system which they can provide structural stability for long spans office spaces. The structural diagrid also reflect Granton’s identity with modern industrial aesthetic thus gives a distinctive and dynamic identity to the building.

FACADE STRATEGY Heated air is exhausted

Shading device in raised position to allow solar gain to pass through

Shading device intercept solar gain and is protected from wind effect

Natural ventilation due to stack effect removes hot air Glazing unit reduce conducted heat gain and control internal surface temperature Glazing with low e coating keeps out solar radiation and uv rays

Cool air passes through cavity

TYPICAL FACADE BUILD-UP

Glazing unit reduce heat loss and help control surface temperature

Glazing with low e coating keeps heat stays in and allow max solar gain

Winter Operatioin

Summer Operation

TYPICAL SECTION DETAIL SOUTH EXTERIOR FACADE 1

Roof flooring with stone finish, screed (80mm), triple waterproofing membrane, double rigid insulation (100mm), vapour control layer, composite slab of concrete fill over corrugated steel sheating (200 mm), plaster layer, suspended ceiling finish

gravel drainage layer

aluminium triple glazing units (8mm/14mm/6mm/14mm/25mm, 3mm lam. safety glass)

aluminium facade glazing units with low e coating (6mm/12/6mm)

floor finish (30mm), adjustable steel pedestals (70mm), composite slab of concrete fill over corrugated steel sheating (130mm)

3 4

7 8

6 motorised sun protection slats 7 Anti glare roller blind 11

8 LED linear light

9 Suspended acoustic baffles with insulation core and micro-perforated sheet aluminium finish 10 horizontal mullion anchor 11 universal steel beam (533 x 210 x 122) 12 universal steel beam (457 x 191 x 98)

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ENVIRONMENTAL STRATEGY

Shading design utilised double skin facade strategy with high performance glazing and motorised sun protection slats to take advantage of the solar gain.

One of the main environmental strategy of the building was to design with a courtyard plan. For an office building , light is important in maintain the interior quality of spaces during work and to reduce the amount of energy use to light up the spaces. The two atriums allowed for all areas of the interior to be illuminated from two sides.

Green rooftop terrace provides elevated social and outdoor workspaces with enhanced biodiversity and increase occupants’ connectivity with the natural environment.

Rainwater management collect and store at roof level for trellis planters and to treatment plant on the lower ground where it is reuse for non-drinking purposes.

Both atriums spans over full height of the block thus providing enhanced air movement and daylight penetration to all floor levels circulation and provide stack effect that naturally ventilate the building.

Atriums skylight

rainwater collection

Natural convection exhaust

outdoor spaces with furnitures and potted plants

hot air rise enhancing air movement

cross flow natural ventilation

daylight to every floor level

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ARCH10025

ARCHITECTURAL DESIGN LOGISTICS COURSE SUMMARY

PERSONAL REFLECTION

The course asks students to engage with an aspect of building design and procurement relevant to the workflows experienced in the design and construction sector. Students select a theme and re-contextualise it within the framework of their own design studio work.

This course has allowed me to do in-depth analysis on the real-life situation of project delivery stages. The study of the St John Church redevelopment allowed me to understand the complex nature of a logistical process. I was able to reevaluate and reflect on how the planning and design had to comply with the strict legislation outlined by the city council. The final individual drawing of my Tectonics project putting into consideration and evaluation of the design proposal with the existing legislative policies and newly updated Granton Development Framework. The considerations reflect upon the meeting with the requirements outlined in the Edinburgh Development Plan for the process of getting a planning permission.

LEARNING OUTCOMES LO1

Demonstrate knowledge and understanding of a specialist theme in relation to the design and procurement of buildings.

LO2

Demonstrate ability in applying knowledge of a specialist theme to enhance a design proposition.

LO3

Display aptitude in communication through the production of incisive text and graphical outputs.

Course Organiser Fiona McLachlan

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LOGISTICS REPORT

LEGISLATIVE DRIVEN DEVELOPMENT OF ST. JOHN CHURCH GROUP WORK CREDIT: Aiman Bin Azman, Razulnizam Bin Zulkefeli

PROJECT BRIEF

The project focuses on the management of the project execution between the stages of basic design and final handover, in order to meet the requirements of all agents involved in the processes of implementation of an architectural project. It involves a broad understanding of what constitutes resources, to include material, human (including collaborative work) and temporal aspects of production. The report should organised around a set of process driven practice/research themes introduced by a series of case study talks by academic staff/ practitioners. These may include statutory frameworks, building procurement, collaborative practice, digital modelling and simulation, and manufacturing or construction processes.

PROCUREMENT For the St John’s Development project, the traditional procurement method was the way to go primarily due to St John’s Church being a historic A-Listed building. The decision with traditional procurement method would allow more control on the design, details and material choices that would abide the legislations tied on a sensitive, historic A-Listed building. Thus through the traditional procurement route, fully developing the design before tender gives the client certainty about design quality and cost, as well as complying against legislations that would otherwise could allow contractors to change the materials or details that are not allowed.

The new stone profile sympthetically permeates with the original church building with only the new facade extension being relatively new with the large and high windows covered with lead finishes profile.

ABSTRACT TIMELINE 1816 Groundbreaking - Start of St John’s Church construction

1817

Pre-2005

Construction completed

The Vestry of St John culminated a brief

DESIGN BRIEF 19 Mar 1818

LDN Architects were appointed in 2005 to develop proposals to modify the church. Before appointing LDN Architects, the Vestry of St John’s had culminated a brief:

1882 Alterations by Peddie & Kinnear (Addition of chancel)

26 Mar 2010

28 Nov 2012

17 Apr 2015

12 Sep 2016

May 2019

Planning Permission applied

Consent Renewal Planning Permission applied

Planning Permission re-applied

Start of construction

Awarded the EAA Edinburgh Building of the Year 2019

1916 Addition of church hall

Phase 1 (6 months)

18 May 2010 17 Jun 2010 Curator of Archaelogy response

Historic Scotland response

Phase 2 (12 months)

Key references 30 Jun 2010

LDN Architects. “Church of St John the Evangelist - Design Statement.” The City of

Date accessed March 10, 2020.

The City of Edinburgh Council. “Report of Handling.” Last modified June 17, 2015.

Original building developments

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2005 2010

The City of Edinburgh Council. “New Town Conservation Area Character Appraisal.”

1800s

Edinburgh Council. Last modified April 18, 2015.

2012

Planning Permission granted

15 Jan 2013

17 Jun 2015

27 March 2018

Consent Renewal Planning Permission granted

Planning Permission granted

Construction completed

St John’s Redevelopment Project

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• • • •

A flexible hall/ performance/ exhibition space accommodating seating for up to 100 people Continuing operation of the Cornerstone Cafe Office space for up to 6 people Two meeting rooms Retail space no smaller than current arrangements

2005 LDN Architects appointed to develop proposals

2016

•

Consecration on Maundy Thursday

2015

This report aims to explore the logistics of realising an architetcural design, specifically for a historic building. By studying the St John’s Church Redevelopment project by LDN Architects, we are able to identify how the project was realised and shaped throughout the various factors affecting the process.

Post-completion

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LEGISLATION

Charlotte St

Princes St

Lothian Rd

The application for the planning of extensions and alterations of St John Church underwent two main regulations; Town and Country Planning Acts 1997 and Planning (Listed Building and Conservations Areas)(Scotland) Act 1997. With reference to the building regulations, the design and planning proposal was shaped by taking into account the relevant policies and non-statutory guidelines published by the Edinburgh City Council and consultations from relevant consultants suggested by the council.

CHAPTER 3 - POLICY DES 3 - DESIGN DEVELOPMENT Policy Des 3 addressed the vital importance for the development of the design for a building in the city centre that needs to consider its impacts on neighbouring properties and its surrounding townscape. For any new development within the city centre, any new proposals are expected to have similar characteristics and can generate a coherent sense of place. The new design need to provide an attractive immediate outlook for its users and visitors and can facilitate adaptability for future needs of different functions and promote opportunities for mixed uses.

rtbert

St Cu

New extension Key vantage points

The church is situated in a very important location in the city of Edinburgh at the end of the busy Princes Street. The existing lead profile roofing was considered in the design to have a continuity with the overall city townscape.

The site is situated in two areas of historical importance, fthe Edinburgh World Heritage Site and the New Town Conservation Area. Designing within this area require critical consideration with the Edinburgh City Local Plan to preserve and maintain the overall city character and its landscape. The new extension was intended to be highly visible when viewed from the east of Princes Street, leaving the important view towards the spire of St Cuthberts unaffected. The new extension would be partially revealed through the trees when viewed from the south-west.

Architect response: The new design for the extension enhances the visual delights of a high-profile interfaith dialogue and celebrates client vision to outreach the wider community in the area within Princes Street. The new design becomes a point of arrival from Princes Street and its architectural expression was to convey a design of a modern time while still blending in with the Gothic revival elements of the original church building. Design for the redevelopment provides a high quality accommodation that fits the client’s brief whilst celebrating the heritage with continuing relevance. The new development also addressed poor daylight penetration and improves the functionality of the existing church hall.

Stone Stone is an important aspect in the project to have sympathetic approach in the appearance of the building especially for its external appearance.

Timber Timber (oak) creates high quality finish and a healthy environment for its aesthetic purposes.

CHAPTER 4 - POLICY ENV 1 - WORLD HERITAGE SITE The church itself lies within the World Heritage Site and the New Town Conservation Area. From the excerpts based on the city’s local plan, any development needs to take into account its nearby neighbourhood; (heights and forms, walls, slate roofs, or vertical windows) which can influence the character of the city as a whole.

Architect response: To respond with the criticality of the site, material consideration was the key to maintain the authenticity and integrity of the church design. Materials nearly identical to those found in most of the buildings in the New Town area and sympathetic with the original church building’s materials were chosen. Despite being intended to have a contemporary external expression, material choice has to considered. The new stone facade brought from the North England quarry have similar characteristics to Edinburgh and the original church stone facade. Lead and prepatinated zinc that were used on the new refurbished roof and the new extension finishes can also be typically found within the city landscape.

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Churc

Zinc Zinc is used for the extension of the the church which is utilised in a modern way. The usage of zinc makes the distinction between old and new to be clear while blending in with the townscape.

Glass Extensive use of glass for the extension’s front facade with triple glazing ensures good thermal performance and made seamless distinction between old and new.

The position and forms of the extension was designed to have a contemporary external expression and improving daylight penetration by maximising the amount of transparency in the new built form to render the visibility of the church’s daily activities. The new extension mitigates the impact of the building on existing views while providing a more vibrant outward looking space. The material palettes used ensures that the new extension will remain sufficiently distinct from the original church whilst not being alien to the traditional looking characteristics and elements within the New Town Conservation Area.

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CHAPTER 4 - POLICY ENV 4 - LISTED BUILDING - ALTERATIONS AND EXTENSIONS This policy seeks to determine that any application for alterations and extensions of a listed building should consider every possibility to retain the originality of the building or any alternative viable use must be explored. Any unnecessary damage to historic structures must be avoided and a thorough structural condition report has to be submitted which demonstrates any substantial alteration and extension being clearly justified. Architect response: Other than planning permission and building warrant, the architect also had to apply for a Listed Building Consent (LBC) which will allows the architect to carry out works on the church which is listed under Category A of Listed Building. The needs for an LBC is because the architect had to work a plan to relocate the memorial stones and also planning for the ground breaking works especially for the construction of a lift. Particular attention was paid on the planning of relocation and removal of the exisiting walls, memorials and crypts which have historical and architectural importance and the architect had to receive permission from the council and consultations from the specialised consultants on any alterations and metal and stoneworks on site.

Fabric Separation The extension was designed to not touching the original wall of the church to avoid any potential damage to the church fabric and the memorial stones inside the dormitory. The original stone wall is an exposed wet wall and the architect decided to avoid any attachment of new element to the existing wall.

CHAPTER 4 - POLICY EN6 - CONSERVATION AREAS DEVELOPMENT Any development within Conservation Area requires special attention to possible preservation and enhancement of the special character of the building with the relevant conservation area character appraisal. Any slight alteration of a building in this area can have a huge impact on the overall character of the city. As the Church is located within the New Town Conservation Area, the proposal will need to demonstrate high standards of design and appropriate use of materials that signify the special character of the area’s historic environment.

Architect response: Policy Env 6 overlaps with the quality needed to consider in Policy Env 1, but both are crucial in shaping the design for any exterior elements for the new redevelopment of the church. These two policies are important in considering the long-term impacts on the existing church and the townscape as a whole. The architect had to consider that every alteration and the design for the extension for the church hall can be carried out without any serious detriment to its character. Whilst the extension will be highly visible, particularly when viewing on the axis along Princes Street Gardens and southwards from Charlotte Street, it remains small in scale in comparison to the church as a whole. Despite being in the site of historical importance, the design and form of the new extension was relatively simple and obscured by the surrounding treescape when viewed from other distant positions such as The Mound or Castle Terrace.

New mezzanine floor

Existing windows

Steel Frame Structure The extension utilised the use of steel frame structure to create an open plan space that can allow more flexibiilty to the new room. The steel structure for the first floor was connected to the existing load bearing walls of the church. It also allow the new floor build-up to be reduced to achieve the height clearance for fire safety and regulations.

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CONCLUSIVE REMARKS Overall, the development of an architectural project on a historic building requires multiple layers of logistics, ranging from client issues to the planning process, as well as during construction works which needs consideration of legislations. Thus, this St John’s Chuirch Redevelopment takes these factors into account, making it a a legislativedriven project. Below is an overview of the main legislative-driven process on a historic building, referring to the St John’s Church Redevelopment project’s planning application process.

Submission Drawings

Planning Permissions Application

Design Statements

Building Warrant Application

Historic Scotland Consultation

Report of Handling

CECAS Consultation

APPLICATION GRANTED/NOTICE OF DEVELOPMENT

SUBMISSION & CONTENT OF APPLICATION

VALIDATION

CONSULTATION

CONSIDERATION

REVIEW

LDN Architects submitted the drawings and relevant information regarding the proposal for the church redevelopment. In order to obtain the planning permission and the building warrant, the architect had to ensure all of their submissions comply with relevant planning policiesand building standards. Relevant Policies: Policy Env 1, Env 4, Env 6, Des 3 and Des 11.

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Edinburgh City Council assessed the application submitted by the architect and reviewed it under relevant legislative conditions as St John Church is a Category A listed building located within the New Town Conservation Area. The council assessed based on the New Town Character Appraisal and the application was considered under ecclesiastical exemption. The council sought relevant consultations from specialised consultees regarding the issue pertaining to the church.

Edinburgh City Council under the provision of Development Management Procedure 2013 (DMR) sought after consultation from the Historic Scotland and the Curator of Archeology from CECAS regarding matters relating to the historical importance and possible alterations and excavations of the building.

The applications were approved with the condition that the archeologist need to be present during ground breaking activities and the relocation of memorials need to be recorded, analysed and reported to the Head of Planning. Some of the exisiting memorials located in the undercroft were left untouched and any planning for proposed stone and metalwork needs to be submitted to the Planning Authority.

Edinburgh City Council produced a report of handling, suggesting possible guidelines and information for the architect to follow regarding the criticality and the historical importance of the church.

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INDIVIDUAL DRAWING

GRANTON STARTUP CITY PROJECT BRIEF Develop an individual drawing continuing with the logsitical theme of the group report. The emphasis is on analytical drawings and diagrams, with explanatory captions. The drawing must include a block of text, location plan, title, etc.

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