Anna Toft Portfolio by PDF Uploads

Stage 3. Portfolio - Anna Elizabeth Toft - 180345984 - Creative Synergies

54°58’25.5”N 1°35’30.3”W

Anna Toft Stage 3 Architecture Portfolio 2020/2021 School of Architecture, Planning and Landscape. Newcastle University Creative Synergies (Studio 7) Stella Mygdali & Craig Grey 180345984

CONTENTS

REFLECTIVE DIARY & CULTURAL BIBLIOGRAPHY

Page 06 - 13

PROJECT FRAMING

Page 15 - 55

THEMATIC CASE STUDY

Page 58 - 61

TESTING

Page 60 - 81

PROJECT SYNTHESIS

Page 82 - 13

BIBLIOGRAPHY, LIST OF FIGURES & APENDIX

Page 06 - 13

01 01 01

CULTURAL BIBLIOGRAPHY & REFLECTIVE DIARY

Cultural Bibliogrphy

Alongside the modules provided this year, I investigated my own interests in relation to architectural education, these activities varied from craft to visiting new places. As a result of the pandemic, I found myself with more time to sit down and create, in particular I enjoyed watching Greyson’s art club, a series where the artist Greyson Perry tries to encourage the documentation of lockdown through the creation of art. In response to this I decided to start exploring inhabitation within my university house, drawing my flat-mates, and trying to covey the feeling of space. This went on to develop into metal and fabric sculpture exploring the difference between inside and outside as a sensory representation of space.

I read a few books alongside my sculpture exploration such as Richard Sennets ‘Craftsman’ as well as Gaston Bachelard’s ‘The poetics of space’ allowing me to further my understanding behind my sculptures as well as being able to apply the theories behind craft to my design module in understanding the social context of my site as well as my own practise as a designer. Later on, within the year I decided to visit Alnwick gardens in order to see the Alnwick gardens pa-vilion by Hopkins Architects, I was really interested in the structural components within the roof as well as the history of place. The pavilion ended up informing me on my integrated technology report looking at climatic façade designs.

Cultural Bibliogrphy - Thematic Case Study

Fondaco dei Tedeschi - Venice

Granby Four Streets - Liverpool

Relation to the past and present through materilatiy, Our studio’s context is defined by a number of listed building dating back the 1700’s, there is a requirment to preserve the identity of place due to its cultural significance.

Integration of craft communites, directly involved with designs, as well as celebrating the most culturaly diverse area of livrpool. Similarly to Ouseburn, this area of livepool is experiencing gentrification issues therefore the integration of local community is integral to the preservation of identity as well as encourging diffrent aspects fo the creative community to integrate and learn from one another which is allowed by the winter garden space.

The Paul Marshall Building - UK

Joanneumsviertel - Graz, Austria

Simon Tarbox Jenna Goodfellow Lea Udrescu

The main design of Grafton architects on the public realm (2021 Djopo) and experience through the integration of public space to create an extention of the city. This relates to our studios themes of participation and integration of other disiplines outside the institution.

Gerrit Rietveld Academy and Sandberg Institute - Amsterdam

Good exsample of how development can carefully curate a site and ensure the heritage and histroical values of an area are preserved and celebrated (2021 Tarbox). By paling the structure underground it becomes an extention of the city that does not disrupt the historic buildings on site. In relation to my project, the extention is very open alowing for various circulation and footfall that is needed within institutional buildings to encourge integration.

Joanneumsviertel, Graz, Austria Group 4 - Urban Form

The Hill House - UK

THE HILL HOUSE

Within the programme of the building is designed with open plan circulation in mind in order to encourge interactions between students and staff much like the institutional case study our studio looked at and what I chose to include within my project to encourge the integration of craft and technology.

Contrast in materilaity, the techtonic lightness of the streel frame is juxtaposed with the brick walls of the hill house its self. Within my project I explore contrasting languages to covney the where controlled areas of my building are located in contrast with the integration areas at the centre. Glass allows for the connetion between inside and outside whilst maintianing a certain condition. BY SAM FARD, ELEANOR METTHAM, MICHELLE MOK, CATHERINE MCCONNACHE, HANNAH BATHO AND REECE MINOTT

GMT Furniture College - Ireland The theme of metamorphosis of an old industrial school, looking at the past, present and future of the site. This relates to our studio’s focus of tryign to regenerate a sense of place using new technology and community participation in the design. This process based approch to design relates to that of the craft focus within our studio and how craft can inform architecture.

PORT HOUSE ANTWERP ZAHA HADID ARCHITECTS

Port House - Belgium

2009- 2016

histroical heretage of ship building reflected in the desing, the theme of past present and future is very distinct. Triangular facade designed to manage solar load, which is something I looked at within my building as a result of growing hydroponics. Sophie Henderson Benjamin Galvin Guoyi Huang

Reflective Diary

13 Over the course of my final year studying architecture, I have developed and extended my knowledge considerably exploring different areas of interest integrated with the core ARC3001 design module, focusing on the theme’s sustainability, participation, and consumerism through the development of my hydroponic cotton farm and research centre within Ouseburn, Newcastle upon Tyne.

approach on craft by using origami in order to create massing models and sail roof design seen in thinking through making. The essay also brough to my attention that the way we source material for craft is also an issue, with the UK spending an all-time high of 55.27 GPB million in June 2020 (United Kingdom Imports of Cotton | 2000-2021 Data | 2022-2023 Forecast | Historical, 2021) on cotton imports alone.

Becoming part of the ‘Creative Synergies’ studio gave me the opportunity to understand an area of Newcastle that I was previously interested in due to its rich industrial heritage and subsequent craft focus. As a result of this craft found itself at the centre of my project as it defines the majority of the social context of Ouseburn.

I started to look at different method of growing cotton on a site with a small footprint and hydroponics seemed like a suitable idea as there were also existing urban flooding and water contamination on site which I could utilise in order to water the cotton plants. The integrated technology report helped me to develop the research around hydroponics as well as what natural solutions could be used in order to regulate the conditions needed in order to grow the plants. This also helped me to develop a language for the building into four main parts in order to encourage the integration of craft and technology.

Focusing upon small scale craft allowed me to investigate why social participation plays a significant role in grounding schemes into their contextual background (Toft 2021), as well as containing the critical thinking that could unpack the current state of architecture (Rossi 2017). One of the aspects I was most interested in was the integration between craft and technology and how they can benefit one another and what happens when participatory process is absent from design.

‘T

o deal with this physical crisis we are obligated to change both the things we make and how we use them. We will need to learn diffrent ways of making buildings and transport and to contrive rituals that accustom us to saving. We will need to become good craftsmen of the environment’ - Richard Sennett

Personally, my interest evolved round the ship building heritage dating back to the 1700’s connected to smaller scale localised craft. In particular ropery and sail making and their connections with the pre-existing flax mills that would have produced the material and grown locally, and I liked the material elements that had potential to be applied to multiple uses. The framing stage allowed me to develop the integration of craft, technology, and community, through the design of a pavilion in order to test ideas using academy as a programmatic fulcrum. In my case looking at rope used in tensile structures such as rigging of sails in order to create multi-use programme as an extension of the city taking influence from in the thematic case study Nantes school of architecture’s programmatic arrangement and adaptability to future change. During the testing phase I reflected upon the importance of the integration of craft into practise within the theory into practise essay that allowed me to unpick why there is now trend in authenticity as making goes mainstream. My response to this was to focus my design

Synthesis allowed for the refinement of my programme, consisting of cotton processing, research (water labs for the Ouseburn restoration project), hydroponic cotton farm with the crafting library at its core. By creating models and physical drawings I was able to resole the complex programme of controlled vs open space and how technology and craft to coexist and benefit from one another and how materiality can also convey this. My dissertation highlighted my interest in how architecture can control individual’s behaviour in the extreme case of a prison, and this became useful when understanding conditions that are needed for cotton growth as well as the key meetings of craft and technology (research). Overall, the ‘Creative Synergies’ studio allowed me to understand how to ground a project within its context in order to benefit the existing communities whilst tackling sustainability and consumer issues. Personally, the theory into practise essay informed me the most as did ‘the craftsman’ by Richard Sennet as it established a solid understanding of why craft is important to helped me to understand in more depth the need for craftsmanship over technology despite being accelerated into a digital age as a result of Covid-19.

Fig. Thinking through making origami experiment

02 02 02

PROJECT FRAMING

Studio Breif The central question asked of us is what role the institution of education, and the spaces in which it takes place, can play in consolidating and mediating between transient and estabilished communities of Ouseburn, Newcastle upon Tyne. And, if when aligned with the aforementioned considerations, it can be used as an appropriet template for a more contextual and sustainable, contemporary commuity architecture through the exploration of Synergy.

Creative Synergies Hydroponic cotton farm & Research Centre Situated in Ouseburn, Newcastle upon Tyne, my project’s objective is to demonstrate the relationship between technology and craft through the production of raw cotton fabric in relation to the historic and new crafting practises already established. The hydroponic cotton farming is aided by a sustainable core tackling urban flooding and water contamination issues through a water retention and filtration system specific to my site. My project will help to highlight the importance of local and sustainable craft within architectural practice by sourcing raw material to local and transient communities and supporting institutional programmes including the environmental science, fine art faculty of Newcastle and Northumbria University. Collaboration with Groundwork North East and Cumbria, The Environment Agency, Newcastle University and Newcastle city council will provide funding. The environmental Agency has already secured £200,000 (Project launced to protect the Ouseburn River, 2021) to fund the Ouseburn restoration project, my building would be an extension of this by providing urban flood and river contamination solutions that can be applied to other urban areas on relatively small sites. External View of Project from Lime Street

Community Engagement - Architectural & Cultural Context - Process - Inhabitation - Making/ Fabrication - Craft - Research - Sustainability

Location - Ouseburn, Newcastle Upon Tyne 54°58’25.5”N 1°35’30.3”W Ouseburn is a vibrant creative area of newcastle upon tyne characterised by its industrial past and current arts and craft baised community. As the city turn to a more service basied economy the diverse culture that has developed there becomes under threat from external investors. It is therefore of great impirtance to reflect on the past, present and future in order to understand how the place came to be and look ahead to the future. Therefore, at the beginning of the year, our studio focused on how the community of Ouseburn covers changes over time from its industrial heritage, current communities as well as landscape and its effects on these groups. It is important to study these areas as it allows for a deeper understanding of what needs consideration in order to develop a dynamic and convincing breif.

Location

Ouseburn is situated in the North-East of England, and in close proximity to Scotland as well a short drive from the coast amd city centre.

A Journey through Ouseburn...

A Journey Through Ouseburn

What caught my eye the most after visitng Ousbeurn on a few occasions was the abundance of craft such as furnature stores, farming, studios, art galleries as well as cafes and bars. There is a huge contrast in scale and levels, mirco and macro from the metro bridge down to the bottled newcastle ales. Walking down towards the quay side this scale decreases as a result of the valley typology

New Development Down into the valley sheep and the farm, made to feel small due to the imposing bridge structures all representing a diffrent development stage in the area

The heart of Ouseburn Comprised mainly of converted listed buildings such as the clunny that in the past would have been a flax mill

Lower Ouseburn is currently undergroing a new development for steenburgs yard which will provide accomidation, however, there is local concern about the impacts this new build will have on the local area

The role of Craft

Industrial Heritage

Craft plays a large role in the social context of Ousbeurn, this is noticabl from the industrial heritage to the grafiti art scattered aroudn the area.

There are a few industrial businesses that remian in the area such as a steel yard, other industry has been lost with building now used for diffrent purposes

‘It was a vibrant community of

squalid tenemnts where people shared a limited space with heavy, dirty, and frequently dangerous industrial processes’ Past Ouseburn

- Mike Greatbatch, Ouseburn Resident

Late 20th Century

Projekt Architects

The ship inn

Ouseburn Farm

The clunny

Seven Stories book shop

‘Where else can you find such an electric

West Existing Buildings Old Buildings

Transition between past and now

Key areas of development River Flow

Terrace housing design ispopular for highly populated areas, the mailing is an updated version of pre-existing housing The glasshouse bridge is now surrounded by the ubansisation of the quayside, and the Tyne bar has undergone many refurbishemnts since 1994, alongside the development of new rounds.

Contemporary Referbishemnt

Business

1983 buys the cluny bonded wearehouse (36 lime street) and becomes the creative hub for the creative and subsequent economic regeneration of an entrire district. Seven stores was once a victorian warehouse, the charity purchased the building and opened to the public in 2005 and was awarded £499,000 by the arts council England alongside support from diffrent instituations.

Attraction

21st Century

Residence

Brims construction appointed as the principle contractor for the complete design and rebuild of the toffee factory and opened in 2011.

Ouseburn Viaduct

Metro Bridge

Byker Bridge

Furnature, Brewery, Catering, Print North-East

Furnature, Brewery, Print North-East

Valley Climbing

Ward Bro Steel

The Kiln

Brinkburn St Brewery

The Malings

Grafitti wall

Tyne Bar

Offices

Free trade Inn

The Cycle Hub

East Industry

mix of past, present and future in one place? Eco-friendly homes, listed buildings, traditional pubs, cafes, breweries, srtists’

The landscape under the the metro bridge is now environmentaly protected compared to the industrial past where the land would have been used.

Industry

Present Ouseburn

Stables

Business

Residence

Steenbergs Building

Toffee Factory

Glass Bridge

Hotel Du Vin

studios, galleries, sitting side by side in

harmony’

- David Carr, Ouseburn Resident

‘All these developments are killing the

character of Ouseburn, slowly eating away at the authenticity and creative buzz of the place as it assimilates with the rest of Newcastle’

Byker Bank

The Mailings

76 sustainable new homes with communal growing areas and private gardens.

The timber yard is a possible extention of the Malings site. Although not a priotiry, it is something that could be considered with the site owner in the future

East of Maling Street

Future Ouseburn

3 5

Lower Steenburgs Yard

Block of flats including parking and workspace on the lower levels fronting the river with accomidation above.

Ford Street

2 6

Lime Street Proposed for self build housing. Individual plots of land would be sold off to people wanting to build their homes.

These two vacant sloping level sites are suggested for splitlevel live-work accomidation. This would provide units for people to live and work with a range of studios and workshops. The Tyne Bar stage would be entirely workspaces to avoid concerns about noise.

This grassy slope has been suggested in the past for the development of a series of modern houses in order to capture views of the tyne river and Quayside.

Malmo Quay

5 7 7

It is important to consider the how our project will fit into the context of place within the future and what impact the building will have. The issues surrounding gentrification mean that there needs to be a mediator between the creative culture and consumer culture that Ouseburn finds itself battling with.

The aim is to develop a medium rise apartment scheme on the western part of the site with a waterside village including the boat yeard, cycle hub and cafe, resturants and bars with outdoor seating.

Planning permission Approved Proposed Developments Potential Development Negative Impact Positive Impact

- Local Graffiti Artist

‘It is crutial to ensure that independent businesses have the ability to operate without the threat of aggressive redevelopment, because this would change the nature of the area and squeeze out facilites who cannot compete’

Jesmond

The Coast

Situated on a slope and slipway original used by coal miners. Also next to a boat club that was used in post industrial Ouseburn. Lots of water run off into the river due to urbanisation

Ouseburn Culvert Byker

Landscape

City Centre

Flat site, situated right next to the river, currently under construction to build steenburgs yard.

East facing river bank, high bio-diverity but small site footprint but good location for older parts of ouseburn.

Quayside Byker

Maps that show the rhythm of place, these will help to understand access to the aspects of Ouseburn that we are interested in. In my case I was interested in the access to the river and those communites that use the river almost in its own syngery that derived from the pre-existing ship buiding and farming community. Zonings and recommended sites Sites of Interest due to proximity to river

Spital Tongues

Site Analysis - Rhythems and Levels

Map showing the river in connection with typology, Higher parts of ouseburn highlighted by red areas of the map. Progression in scale down toards the Quay side

Ouseburn Restoration Area Biodiverity Self Seeding trees Night Rhythems Development areas in accomidation Day Rhythems

December

November

October

September

August

July

June

March

Febuary

January

April

May

The Clunny, Listed building in Centre of Ousbeurn, now repurposed for artists studios and cafe

Red brick in Newcastle there is an effort to preserve appearance (Newcastle city council regeneration directive, 2021). A lot fo weathered material and greenery

Natural River

Artificial Key Areas for Balance between Artifical and Natural

Artificial + Natural

8 5 Hadrians wall Listed Buildings Conservation Area

It is important to consider the colour pallet as well as the interaction between artificial and natural, in order to consider the materitality and preservation of place within the area

54°58’25.5”N 1°35’30.3”W

Site Decision

My site decision was informed by my interest in the Ouseburn river as well as the boating club that is situated onsite. After discovering the connection that ship building had with other smaller industries in Ouseburn, such as ropery and sail making in connection with the pre-existing flax mills such as the Cluny. I wanted to find a way to integrate a craft such as weaving or fabric in order to develop my project and test on site. I liked the idea of creating a multipurpose space by integrating storage for crafts people including artists taking classes outside as well as the potential to develop a sustainability strategy due to the proximity to the river and east facing slope.

10 9

South facing Valley

7 Emitted thermal energy

H20H20H20

H20

H20 H20

Abandoned Building

Ouseburn Slipway - Histroic Impotance and Key water Catchment area in Ouseburn

Abandoned Building

12 Foundry lane

- Furnature shop - Catering - Out there Brewing company

Abandoned Building

Team Phoenix Martial Arts

Raskl. Art + Architectual

Abandoned Building

21 Lime street - Backyard Bike Shop

Residential Building

Temperature Diffrence caused by river

Water run off and river contamination due to urbanisation. This also leads to soil errosion and subsequent unstable ground.

H20

Temperature Temperature Temperature Diffrence Diffrence Diffrence caused by river Temperature caused by river caused by river Diffrence caused by river

Tree Transpiration affects ambient temperature and humidity

East facing Slope Sunrise Views

Temperature Diffrence caused by river

AM shadows PM Shadows Constant sun exposure over the day

Temperature Diffirenece caused by water as well as weathering of materials on site

Wind protection from valley typology, artificial and natural structures 0 - 40 km/h

Thermal mass effect

Live

Buil d pr ‘ The ojec y a t 20 sion re c 18 o o m f p P aca dem rofess leted u betw ic w or Gr nder or ah e t rese en des k explo am Fa he supe rme arch ign p res rv thro racti the c r who ice, t onn ugh s com eng each ectio e a n mun in g ities ement g and .’ with

Academy

Research

sign

Faculty of Environmental sciences -Sustainable facade design

Teaching

Student Community Studio Culture

Climatic facade De

By understadning these three key points of focus in connection with Academy ( in our case what is associated with Newcastle University, architecture planning and landscape) we can start to direct our own version of synergy towards our intrests depending on what we think is more imprtant. As sustainability is detrimental to the development of future architecture there is great focus on this in all aspects of the academy and needs to be considered when developing our own breif.

Breif Developent - Craft & Technology

Key Theme - Old Craft becoming relevant again because of its bispoke nature and moral Obligation to support local businesses. Economic Regneration and reduction in the use of technology. Need for the tangible world that stimulates us as humans. Regeneration of old craft to restore connection with architecture that seems more and more so out of reach, craft encourges this and allows for understanding through process that would be absent without the hand made. Therefore, I have chosen to focus upon the ship building industry in relation to the river and new sustainable methods of building in connection with the architecure faculty and the social science faculty at Newcastle University.

Tensile Structures

Tensile structures in relation to sails and rope. Teaching high tech through small scale craft such as sailing and or knot tying in relation to the boat club on site

I Wanted to experiment with both the tensile structures in terms of a canopy as well as volumes that could sit beneath and the arrangement of these in relation to the site. The main issue with the site I have now found was the access available to that part of Ouseburn, so I tried to come up with a few solutions for example steps or a bride leading down to the waterfront and boat slip.

Climatic Response

Structures that change depending on weather and use. by creating a facade or roof that is weather adaptable and morphe allow for multi-purpose use through participation as well an extention of the city rather allowing for the integration of crafts people that can lead to innovation

Origami in order to work out the geometrics of the roof

Green space Hospitality On site business Local Business Accomidation

12 PM

9:50

Site location Abandoned buildings

Site Analysis

lst i

3:4

0P M

12 P M

Proximity to boat club & River

4:25 AM

We h t Sou

in st w

8:30 AM

Winter

Solstic

e 0

Site Conditions

100

200

Pavilion Development

48 49

The existing boat club has a long standing history in Ousbeurn as the river was used to trasport coal as was the slipway, as the ousbeurn regeration project aims to protect its industrial heritage, I have decided to use the slipway as a main focus as well as the boating club. By integrating stroridge space into the steps of my pavillion, I am supporting existing communites on site as well as allowing for the integration of other transient craft communites such as painting classes and tours associated with the victorian tunnel that runs under the site.

Ground floor plan in context 1:100

Roof plan in context 1:100

Site Section 1:100 showing pavillion steps leading to the waters edge

Overall, the framing stage of this project has allowed me to explore my ideas through the development of the pavilion in order to realise my brief surrounding the importance of craft within the context of my site. Alongside the reading of architecture and participation allowed me to understand the importance of craft in order to bridge the continued growth in the gap between craft and technology, both from a personal perspective and my approach to architecture as well as the design itself. Participation in design is especially important within Ouseburn as a result of its development stage and issues surrounding gentrification, participation has become an organised part of my aim to aid the regeneration of the area, in which users are given a voice (Blundell Jones, Petrescu and Till, 2005). Overall, my pavilion project was successful in the idea surrounding the integration of different crafts, however, participation does not mean that sustainability is automatically obtained, I wanted to develop my sustainability strategy in particular due to the proximity to the river and I felt could also contribute to the academy side of my project allowing for further integration between craft and technology in a more literal sense.

03 03 03

THEMATIC CASE STUDY

Nantes school of architecture helped me to understand how the theories of participation are applied in a real-life scenario. Allowing for open plan spaces mimics the freeing up of industrial space within urban areas with an industrial heritage, I was interested in how the building looked to the future of the city as an extension through the integration of the public and was something I was as an opportunity to integrate both craft and technology, where one can learn from the other and how it would inform the sustainability strategy.

QUESTION 02 | LINK TO ACADEMIA

Ella Freeman

ARCHITECTURE - AN INSULAR ACTIVITY?

QUESTION 5 | UNIVERSITY OF OXFORD BEECROFT BUILDING - HAWKINS\BROWN - 2018

WORKSHOP

Within the school all processes are integrated and run alongside each other. This can be shown by the workshop doors opening onto open public space. This was designed in an act to ‘break the conventions of education as an internal and insular activity’.7 The polycarbonate sheeting allows for the public to also see the activity happening in the workshop, creating connections between the city and the academia. This allows for the work in the school to have direct presence in the life of the city.

OPEN PUBLIC SPACE

Figure 19: Photograph by Lacaton and Vassal

1:1 SCALE MODELLING:

Nantes Architecture School

The Beecroft building is the ‘first new addition to the physics department at Oxford University in 50 years’29. A much-needed update of facilities and working behaviours in terms of collaborative learning orientated by open learning spaces situated at the centre of the building with surrounding classrooms and sunroof. The architects had to stick to a tight brief because specific technological performance requirements and sited in a sensitive location surrounded by listed buildings and historic trees. Compared to the Nantes architecture school the site was much larger and where scale is of more importance within an architectural institution, where as circulation is of more importance within the science faculties as BEECROFT BUILDING NANTES ARCHITECTURE SCHOOL science changes very quickly.

Figure 18: Photograph by Lacaton and Vassal

7 Prewett Bizley, "Nantes Architecture School – Lacaton Vassal — Prewett Bizley Architects | Passivhaus | Retrofit", Prewett Bizley Architects | Passivhaus | Retrofit, 2020 <http://www.prewettbizley.com/graham-bizley-blog/2015/7/2/nantes-architecture-schoollacaton-vassal> [Accessed 11 December 2020].

29 ArchDaily. 2018. University Of Oxford Beecroft Building / Hawkins\Brown. [online] Available at: <https://www.archdaily.com/902141/university-of-oxford-beecroft-building-hawkins-brown?ad_medium=gallery> [Accessed 14 December 2020].

Figure 15: Workshop Diagram

CONCRETE SLAB AND POST CONSTRUCTION STUDIOS SPACE AVAILABLE FOR MODELING

X2 90CM

The production of extra space more than doubled the project’s usable surface area, from 12,500 to 26,000 square meters.8 This space could then be used by the city and the school to accommodate 1:1 scale modelling. The use of industrial construction processes has meant the building can take loads of 1 ton per square meter, 2.5 times the standard load bearing capacity.9 Like seen in the AA Visiting School, 1:1 scale modelling is seen to be an important skill to be integrated into education. 8 9

Figure 16: Load Diagram

Figure 17: Modelling Diagram

QUESTION 01 | SPATIAL ARRANGEMENT 9 8 A C

L ev e l 1 B 1. Media library 2 . Pr o dLevel u c t i1B o n a n n ex Level 2B 3. Studios 4 . C l a s1. s r oMedia o m s library 1. Studios 5 . S t u d2. e n Production t s e r v i c2.eannex sCoordination bureau

1. Auditorium L ev e l 2 B 1. Studios 2. Event space 2 . C o o rd i n a t i o n bu re a u 3. Storage 3 . Wo r k s p a c e 4. Nurse

5. Reprographics

3. Studios

3. Workspace 4. Classrooms

6. Lobby

9 8

7. Cafeteria 8. Maintenance

9. Workshop office A

A A

11. Exhibition space

10. Workshop

Figure 112: Nantes school edited google map

Level 0A

Figure 111: Map 1:600 Beecroft building

Cost and scale: Expensive material used in terms of construction cost £50m overall with an internal space of 7900m^2 compared to the Nantes internal area of 15150m^2, however, the Beecroft building extends 16m below ground creating greater amounts of space regardless of hight restrictions and site size. The Nantes building has more of a longitudinal spatial organisation. 1

11. Exhibition space

Figure 106: Facade Beecroft building

Ruby and Ruby, p.13 Ibid. p.46

5. Student services

Figure 110: Nantes school circulation

L ev e l 0C 1. Auditorium (250 seats) 2. Ampitheatre (150 seats) 3. Local association 4 . A m p i t h e a t r e ( 1 00 s e a t s ) 5 . C e n t r e fo r A r c h i t e c t u r a l Re s e a rc h - CE R M A

7. Cafeteria 5. Center for 8. Maintenance Architectural 9. Workshop office Research – CERMA 10. Workshop

Figure 109: Beecroft building circulation

Ehan Halimun

L ev e l 0A 1. Auditorium 2. Even space Level 0C 3 . S t o r a gLevel e 0A 1. Auditorium 4 . N u r s e 1. Auditorium (250 seats) 5 . Re p ro g r a p h i c s 2. Event space 6 . L o b by 2. Amphitheatre 7 . C a fe t e r3.i a Storage (150 seats) 4. Nurse 8. Maintenance 3. Local association 9 . Wo r k s h5.o pReprographics office 4. Amphitheatre 1 0. Wo r k s h o p 6. Lobby 1 1 . E x h i b i t i o n s p a c e (100 seats)

Anna Toft

B 6

B 11

A B

L ev e l 0 B 1. Auditorium (250 seats) 2. Ampitheatre (150 seats) 3. Studios 4 . A u t o m o b i l e a n d b i cy c l e parking Level 1A

L ev e l 1 A 1 . C o m m o n ro o m 2. Library 3 . Wo r k s p a c e 4 . A s s o c i a t i o n fo r A r c h i t e c t u r a l B r o a d c a s t i n g - A R D E PA 5. Studios 6 . C l a s s ro o m s 7. Student services 8 . Re s e a r c h f a c i l i t i e s

Level 0B

1. Common room 1. Auditorium 2. Library (250 seats) 3. Workspace 2. Amphitheatre 4. Association for (150 seats) Architectural 3. Studios Broadcasting – ARDEPA 4. Automobile and 5. Studios bicycle parking 6. Classrooms

B A

L ev e l 2 A 1. Studios 2 . C o o r d i n a t i o n bu re a u 3. Coordination rooms 4 . Wo r k s p a c e

L ev e l 2 C 1 . Ro o f t o p

Level 2A 1. Studios

Level 0B

Level 3

1. Auditorium

1. Rooftop 2. Coordination

(250 seats)

bureau

2. Amphitheatre 3

rooms 1

(150 seats) 3. Studios

4. Workspace

4. Automobile and

7 B A

8. Research facilities

4 1

A B A

A B

C B

B C

F i g u re 3 4 : A xo n o m e t r i c d r aw i n g s f ro m t h e ‘U n i v e r s i t y B u i l d i n g i n F r a n c e: N a n t e s S c h o o l o f A rc h i t e c t u re”

The Nantes School of Architecture is located on the Île de Nantes, across the city centre, and was completed in 2009 by Paris based architecture studio Lacaton and Vassal10. The school accommodates roughly one thousand students, with a structure that seeks to create a diverse setting that encourages both education and interaction11. It is fundamentally a radical reinterpretation of a typical academia programme, due to its openness to the city and adaptable nature12. The building makes use of a sustainable construction where the design is intended to be changeable, extendable, and shrinkable, essentially being flexible. The spaces are meant to be adaptable to dynamics of

Figure 115: Nantes school massign diagram

Use of natural light to minimise energy use and natural ventilation just like the Nantes building, but ventilation at lower lab levels but encompasses the same idea of future thinking within the institutional practise and collaboration.

Figure 114: Beecroft massing diagram

Figure 107: Section Beecroft building

C B

5 4

bicycle parking

A C

3. Coordination

7. Student services

C C

present life, considering the building as a ‘work in progress’ rather than a finished product, a non-permanent arrangement . Despite the ‘factory’ like presence, the building shelters an interesting programme.

2C 2B 2A

The ground floor hosts most of the public programme such as the parking, auditorium, café, gallery, and model workshop. The first and second floor primarily accommodates the educational spaces such as the library, studio spaces, and classrooms. 10 ‘S c h o o l o f A rc h i t e c t u re’ , E U m i e s aw a rd , p a r a . 2 < h t t p s : / / m i e s a rc h .c o m / w o r k / 8 1 1 > . 11 P h i l i p S t eve n s , ‘ L i s b o n A rc h i t e c t u re Tr i e n n a l e: L a c a t o n & Va s s a l W i n s L i fe t i m e A c h i ev e m e n t Aw a rd ’ , D e s i g n b o o m , 2 0 1 6 , p a r a . 6 < h t t p s : / / w w w.d e s i g n b o o m .c o m / a rc h i t e c t u re / l i s b o n - a rc h i t e c t u re - t r i e n n a l e - l a c a t o n - v a s s a l - l i fe t i m e - a c h i eve m e n t - aw a rd -1 0 -1 1 - 2 0 1 6 / > . 12 S c h o o l o f A r c h i t e c t u re’ , p a r a . 1 . 13 Ru by a n d Ru by, p. 5 .

1B 1A 0C 0B 0A F i g u re 3 5 : D i v i s i o n o f l eve l s

Figure 113: Beecroft section showing sustainability Figure 108: Collaborative learning spaces interior Beecroft

Nantes is built with multi-purpose study space with public services integrated, the Beecroft building is more a more exclusive institution.

04 04 04

TESTING

The testing stage of the project following the framing review has allowed me to develop my ideas around participation in craft and research. I realised that the climatic facades are designed in order to control conditions of space, morphing depending on climate or use. Initially I decided to focus on wind power as the façade I designed looked like windmills, however, after revisiting the site analysis I noticed that there were significant issues with water contamination and flooding as a result of the valley typology. In response to this I decided to look at solutions to urban flooding water retention system utilising the water to provide for the cotton plants that would provide raw material for local and transient craft communities. After investigating sustainability issues with sourcing and producing textiles such as well as water usage I developed my programme round the idea of hydroponics utilising flood water and releasing back into the river as clean water. In hindsight, testing allowed me to understand in more depth the importance of craft in participatory architecture and its importance to my own practise, by allowing for process in design there is more attention to local community in order to enrapture past, present and future, grounding the programme in its contextual background.

Critial Drainage Areas Surface Water Flooding Ouseburn

Current Blue Infrastructure

Flood Zones/ Existing Surface Water

My site is a key catchment area for flooding due to the typology of Ouseburn as well as containing lots of vegitation. Need to be mindful of soil conditions as they will affect the foundations used on site.

Flooding area + 0.5m - 2m

Ouseburn River Slipway Site Surface Water potential Flooding areas

Normal High Tide 5.18m Max Low Tide 0.5m

12m

1 2

Ouseburn Restoration project surface water solutions

16m

Ouseburn Slipway Site

5 6

11m 9m

16m

Ouseburn River

15m

7 12m

Curret Blue Infrastructure

A lot of the sites chosen for water retention are natural areas away from urban infrastructure taking up large green space. This could be prevented by integrating a surface flooding system within my project. Land use is also an issue for farming and with a site with a small footprint the idea is to build up using vertical grwoign systems.

39m

11m

23m

12m

Water retention on site... Land use solution in an Urban Area.

Height can be justified by the surrounding buildings dispite narrow site so build verticaly, cotton can be sourced to existing businesses in Ouseburn, -1m

12m

42m Callerton Village

Callerton Fish Ponds

Woolsington

Old Wildlife Reserve

Kingston Park

Playing Fields

East Side of A1

Hydroponic Cotton Farming - The Future of Sustainable Textiles?

Future Synergy 36 Lime street artist’s studios formerly a flax mill, producing the raw material needed in order to produce rope and sails in past as part of the industrial ethos that existed. Flax is still used more commonly for Rope, as cotton has more suitable qualites for sails.

Historic Synergy

Taking inspiration from the process of developing a raw material for multiple uses, Cotton can be sourced to local artists, sail makers as well as including a cotton shop within my programme. Sustainable craft trend as a in order to support local business post COVID. Consumers are looking for authenticity rather than the digital. Craft allows for originality where the digital hinders the likeley hood of being simulated by surroundings. Storidge seating Lockers in Building Cotton can be sourced to local sail makers and sail clubs as well as out towards Tynemouth beach, alongside providing for the local craft community in Ousbrurn itself.

Is Hydroponic Cotton achievable?

How do hydroponics work?

The answer is yes, however, there are a few issues surrounding economic viability. This is because of the 4 month growth cycle unlike that of the 45 days for lettuce, However, as I am providing cotton localy rather for general consumption, hydroponic cotton is viable.

growing plants (usually crops) without soil, by using mineral nutrient solutions in an aqueous solvent. Fluid dynamics of water changed the architecture of plant roots, which allowed them to uptake nutrients more efficiently than plants grown in soil, causing them to grow larger in a shorter amount of time.

Overflow

Fill / Drain fitting

There are multiple methods of hydroponics including a nutrient film (continuous flow of water), wick (flooding water into the non soil media such as sand or rock) and the flow and ebb technique The flow and ebb technique is the most suited to cotton plans as a result of their weight and invloved periodic flooding and draining ofteh nurtrient solution that needs to be replaced after the plants uptake.

Excess nutrient solution returns to the reservoir Grow Tray Solution is pumped to the grow tray

Replacing nitrates into the water can be done naturally or artifically, incorporating a reed bed or a aquatic element can solve this as well as filtering surface flood water.

Timer

The conditions needed to grow cotton will help me to determine the language of my building from controlled space to circulation space

Pump

Growing Hydroponic Cotton

Reservoir

80% of land in use at any given time

0% Land to small footprint of land used

Traditional Farming 50% of Crop NOT harvested

70% Global fresh water used for soil based farming

Climate dependant and chemical pesticides as well as issues with land security

Transportation Cost is very high because there is a expiriation date as well as needing to be transported in containers

Vertical Hydroponic Farming

90% of Crop harvested

70-95% Less Fresh water used (and can be recycled)

Vertical Farming can be achieved Locally. No need for long distance transportation, so more economic as well as sustainable due to reduced fuel costs

Crops grown on stacks of shelves

Need consistent sunlight and ventillation

Grow to 1.5 Meters harvest growth

21 Degrees Contorlled temperature

water consumption, 20,000 litres to produce 1 kilogram

73 Tilapia Fish

Ammonia NH4+

Integrating Blue Infrastrcture & Vertical Cotton farm

Filtered H2O

Aquaponic Nitrogen cycle

Cotton plant

Initally tried to use both a reed bed and fish to filter surface water, however, using fish is more effective as there is potential to produce fish as food, also reed beds are harder to maintain

Nitrosomonas

Nitrates NO2+

Nitrates NO3+

Water is collected int a tampon, filtered through a sand filter, pumped into the fish tank before being processed through a biofilter. Water that is not sent to the plants can be released into the river or kept in the reserve for periods of the year whenn there is no flooding

Rain water collection

Nitrospira Ouseburn River The use of Tilapia is most suited as they adapt to their environment and withstand less than ideal water conditons, filtering the water this way rather than using a machine alignes with my environmental strategy

Hydroponic Cotton plants

Water collection in tampon

Idea of using river water flooding for water through storm water drain design, reed bed and fish Initial filtering ideas

Overflow pump to river Sand Filter

pond with Tilapia

Biofilter

Reserve

Understanding Hydroponics

Hydroponic cotton farming: Hydroponics is the process of growing plants in sand, gravel, or liquid, with added nutrients but without soil. Compared to traditional farming, water can be recycled as well as an increase in production of up to 3 to 10 times in the same amount of space. Conventional cotton farming requires large spans of land as well as soaking up ‘16%-25%’1 of the total pesticides used worldwide as well as needing to be outsourced rather than locally produced. The textiles industry currently accounts ‘1.7 billion tonnes’2 of carbon dioxide and therefore there needs to be a change towards the way we produce textiles. Where the food shortage has been targeted by vertical hydroponic systems due to the speed of production, the production of textiles can also be applied to hydroponic systems, therefore, my project aims to bring more awareness to the potential in producing textiles this way especially due to the economic decline as a result of COVID-19. Longer roots are encouraged to grow as a result of the nutrients added to the water, as there is a larger surface area for absorption the growth is much faster. I decided to make my own hydroponic plant using a water bottle in order to demonstrate this. In just 3 days my plant was fully grown as a result.

Hydroponic space, 2021. Traditional vs vertical farming. [image] Available at: <https://hydroponicsspace.com/hydroponic-cotton-is-it-achievable/> [Accessed 3 May 2021]. 2 Hydroponic space, 2021. Traditional vs vertical farming. [image] Available at: <https://hydroponicsspace.com/hydroponic-cotton-is-it-achievable/> [Accessed 3 May 2021]. 1

Walkways and hand picking Initally I wanted to integrate walkways to allow for cotton picking, However, after realising that this is infact a labour intensive process as well as needing to control the space in which the cotton grows I decided to use robotics to pick the cotton as it allowed me to integrate the space into the buildings main circulatory space.

Robotic Arms

Cotton Picking

Using Robotics in order to pick the cotton will reduce the labour already involved in the process of growing and processing. The robotics can also be developed and monitored on site alongside the water research within my programme.

Cotton Ginning 1

Pull-through Burner

The process that quickly seperates cotton fibres from their seeds into a bale that can be used for spinning. Large industrial process producing small scale cotton goes against consumer culture, on a local scale making this a more sustainable way of producing textiles. Idea of scale and learning integration of craft and research through hydroponic farming and climatic architecture design. Again this will need to be a controlled part of my building creating a language for my project just like the growing of cotton itself. Ventillatin will be the main concern for cotton processing as fibre production can cause health problems for workers if not controlled corretly.

2 Module Feeder 3 Unloading Storage Hopper

4 Rock Catcher 5 Towel Dryer

10 4

Cotton Process - Ginning

6 Pull-Through Burner

7 Hot-air Incline Cleaner 2

8 Stick Machine

10 Hot-air Incline Cleaner 1

12 Conveyor distributor

6 14

13 Exstract Feeder 14 Saw Gin

9 Stick Machine

11 Incline Gravity Cleaner

15 Centrifugal Lint Cleaner 16 Tandem Saw-type Lint Cleaner 17 Moisture Unit 18 Ballery Condenser

19 Hot-air Unit 20 Bale Press 21 Bale Handling system

Cotton Process - Spinning & Weaving

Silver lap Former

Carding

Mixing and blowing - processes the fibre bale into the sheet-shaped ‘lap’

Drawing

Combing

Roving

Spinning

Winding into cheese and cone depending on its purpose

Cotton Weaving & Spinning

Warping

Sizing

Drawing-in

Weaving

Inspection / Folding

Packing

Cotton product

Massing and Programme Development

I started by drawing out the spaces on site in plan and section as well as a series of massings, placing the craft space at the heart alongside the cotton plants, as thsi is what I wanted to be viewed alongside giving glimpses of the processing. My project is made up of three main elements, cotton process, research and the craft space.

Thinking T rough Making - Climatic Facade

Thinking Through Making Thinking through making allowed me to explore sail shapes and climatic façades that could be applied to my building. In particular I decided to explore how I could create a rainwater catchment device for my roof, in order to increase the surface area other than gutters for the water retention system that would also reduce the amount of water run off on my site. I explored these ideas through origami sail shapes as a certain geometry is needed for them to work correctly at the same time I am integrating craft into my own design process. In reflection this was important in the sense that i wasnt using a computer input to create my design but learning a new skill outside of architecture.

I started exploring how I could explore vertically within my architecture to emphisise my veritcal farm placing the growing plants in the centre of my building, However, I realised that I needed to allow for maximum sunlight exposure and the plants might need to be placed at the top of the building to avoid having to use artifical lighting.

Iteration A

I also Looked at the possibility of using the cotton produced in my building on the outside creating sail like facades as well as the water catchment.

In alinement with the tech report I also started to consider how to keep a tall building stable within loose soil conditions and how my retention tanks would sit relative to the building. However, I later decided to place the services on the exterior in order to celebrate the water flowing through the building.

I wanted to ensure that People were able to view the plants as well as ensuring they gain enough sunlight, placing the plants at the front of the building would enable this but possibly cause issues with access from the slipway. I looked at the Ford Foundation head quarters in New York by Kevin Roche John Dinkeloo and Associates and their approach to the integration of inside and outside in an urban context. The glass panneling reminded me of scaffolding and how it exposes walkways and routes

In reflection, Testing allowed me to develop my knowledge round cotton farming and the controlled conditions needed for the process that go on to inform my building language. I liked the idea of scaffolding and exposed services in order to celebrate the process within my building, whilst at the same time celebrating verticality in response to the vertical hydroponic elements. At this point in my project, I still needed to refine my programme in order to ensure I was allowing for the integration of research and craft as well as the hydroponics as a main focus. Looking back at my testing work I think that I have been successful in developing a strong idea as a direct response to the site through sustainability as well as providing a new and current alternative to consumer culture as a result of my theory into practise essay that discusses the role of craft in architecture as well as in practise.

05 05 05

PROJECT SYNTHESIS

The synthesis stage of my project shows further iterations that explore the configuration of space and how it is integrated into a relatively restrictive site. I experimented with positioning of my cotton plants as well as the controlled areas in order to encourage circulation as well as how to rehouse the boating club into my building.

Iteration B

Following the testing review I wanted to try and place my circulation at the centre of my project to ensure that the cotton plants were seen, whilst creating a volume at one end where the cotton processing would occur. I wanted to use the slipway as an access point in relation to the journey a boat would have taken to be birthed into the river, however, this caused issues with the processing placement as it would have been the void exposed to the most light rather than the cotton plants.

Circulation placed around the main focus of the building, allowing for a view of activites Blown glass containing bacteria cultures as well as reflecting light to maximise light exposure to the plants as well as the interior of the builing.

Iteration c

Scaffolding like structures with tensile elements, can cover large spaces not using a lot of material, really like the idea of exposing services and bridging inside and outside in order to encourge people into the building as well as creating a n extenion of the city rather than a buiding with a hostile language.

Foundation le cartier - paris

Iteration D

uses glass facades to blend the building into the urban context, the ground floor can be opened up to the garden and street allowing for people to wonder. I really liked the idea of having an open plan floor within my building with exposed services running up up the middle of the programme. However, this did not leave any room for my cotton plants and i was unable to murge tghe open plan space with the controlled space to show integration.

99 Technical Section and part elevation (originally 1:20) 180345984 2

3 1

5 6

8 9 10 13

15 16

11 2 3 4 5 6 7 8

12 17

9 10 11 12 13 14 15 16 17 18 19 20 21

19 20 21

22 23 24

Iteration D

27 28

In order to slove issues with previous issus with with my design I decided to exaggerate the verticality of my building working towards my technology report, However, this caused isues with my how the users of my building view the cotton plants as there was no reason to travel to the top of the building. However this design did mean that my cotton plants were exposed to more natural light.

30 31

As a result of the tech report requirments, i redesigned the building situating the process and research spaces at opposite sides of the the building centralising the craft space with an integrated library and study spaces. I realised that I needed to change my apprach to the design through modeling before drawing plans. The materials also did not quite represent the controlled vs the open space and therefore needed to change the design further.

Plastic waterproof membrain Wool insulation 250mm Vapour barrier Corrugated sheet steel 40mm Steel beam 270mm Cavity 50mm Reinforced concrete roof Angled steel 40/60/4mm Tempered glass 10mm + Fibre cement board 12mm Laminated glass 15mm Hidden gutter laminated glass 12mm Aluminium cladding 3mm Waterproof membrain Wool insulation 120mm Galvanized steel beam 80x80x9mm Galvanized steel 280mm Tempered glass 20mm Aluminium support Galvanized steel 280mm Laminated wood Galvanized steel 80x80mm wood Aluminium Substructure Double glazing 32mm steel plantform 24mm convector under steel platform Galvanized steel 270mm Aluminium sheet 3mm Reinforced concrete roof Insulation 70mm Galvanized steel 270mm Motoized mechanism for pannels Laminated wood 30mm 30mm Rubber support 15mm Vapour Barrier Wool insulation 25mm Reinforced concrete 120mm Ridged insulation 130mm Plastic waterproof membrain Plastic waterproof membrain Wood sheet Steel beam 120mm Wool insulation 115mm Wood sheet Hidden gutter Plastic waterproof membrain Ridged insulation 120mm Wooden cladding 3mm Fibre cement pannel Ridged thermal insulation water repellant and capillary breaking layer Reinforced concrete Ridged insulation Reinforced concete Drain pipe

100

101

Angled Sky lights

Cotton Ginning Process Cotton growing and collection

Cotton Spinning W.C Rain water collection pipes

synthesis Review

Research access lift Cotton weaving Cotton textile shop Gotton plant growing Hydroponic lab Delivery Staff Room Work Pod Craft space Research lab Reed bed with sea bass Reed bed access room Store stairs with locker

Tampon Water pipes to cotton plant Sand filter Over flow pipes Collection water

Following the Synthesis review, I decided to keep the processing in the space place, situating a combined craft and libaray within the centre, However, the exteriror and materials were not yet developed enough and felt like the language was fighting the surroudning context.

102

103

Realisation After receiving feedback for the synthesis review, I wanted to change the appearance of my building to reflect past heritage in Ousebrun. Taking inspiration from the red brick that corresponds with listed buildings as well as taking inspiration from the converted mill that is know the well-known Baltic arts centre situated on the quay side, I decided to use red brick and glass that would reflect the controlled and open space.

104

105 1

RAS Aquatic pond Water testing lab 3 Water processing 4 Walkway 5 Smart material lab 6 Sail Making workshop 7 Storage Steps 8 Cotton Shop and craft workshop 9 Entrance 10 Weaving machinery 11 Delivery and package 12 Craft Library 13 Spinning Machinery 14 Cotton Plants 15 Cotton testing lab and robotics 16 Ginning Machinery 17 Open plan space 18 Cotton Plants 19 Rain water pipes 20 Rain water collection roof 1

-1

Final Design - Hydroponic cotton farm & Research Centre

7 4 6

+4 18 19

The Baltic arts centre - Gateshead The baltic is a perfect example of a repurposed building claimed by the arts industry as a result of industiral decline, it represents past, present and future housing a restruant and numerous arts events throughout the year meaning that its programme is incredably felexable. The juxtaposition of glass and heavy industrial remains tells a story of the past whilst allowing for natural light following its renovation in 1991, opening in 2002.

106

107

Integration Diagram

Material Study

Cental space containing hydroponic cotton as well as integration between craft, cotton processing and research

Use of old heritage bricks along with other industrial material in response to the urban context and surrounding listed buildings.

Concrete foundation with masonry, steel and glass frame

Craft Boxes integrated into the steps. Easy access to the sail and boat repair shop

Passive observation point forces users to use main enterence and enter the main circulatory space, increasing interactions between craft and research

108

109

Interior space showing cotton shop, archways and Hydroponics above primary circulation area

Final Design - Hydroponic cotton farm & Research Centre

110 111

112

113

114

115

116

117

1:100 Section AA

118

119

120

121

Synthesis has allowed for the realisation of my project from the continued development of my programme arrangement in order to position controlled space and open space to serve the idea of participation between craft ans research. Over the course of this year I have learnt the importance of craft in the ever growing technological world and the benefits of creating closer connections with the context and community in order to develop a brief. I found that I was able to respond to the creative synergies brief in more depth by consistently revisiting research within the framing phase and carrying it throughout the project. However, in the future I will continue to model in 3D in order to develop my projects as it paints a larger picture of the design. The pandemic has made the development stages of the project more difficult as using computer software takes away the craft associated with model making and the skill that allows us to understand a sensory simulating subject. Overall I have found all modules across the course incredibly informative and will endeavour to continue the skills learn to the next stage such as the architectural style I have developed, through to fundamental software skills.

122

06 06 06

BIBLIOGRAPHY - APENDIX & LIST OF FIGURES

123

124

125 NANTES SCHOOL OF ARCHITECTURE | SITE PLAN

NANTES SCHOOL OF ARCHITECTURE LACATION & VASSAL

TABLE OF CONTENTS

Creative Synergies Group 3:

Q2 H O W DO E S T H E CAS E S T U D Y R E L AT E T O T H E S T U DI O S P E C I F I C C R I T E R I A .0 2 ?

Question 01: Ehan Halimun Question 02: Ella Freeman Question 03: Xinrui Lin Question 04: Chao Jung Chang Question 05: Anna Toft

( .0 2 ) C o n t ex t u a l Re s p o n s e: B e t w e e n t h e A c a d e my a n d t h e C i t y

Q1 H O W DO E S T H E CAS E S T U D Y R E L AT E T O T H E S T U DI O S P E C I F I C C R I T E R I A .0 1 ?

( .0 1 ) I n h a b i t a t i o n a n d S p a t i a l Re l a t i o n s h i p s o f C h o s e n S p e c i a l i s m

Nantes School of Architecture was completed in 2009 by architect duo Anne Lacaton and Philippe Vassal. The school is located on Île de Nantes, in the Northwest region of France. Île de Nantes is considerably larger than the historical centre in Nantes, making it a prime location for urban development. They are remained mainly unused since the ‘relocation of naval commerce until the 2001 development scheme.’1 The Nantes School of Architecture consolidates the city’s urban development, achieving ‘relatively dense land use.’2 1 University Building in France: Nantes School of Architecture, ed. by Andreas Ruby and Ilka Ruby (Holcim Foundation, 2011), p.30 2 Ibid. p.15

Thematic Case Study

Q3 H O W DO E S T H E CAS E S T U D Y R E L AT E I T S E N V I RO N M E N TA L / C L I MAT E C R I S I S CO N T E X T ?

Q4 H O W DO E S T H E CAS E S T U D Y R E L AT E T O T H E A RC H I T E C T ’S T H E O R E T I CA L P OS I T I O N / H O W DO E S I T E X P LO R E I DE AS / P R E OCCU PAT I O N S ?

Q5 H O W DO E S T H E CAS E S T U D Y R E L AT E T O O T H E R BU I L DI N GS OF I TS T YPE?

L I S T O F F I GU R E S

B I B L I OG RA P H Y

Nantes Wider Site Plan

Ella Freeman

QUESTION 02 | RELATIONSHIP WITH THE CITY

QUESTION 02 | TOPOGRAPHICAL CONTEXT

Ella Freeman

CONTINUATION OF THE STREET:

Figure 8: Participation Diagram

1. PARTICIPATION:

PARTICIPATION IN DESIGN

2nd STRUCTURE

SPACES ADAPT TO SUIT THE NEEDS OF THE CITY RENT SPACES - economic

PUBLIC

BENEFITS TO LOCAL COMMUNITIES

USE OF UNPROGRAMMED SPACES

STUDENTS

Figure 2: Continuation of street Diagram

STAFF

The main massing of the school is pushed up creating a multi-use space on the ground floor where tarmac runs throughout. The continuation of the asphalt street ‘dissolves the threshold between the institution and the city, entrenching it into the urban fabric.’3 This allows the school to act as a public space.

The main communities within the school ‘played a central role in conceptualizing the new school of architecture and were able to shape the spaces they needed.’5

EVENTS - cultural

Ibid. p.19

ITECTURE

Figure 3: Photograph by Lacaton and Vassal

3. ADAPTABLE AND FLEXIBLE SPACES:

The unprogrammed spaces welcome the public to use them for concerts, film screenings enhancing the cultural life of the city.

2. USE OF UNPROGRAMMED SPACES: Figure 12: Programmed vs Unprogrammed Space Diagram PROGRAMMED SPACE UNPROGRAMMED SPACE

EVENTS CONCERTS FILM SCREENINGS

Figure 10: Photography by Lacaton and Vssal

Figure 14: Photograph by Lacaton and Vassal

CONCERT/EVENT

The secondary lightweight structure installed programmed spaces between floor plates to create an adaptable framework for future expansion and evolution depending on the needs of the city. These spaces can also be rented to make surplus revenue.

Figure 13: Photograph by Lacaton and Vassal

Figure 11: Photography by Lacaton and Vassal GLASS SLIDING DOORS

Figure 9: Adaptability Diagram

Ibid. p.17

CH HOOL OF AR NANTES SC

OPENINGS

Figure 7: Benefits to communities Diagram

Contributed group work

Ella Freeman

Figure 5: Photograph by Lacaton and Vassal

THE RAMPS AND DECKS: Figure 6: Ramp Diagram

The openings between the two types of spaces use floor-toceiling glass sliding doors that ‘establish an unobstructed visual relationship among spaces inside the school’6 and the immediate city context. 6

Figure 4: Render by Lacaton and Vassal

The ramp creates a gradual change in levels by the ramp allows for the building to be experienced like a city, walking from one ground to another. This continuity denotes the ‘floor plates as superimposed ground floors rather than stacked building levels.’4 The use of a ramp creates a softer interaction between the ground and the building allowing for the public to gentle enter the building.

Ibid. p.36 Figure 1: Nantes Site Plan

Ibid. p.36

126

127 QUESTION 02 | LINK TO ACADEMIA

Ella Freeman

QUESTION 02 | NANTES VS OUSEBURN

ARCHITECTURE - AN INSULAR ACTIVITY?

Figure 18: Photograph by Lacaton and Vassal

The Nantes School of Architecture has an industrial building character, continuing that of the nearby buildings, embedding it in its urban context.

Figure 19: Photograph by Lacaton and Vassal

Figure 24: Ousburn Green space Diagram

SPACE AVAILABLE FOR MODELING

90CM

Figure 17: Modelling Diagram

L ev e l 1 B 1. Media library 2 . Pro dLevel u c t i1B o n a n n ex Level 2B 3. Studios 4 . C l a s1. s roMedia o m s library 1. Studios 5 . S t u d2. e n Production t s e r v i c2.eannex sCoordination bureau

3. Workspace 4. Classrooms

OPEN GREEN SPACE

OPEN GREEN SPACE OPEN GREEN SPACE

Figure 27: Photograph by BNCUEJ

B B

11. Exhibition space

A A

A 6

L ev e l 2 C 1 . Ro o f t o p

Level 2A 1. Studios

1. Auditorium (250 seats)

bureau

(150 seats) 3. Studios

4. Workspace

4. Automobile and

7 B A

8. Research facilities

4 1

1 3

5 4

A B

F i g u re 3 8

A B

C 37

F i g u re 3 4 : A xo n o m e t r i c d r aw i n g s f ro m t h e ‘U n i v e r s i t y B u i l d i n g i n F r a n c e: N a n t e s S c h o o l o f A rc h i t e c t u re”

2C 2B 2A

c o n c re t e s l a b s a n d p o s t s s e r v e a s t h e m a i n s t r u c t u re o f t h e bu i l d i n g

bicycle parking

The sheet of corrugated metal and translucency of polycarbonate panelling plays an essential role in the school, with a basis of low-tech energy strategy. The panels protected intermediate climate by capture solar heat gain and minimize heat loss between the interior, programmed space (classrooms, research facilities, administrative offices), and the exterior.19

2. Amphitheatre 3

The school is essentially divided by three concrete decks, serving as the main levels (See Figure 34), supported by posts that are interconnected by a continuous ramp that goes up until the roof. These levels are double heighted – 9, 16, and 22 meters – and left without programme. A lightweight steel structure further subdivides the heights of the main levels; essentially a three levelled building that is divided into eight floors. This provided a space for desired programmes, which created a system that can be readily adapted in the future14.

2nd Phase An intermediary steel s t r u c t u re t h a t s u p p o r t s t h e s c h o o l ’s p ro g r a m m e d spaces, subdividing the t h re e m a i n l eve l s i n t o s m a l l e r l eve l s

S t ev e n s , p a r a . 7 .

Stevens

Figure 49: Facade of polycarbonate panels

Figure 46: Nantes Site Plan 1st Phase A p o s t - a n d - s l a b c o n c re t e s t r u c t u re w i t h t h re e f l o o r p l a t e s c o n n e c t e d by a c o n t i n u ou s r a m p

1B 1A

P h o t o s by J av i e r C a l l e j a s P h o t o g r a p hy, a n n o t a t e d by E h a n H a l i m u n

0C 0B 0A F i g u re 3 5 : D i v i s i o n o f l eve l s

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Xinrui Lin

The changes of the volume in different climates/seasons: Climate zones integrate natural system of thermal control for suitable temperatures.

Xinrui Lin

During the WINTER, the panels capture the sun’s rays to generate solar heat gain. These programmed space that are heated by radiant panels and exterior climate, will provide a buffer zone to allow the performance of smaller heating system. The temperature will then reach to 10 degree Celsius.

Ruby and Ruby

Passive Solar Heating

Gas Radiator

18 "Nantes School Of Architecture / Lacaton & Vassal", Archdaily, 2020 <https://www.archdaily.com/254193/nantes-school-of-architecturelacaton-vassal> [Accessed 11 December 2020]

t h e s t e e l s t r u c t u re a re easily installed onto t h e bu i l d i n g b a s e d o n t h e d e s i re d n e e d s o f t h e participants

Level 0B

Level 3

1. Rooftop 2. Coordination

rooms

7. Student services

3. Coordination

C L ev e l 2 A 1. Studios 2 . C o o rd i n a t i o n bu re a u 3 . C o o rd i n a t i o n ro o m s 4 . Wo r k s p a c e

I n t e r m e d i a r y L eve l s T h e s t e e l s t r u c t u re i s e n c l o s e d by d ou b l e g l a z e d w i n d ow s t h a t a re o p e r a b l e and equipped with a s h a d i n g sy s t e m

s t e e l s t r u c t u re a c t a s t h e ‘t e m p o r a r y ’ o r m o d u l a r f r a m ew o r k o f t h e p ro g r a m m e

A B

L ev e l 1 A 1 . C o m m o n ro o m 2. Library 3 . Wo r k s p a c e 4 . A s s o c i a t i o n fo r A rc h i t e c t u r a l B ro a d c a s t i n g - A R D E PA 5. Studios 6 . C l a s s ro o m s 7. Student services 8 . Re s e a rc h f a c i l i t i e s

Level 0B

F i g u re 3 7

Ru by a n d Ru by, p. 5 6 Ru by a n d Ru by, p. 5 6

Translucent facades are light glazing panels used for the exterior of buildings, protecting the structure from weather damage. Its composition Figure 47: Polycarbonate panel diagram of polycarbonate microcells creates a Figure 48: Polycarbonate panel photo soft, naturally diffused light with a wide range of possible colors, brightnesses, and opacities.18

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Ehan Halimun

10. Workshop

15 16

F i g u re 3 6

8. Maintenance

3 2

L ev e l 0B 1. Auditorium (250 seats) 2. Ampitheatre (150 seats) 3. Studios 4 . A u t o m o b i l e a n d b i cy c l e parking Level 1A

P h o t o s by P h i l i p p e Ru a u l t

OUSEBURN NANTES Ouseburn is a much smaller city with a smaller population and a much more integrated and connected community feel. Île de Nantes is seen as the centre of Nantes with a lot of urban development making it seem more spread out and therefore not be as community driven as Ouseburn.

The basic structure is infinitely adaptable and can resolve to constraints with ease, divided into two types of spaces: • Programmed – a required programme for the competition brief that constitutes to 15,000 m2 (i.e. classrooms, research facilities, admin offices) • Unprogrammed – this type doubles the surface area of the building through the double height enclosed exterior space, terraces, and balconies The unprogrammed nature of the space challenged challenging students to evaluate the potentials of space15. The invitation to re-appropriate the school’s spaces teaches the students to not reduce architecture as just buildings16, emphasizing the experience of producing space, which redefines the standards of architecture school.

F i g u re 4 0: P h o t o s by L a c a t o n a n d Va s s a l , a n d c o l l a t e d by E h a n H a l i m u n

NANTES SCHOOL OF ARCHITECTURE, NANTES, FRANCE, 2009 BY ARCHITECTS ANNE LACATON AND JEAN-PHILIPPE VASSAL

7. Cafeteria B

F i g u re 4 4

Figure 33: Nantes Density Diagram

9. Workshop office B

A A

B C

Figure 32: Ouseburn Density Diagram

6. Lobby

9 8 A

10. Workshop

F i g u re 4 5

SCALE: LOIR ER

B 11

Figure 31: Photograph by Lacaton and Vassal

5. Reprographics

Figure 30: Photograph by BCNUEJ

Figure 29: Photograph by Happy Pontist

1. Auditorium L ev e l 2 B 1. Studios 2. Event space 2 . C o o rd i n a t i o n bu re a u 3. Storage 3 . Wo r k s p a c e 4. Nurse

3. Studios

Figure 28: Photograph by GX Project

F i g u re 4 3

Figure 26: Photograph by Simon Menges

Figure 25: Nantes Green space Diagram

QUESTION 01 | MAIN AND TEMPORARY LEVELS 5. Student services

Figure 23: Photograph by M. Argyroglo

NANTES

Level 0A

5. Center for 8. Maintenance Architectural 9. Workshop office Research – CERMA

Figure 21: Photograph by Ella Freeman

7. Cafeteria

11. Exhibition space

Figure 22: Photograph by Franklin Azzi

Both locations are situated on the banks of a river (Loire and The Ouseburn). This creates a greener, more vibrant environment that generate more open space around the banks.

L ev e l 0C 1. Auditorium (250 seats) 2 . A m p i t h e a t re ( 1 5 0 s e a t s ) 3. Local association 4 . A m p i t h e a t re ( 1 00 s e a t s ) 5 . C e n t re fo r A rc h i t e c t u r a l Re s e a r c h - CE R M A

1 3

Ruby and Ruby, p.13 Ibid. p.46

Ehan Halimun

L ev e l 0A 1. Auditorium 2. Even space Level 0C 3 . S t o r a gLevel e 0A 1. Auditorium 4 . N u r s e 1. Auditorium (250 seats) 5 . Re p ro g r a p h i c s 2. Event space 6 . L o b by 2. Amphitheatre 7 . C a fe t e r3.i a Storage (150 seats) Nurse 8 . M a i n t e4. nan ce 3. Local association 9 . Wo r k s h5.o pReprographics office 4. Amphitheatre 1 0. Wo r k s h o p 6. Lobby 1 1 . E x h i b i t i o n s p a c e (100 seats) B

Nantes School of Architecture is located on Ile de Nantes, an island on the Loire River. Its topography is relatively flat with little undulation. Whereas Ouseburn is in a valley and therefore has a steep, varying topography that will really affect designing and building on it.

F i g u re 4 2

IVER

QUESTION 01 | SPATIAL ARRANGEMENT

OUSEBURN

LESS DENSE - LESS BUILDINGS

STUDIOS X2

Figure 16: Load Diagram

NANTES

PROXIMITY TO A WATER BODY:

CONCRETE SLAB AND POST CONSTRUCTION

TOPOGRAPHY:

Both Ouseburn and Nantes have a OUSEBURN rich industrial heritage with the architectural typology dominated by industrial warehouses and large-scale infrastructure. Figure 20: Photograph by Ella Freeman

Figure 15: Workshop Diagram

INDUSTRIAL PAST AND BUILDING TYPOLOGY:

DENSER - MORE BUILDINGS

OPEN PUBLIC SPACE

1:1 SCALE MODELLING:

DIFFERENCES:

Ehan Halimun

F i g u re 41

SIMILARITIES:

QUESTION 01 | UNPROGRAMMED AND PROGRAMMED SPACE

Ehan Halimun

WORKSHOP

QUESTION 01 | CONNECTIONS BETWEEN LEVELS

Ella Freeman

F i g u re 3 9 : E x p l o d e d a xo n o m e t r i c d i a g r a m by E h a n H a l i m u n b a s e d on floor plans

Architects Lacaton & Vassal’s work is an ideal of the multifaceted and innovative potential of contemporary sustainable architecture, with their use of natural climatic controls, such as passive cooling, natural ventilation, and solar heat gain.17 The site is situated in a rich historical and contemporary context: Area: +/- 5,000 square meters; Location: along the river Loire; Accessiblity: from the city center by foot and bicycle or by public transportation from the suburbs, with eight bridges connecting the mainland to the Île; Neighborhood environment: comprised of wastelands, unbuilt plots, reappropriated warehouses, and new residential developments. 17

Figure 50: Theses panels modulates the interior lighting

Notes: Gas radiator produce more heat when compared to electric radiator in the same amount of time. Since gas is generally cheaper than electricity, a gas radiator has lower operating cost. Electric space radiator are cheaper only when a small space is to be heated at lower temperature settings. 21

Electric Radiator

Thermal Stratification SPRING and AUTUMN Upper Ventilation panels are progressively opened so that the interior temperature does not surpass 22 degree Celsius.

Natural Ventilation

21 Diffen, “Electric Heating vs. Gas Heating”, 2020 <https://www.diffen. com/difference/Electric_Heating_vs_Gas_ Heating>[Accessed 14 December 2020]

Electric Radiator

Prewett Bizley

Figure 51: Collages of Climate Performance during Winter and Spring/Autumn

128

129 QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Xinrui Lin

During the SUMMER, the panels act as passive cooling mechanisms. Half of the panels can be opened up to allow for cross ventilation, these spaces then can adopts to warmer temperatures. (except auditorium and restrooms)

Passive Solar Heating

parking is on the first floor (an underground car park would have involved complex and costly excavation work) and the ground floor is covered with tarmac to suggest that it’s a literal extension of the street. (Fig.64-65) The ramp, which is also publicly accessible, connects the street with the rooftop terrace, a new urban space with panoramic views over Nantes. (Fig.68-69)

Figure 70

these spaces provide a buffer zone between the programmed spaces, which are heated by radiant panels, and the exterior climate, allowing for the implementation of smaller heating systems.

The building’s industrial character firmly embeds the school in its urban context, formerly dominated by industrial warehouses and transport infrastructures. (Fig.66-67) Floor - to - ceiling glass sliding doors

The facade’s operability allow the users to manually regulate the building’s interior climate. Its lightweight structure is central to the building’s ability to respond to changes in program, therefore decreasing the probability of future grey energy of polluting sources. By combining both traditional and contemporary notions of sustainability, the school of architecture is able to remain structurally relevant through the present and well into the future. 24

Nocturnal air currents

Figure 74

Figure 71

Circulation Light Steel Structure

64. Picture showing the connection between the building and the context 65. Entrance of the workshop space, picture taken from the street 66. Building outline 67. Enclosed space/public space 68. Sketch of the slope 69. Sketch of the building exterior and the surroundings

Figure 54 - 3D Modelling Diagram

LEARNING FROM AFRICA

Figure 55

After graduating from the Bordeaux school of architecture in the 1980s, Anne Lacaton and Jean-Phillippe Vassal moved to Niger, a former French colony. In Niger, where the air temperature averages 40 degrees Celsius, the priority of local architects is to maintain a cool temperature in buildings. Therefore, people of Niger uses local materials to built tents in order to block the heat from the sun while still enable the wind to blow into the interior. (Fig.55) The Lacaton and Vassal learned from the local construction technique that mediates between the constructed interior conditions and the reality on the ground. (Fig.56)

Figure 58

Chao Jung Changg

QUESTION 5 | GALLERY OF FRAC DUNKERQUE - LACATON AND VASSAL - 2009

Programmed spaces

Exhibitions

61. Site plan showing the building outline and the site boundary 62. Diagrams showing the potential fuctions of the unprogrammed spaces 63. Diagram showing the design approach of Lacaton and Vassal compared to other architects

Anne Lacaton and Jean-Philippe Vassal are award winning architects based in France. Openly proclaiming to be a reflection and search for architectural economy, the works focus on reduced-cost constructions, creating maximum spaces, connection with the surrounding and sustainability.

Figure 77: Interior FRAC

Figure 60 Figure 56

After returned to Europe where the climate is complete different to that in Africa, the use of greenhouse systems emerged as a way to incorporate exterior spaces into Lacaton and Vassal’s work (Fig.58-59) as it carefully balances exterior brightness and temperature with interior airflow and humidity in order to create an optimal interior climate. (Fig.60)

55. Anne Lacaton and Jean-Philippe Vassal 56. Diagram of tents in Niger 57. Picture of Jean-Philippe Vassal’s housing design in Niger 58. Maison Keremma by Lacaton & Vassal 59. Maison Latapie by Lacaton & Vassal 60. Diagram of greenhouse systems Figure 57

Figure 78: Gallery space FRAC

Figure 75: FRAC Dunkerque edited google image

Figure 79: Exterior FRAC

SEONA REID BUILDING

Figure 88: Seona Reid building edited google image

Figure 81: FRAC Dunkerque facade

Figure 82: Nantes school of architecture edited section

Figure 83: Nantes school of architecture facade Figure 83: Nantes school of architecture facade

Figure 89: Nantes architecture school edited google image

The Reid buildings sustainability approach is of a more complex nature possibly due to the fact it was built at a later date, However, cost a considerable amount more than the Nantes building due to being a completely new structure unlike Nantes which is a partially converted warehouse. Alongside this the building was mostly prefabricated and covered similar space at a lower cost. Even though the use of concrete in both buildings is in fact unsustainable and counts for ‘4-8% of carbon emissions’27 the Nantes building makes up for this by using the existing building as well as natural sustainable methods that do not require huge amounts of complex construction.

Figure 86: Exterior Reid building 2

Figure 80: FRAC Dunkerque edited section

NANTES ARCHITECTURE SCHOOL

Figure 76: Nantes architecture school edited google image

27 Carbon Brief. 2020. Q&A: Why Cement Emissions Matter For Climate Change | Carbon Brief. [online] Available at: <https://www. carbonbrief.org/qa-why-cement-emissions-matter-for-climate-change> [Accessed 14 December 2020].

Figure 90: sustainability diagram Reid building

Lighting: the Reid building Studios are positioned on the north façade with large, inclined north facing glazing to maximize access to the desirable high quality diffuse north light. The nates accessed light in a similar way through the large double heighted windows extent up through all the levels in the building. However, the Reid building needs the light voids positioned in the centre in order to allow natural light to reach lower levels, where as the Nantes is all above ground with a more open site meaning this is not nessisary.

Figure 84: climate control diagram

Both have very similar strategys and material use that lends itself to sustainability that improves the quality of life while acting responsibly towards the environment. but the main diffrence is the use of an existing structure in the FRAC gallery (maximum space minimum cost) rather than a conversion

Gsa.ac.uk. 2020. The Mackintosh Building. [online] Available at: <https://www.gsa.ac.uk/visit-gsa/mackintosh-building-tours/the-mackintosh-building/> [Accessed 14 December 2020].

NANTES ARCHITECTURE SCHOOL - SECTION

Sustainability and materials: -light bioclimatic envelope, lightweight steel structure -prefabrication -transparency (connection with wider context of place) -natural climate control, low-tech energy strategy and programming and orientation Figure 63

Figure 85: Exterior Reid building 1

appropriable free space

The combination of a robust and a lightweight, transformable structure is central to the building’s ability to respond to future changes in program, eliminating the need for future demolition. What is now a school could easily adapt to an altogether different use. Nantes School of Architecture is a curious example of a building that generously lays itself open to unpredictable spatial demands. (Fig.62)

Figure 61

NANTES ARCHITECTURE SCHOOL

SUSTAINABLE DESING - SEONA REID BUILDING

FRAC DUNKERQUE - SECTION

Figure 62

Total volume of construction materials: 8,067 m3 92% of the school’s volume is free for use.

FRAC DUNKERQUE

Anna Toft

Designed as a complimentary contrast to the older Macintosh school of art ‘1909’ 26, the Seona Reid building’s main aims focus on light distribution as well as its connection to the city’s wider fabric. Like that of the Nantes architecture building there is a purposeful allocation of programme in order to maximise natural light and circulation encouraging creative abrasion and sustainability. However, the main difference in these two projects is the expenditure and sustainability method with the Nantes school being more successful due to construction and material considerations whist creating maximum space at minimum cost

Programme: open, large spaces as well as programmed space in relation to scale that can be integrated into the more ridged planned spaces. space allow for further teaching through multi-use space. Dunkerque probably has more multiuse space due to the fact it is an art gallery with non-permanent exhibitions as well as half the being able to use separately to the gallery whereas Nantes has a more ridged academy.

Crits

Social events

QUESTION 5 | SEONA REID BUILDING - STEVEN HOLL ARCHITECTS - 2014

ArchDaily. 2020. FRAC Dunkerque / Lacaton & Vassal. [online] Available at: <https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal> [Accessed 14 December 2020].

The similaries between Dunkirque and the Nantes project are closely linked due to the architectes theoretical values including the way they approach future needs and use of the building. Althought both The Nantes architecture and the FRAC Building differ the most in terms of context and institution, both projects aim to blend into the context of their setting using a minimun buget to create maxiumum space.

Installation art

Figure 59

Total building volume: 100,926 m3

Anna Toft

The Gallery of FRAC (Fonds regional d’art contemporain) Dunkerque is part of a network of ‘23 public collections of contemporary art across France funded both regionally and nationally’25 as part of a decentralisation policy to move aspects of governance out to reginal governments. Like the Nantes school of architecture, the main objectives of the architects focus upon scale, multi-use space and sustainability with an emphasis on architectural financing in order to achieve maximum space at minimum cost.

The original brief called for 15,150m², to which Lacaton & Vassal added 4,430m² of extra internal space and 8,000m² of terraces, all on a budget of 17.75 million euros.

LACATON & VASSAL ARCHITECTS

ARCHITECTURAL FINANCING The Nantes School of Architecture represents a fundamentally different way of conceptualising low-cost architecture, in which a minimal budget translates into maximum space. Located on the banks of the Loire, the site benefits from an unusual adjacency to large open spaces, as well as to the dense city center, where land values are exceptionally high. Lacaton & Vassal decided to take full advantage of these two qualities, leaving no part of the site unbuilt and pushing the school’s façade to its outermost limits. (Fig.61)

Figure 73

Figure 65

QUESTION 4 | THEORATICAL POSITION

Figure 72

Figure 69 Figure 64

Equipped with simple ventilation and shading systems, these spaces can adapt to warmer temperatures; In the winter, the polycarbonate clad double-height spaces (Fig.74) act like a greenhouse, capturing solar heat gain to minimize heat loss between the interior programmed spaces and the exterior (Fig.73); in the height of the summer, half of the façade can be opened up to passively ventilate the structure.

70. Diagram of climate system of the building in Winter 71. Diagram of climate system of the building in Spring/Autumn 72. Diagram of climate system of the building in Summer 73. Diagram of polycarbonate panel 74. Building facade

Figure 68

Figure 53 - First Floor Plan

Chao Jung Changg

Figure 67

Figure 66

Ruby and Ruby

Figure 52 - Collages of Climate Performance during Summer

QUESTION 4 | THEORATICAL POSITION

The establishment of two climatic zones integrates natural systems of thermal control into the building. (Fig.70-72) The first zone consists of the school’s programmed spaces that feature standard insulation and heating. These areas are surrounded by unprogrammed double-height volumes, which, like horticultural greenhouses, optimise climatic conditions to produce an optimal interior temperature.

S c h o o l o f A rc h i t e c t u re’ , E U m i e s aw a rd , p a r a . 2 < h t t p s : / / m i e s a rc h .c o m / w o r k / 8 1 1 > .

Ruby and Ruby

Chao Jung Chang

STRUCTURAL SOLUTION TO ENERGY EFFICIENCY

Completely accessible to the general public, the Nantes School of Architecture is a truly public space.

In between the concrete floor plates, Lacaton & Vassal inserted a light steel structure that redivides the height of the main levels. Linked to the single level classrooms, research facilities, studio spaces, administrative offices, and library are double-height volumes, which help regulate the school’s interior temperature. The floor-to-ceiling glass sliding doors that divide these two types of space establish an unobstructed visual relationship among spaces inside the school, in contrast to the blurred visual boundary between the school and its immediate surroundings that is provided by the building’s polycarbonate façade. (EUmiesaward, 2020)

Natural climate control such as passive cooling and crossventilation, eliminates any costs for installation and operation of mechanical cooling system. This also allow the rooftop to be liberated from its utility ducts (for distribute the conditioned air within define areas), creating even more usable surface area. 22

NIGHT time in Summer - Nocturnal radiative/ ventilative cooling system, allowing cool air flows into the building

QUESTION 4 | THEORATICAL POSITION

Chao Jung Chang

INTEGRATION WITH THE CONTEXT

Spatial Configuration

Cross Ventilation

QUESTION 4 | THEORATICAL POSITION

Xinrui Lin

Figure 87: Interior Reid building

Figure 91: Reid building programme

Figure 92: Nantes school light access diagram

130

131 QUESTION 5 | GLASGOW SCHOOL OF ART - CHARLES RENNIE MACKINTOSH - 1909

QUESTION 5 | UNIVERSITY OF OXFORD BEECROFT BUILDING - HAWKINS\BROWN - 2018

Anna Toft

The Mackintosh Glasgow school of art was ‘built over a period of nine years’28 and is the only building assigned to one discipline un-like other buildings in the GSA group. The cost and time of construction is one of the main differences to the Nantes school as well as the wide umbrella of people the building invites in due to the flexibility of space it provides. However, despite the time differences between the two projects they both similarly reflect innovative light solutions. This similarity can also be seen in the double height library with workstations placed at its heart, although intentionally programmed, libraries create a space of knowledge and learning for multiple people (collaboration). 28

Anna Toft

Mackintosh-architecture.gla.ac.uk. 2020. Mackintosh Architecture: The Catalogue - Browse - Display. [online] Available at: <https://www.mackintosh-architecture.gla.ac.uk/catalogue/browse/display/?rs=133&xml=des> [Accessed 14 December 2020].

Figure 110: Nantes school circulation

Figure 93: Libary space

Figure 106: Facade Beecroft building Figure 111: Map 1:600 Beecroft building Figure 96: Light wells Mackintosh

Figure 94: Exterior Mackintosh

Figure 98: Mackintosh building edited google image

Figure 99: Nantes school edited google image

Materials: Limestone, steel, wood, heavy weighted structure, and long construction time compared to the Nantes; however, sustainability is more of a modern-day issue, Mackintosh’s main issue was budget at the time hence the local sourcing of material.

Figure 97: exterior windows Mackintish

Figure 112: Nantes school edited google map

Figure 100: Mackintosh libary section

Orientation opposite to the Nantes building

Larger unprogrammed space

Figure 101: Material Mackintosh

Figure 102: Material Nantes school

Figure 114: Beecroft massing diagram

Figure 107: Section Beecroft building

Figure 103: Massing diagrams

Longitudinal space like the Nantes, spread out rather than tall buildings that are more common today as institutional buildings tend to be at the centre of the city. Figure 95: Enterence Mackintosh

Figure 115: Nantes school massign diagram

Figure 113: Beecroft section showing sustainability Figure 104: Nantes school open space

Figure 105: Mackintosh school open space

Figure 108: Collaborative learning spaces interior Beecroft

Nantes is built with multi-purpose study space with public services integrated, the Beecroft building is more a more exclusive institution.

BIBLIOGRAPHY:

LIST OF FIGURES: CO N T E N T S PAG E : N A N T E S W I DE R S I T E P L A N B Y E L L A F R E E MA N F I GU R E 1 : N A N T E S S I T E P L A N T RAC E D B Y E L L A F R E E MA N F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E ,

F I GU R E 4 6 : N A N T E S S I T E P L A N T RAC E D B Y X I N RU I L I N F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 4 7 : P O LYCA R BO N AT E PA N E L DI AG RA M T RAC E D B Y X I N RU I L I N F RO M - MAT E R I A L , “ W H AT E X AC T LY I S A P O LYCA R BO N AT E T RA N S LUC E N T FACA DE ? ” , A RC H DA I LY, 2 0 1 9 < H T T P S: / / W W W. A RC H DA I LY.CO M / 9 2 2 7 3 5/ W H AT - I S - E X AC T LY-A- P OLY CA R BON AT E - T RA N S LUC E N T - FACA DE > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ]

E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 2 : CO N T I N UAT I O N O F S T R E E T DI AG RA M B Y E L L A F R E E MA N F I GU R E 3 - 5 : P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 >

F I GU R E 4 8 : P O LYCA R BO N AT E PA N E L P H O T O B Y MAT E R I A L , “ W HAT E X AC T LY I S A P O LYCA R BO N AT E T RA N S LUC E N T FACA DE ? ” , A RC H DA I LY, 2 0 1 9 < H T T P S: / / W W W. A RC H DA I LY. CO M / 9 2 2 7 3 5/ W H AT - I S - E X AC T LY-A- P OLY CA R BON AT E - T RA N S LUC E N T - FACA DE > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 4 9 : FACA DE O F P O LYCA R BO N AT E PA N E LS - P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / /

[ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 6 : RA M P DI AG RA M B Y E L L A F R E E MA N C R E AT E D US I N G S E C T I O N F RO M - " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, 2 0 2 0 < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 7 - 8 : B E N E F I T S T O CO M M U N I T I E S DI AG RA M B Y E L L A F R E E MA N F I GU R E 9 : A DA P TA B I L I T Y DI AG RA M B Y E L L A F R E E MA N O V E R A XO N O M E T R I C F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 1 0 -1 1 : P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 >

L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 0: T H E S E PA N E LS M O DU L E S T H E I N T E R I O R L I G H T I N G - P H O T OG RA P H O F N A N T E S SC H OO L O F A RC H I T E C T U R E B Y P H I L I P P E RUAU LT F RO M - " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, 2 0 2 0 < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E - L ACAT O N -VASS A L > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 1 : CO L L AG E S O F C L I MAT E P E R F O R MA N C E DU R I N G W I N T E R A N D S P R I N G / AU T U M B Y X I N RU I L I N - US I N G F RO M S E C T I O N S B Y L ACAT O N A N D VASS A L F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 5 2 : CO L L AG E S O F C L I M AT E P E R F O R M A N C E DU R I N G SU M M E R B Y X I N RU I L I N - US I N G F RO M S E C T I O N S B Y L ACAT O N A N D VASS A L F RO M - RU B Y, I L K A , A N D A N DR E AS

[ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 1 2 : P ROG RA M M E D VS U N P ROG RA M M E D S PAC E DI AG RA M B Y E L L A F R E E MA N C R E AT E D US I N G P L A N F RO M - " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, 2 0 2 0 < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 1 3 -1 4 : P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 1 5 -1 7 : DI AG RA M S B Y E L L A F R E E M A N O V E R A XO N O M E T R I C F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 1 8 -1 9 : P H O T OG RA P H S B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 2 0 - 2 1 : P H O T OG RA P H S B Y E L L A F R E E MA N F I GU R E 2 2 : P H O T OG RA P H B Y F RA N K L I N A Z Z I F RO M - G R I F F I T H S, A LY N , " F RA N K L I N A Z Z I A RC H I T E C T U R E CO N V E R T S N A N T E S WA R E H OUS E S I N T O A R T SC H OO L" , DE Z E E N , 2 0 1 8 < H T T P S: / / W W W. DE Z E E N .CO M / 2 0 1 8 / 0 9/ 2 3/ F RA N K L I N -A Z Z I -A RC H I T E C T S - N A N T E S - S A I N T - N A Z A I R E - H I G H E R - SC H OO L - F I N E -A R T S -A RC H I T E C T U R E / > [ ACC E SS E D 1 1 DE C E M B E R 2020] F I GU R E 2 3 : P H O T OG RA P H B Y M . A RG Y ROG LO F RO M - " T H E MAC H I N E S DE L' Î L E I N N A N T E S " , O F F I C I A L W E BS I T E F O R T OU R I S M I N F RA N C E < H T T P: / / E E . F RA N C E . F R / E N / DI SCO V E R / M AC H I N E S - I L E - N A N T E S > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 24 - 2 5 : S I T E P L A N S B Y E L L A F R E E MA N F I GU R E 26 : P H O T OG RA P H B Y S I M O N M E N G E S F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 2 7 : P H O T OG RA P H B Y BC N U E J F RO M - " N A N T E S | BA RC E LO N A L A B F O R U R BA N E N V I RO N M E N TA L J US T I C E A N D SUS TA I N A B I L I T Y " , BA RC E LO N A L A B F O R U R BA N E N V I RO N M E N TA L J US T I C E A N D SUS TA I N A B I L I T Y < H T T P: / / W W W. BC N U E J .O RG / 2 0 1 8 / 0 4 / 2 3/ A- N E W- BOO K -A N A LYZ E S - T H E - T RA J E C T O R Y- OF - G R E E N I N G - P O L I C Y- I N - 9 9 - C I T I E S / N A N T E S / > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 2 8 : P H O T OG RA P H B Y GX P ROJ E C T F RO M - "OUS E BU R N VA L L E Y - W I N G E D TA L E S 6 — G E T N O R T H ! " , G E T N O R T H ! < H T T P S: / / G E T N O R T H 2 0 1 8 .CO M / V E N U E S / W I N G E D TA L E S - 6 / > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 2 9 : P H O T OG RA P H B Y H A P P Y P O N T I S T F RO M - P O N T I S T, T H E H A P P Y, " T Y N E S I DE B R I DG E S: 1 . OUS E BU R N V I A DUC T " , H A P P Y P O N T I S T. B LOGS P O T.CO M , 2 0 1 4 < H T T P: / / HA P P Y P O N T I S T. B LOGS P O T.CO M / 2 0 1 4 / 0 3/ T Y N E S I DE - B R I DG E S -1 - OUS E BU R N -V I A DUC T. H T M L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 3 0: P H O T OG RA P H B Y BC N U E J F RO M - " N A N T E S | BA RC E LO N A L A B F O R U R BA N E N V I RO N M E N TA L J US T I C E A N D SUS TA I N A B I L I T Y " , BA RC E LO N A L A B F O R U R BA N E N V I RO N M E N TA L J US T I C E A N D SUS TA I N A B I L I T Y < H T T P: / / W W W. BC N U E J .O RG / 2 0 1 8 / 0 4 / 2 3/ A- N E W - BOO K -A N A LYZ E S - T H E - T RA J E C T O R Y- OF - G R E E N I N G - P O L I C Y- I N - 9 9 - C I T I E S / N A N T E S / > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 3 1 : P H O T OG RA P H B Y L ACAT O N A N D VASS A L F RO M - " L ACAT O N & VASS A L" , L ACAT O N VASS A L .CO M , 2 0 2 0 < H T T P: / / L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 5 5 > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 3 2 : OUS E BU R N DE N S I T Y DI AG RA M B Y E L L A F R E E MA N F I GU R E 3 3 : N A N T E S DE N S I T Y DI AG RA M B Y E L L A F R E E MA N F I GU R E 3 4 : A XO N O M E T R I C DRAW I N GS F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 3 5 : DI AG RA M O F DI V I S I O N O F L E V E LS B Y E H A N H A L I M U N F I GU R E 3 6 : P H O T O B Y JAV I E R CO L L E JAS P H O T OG RA P H Y, A N N O TAT E D B Y E H A N H A L I M U N F I GU R E 3 7 : P H O T O B Y JAV I E R CO L L E JAS P H O T OG RA P H Y, A N N O TAT E D B Y E H A N H A L I M U N F I GU R E 3 8 : P H O T O B Y JAV I E R CO L L E JAS P H O T OG RA P H Y, A N N O TAT E D B Y E H A N H A L I M U N F I GU R E 3 9 : E X P LO DE D A XO N O M E T R I C DI AG RA M B Y E H A N H A L I M U N BAS E D O N F LOO R P L A N S F I GU R E 4 0: P H O T OS B Y L ACAT O N A N D VASS A L , A N D CO L L AT E D B Y E H A N H A L I M U N F I GU R E 41 : P H O T O B Y P H I L I P P E RUAU LT F I GU R E 4 2 : P H O T O B Y P H I L I P P E RUAU LT F I GU R E 4 3 : P H O T O B Y P H I L I P P E RUAU LT, A N N O TAT E D B Y E H A N H A L I M U N F I GU R E 4 4 : P H O T O B Y P H I L I P P E RUAU LT, A N N O TAT E D B Y E H A N H A L I M U N F I GU R E 4 5 : A DA P TA B L E S PAC E DI AG RA M B Y E H A N H A L I M U N

RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 5 3 : F I RS T F LOO R P L A N B Y X I N RU I L I N - US I N G F RO M P L A N B Y L ACAT O N & VASS A L F RO M - “ N A N T E S SC H OO L O F A RC H I T E C T U R E ” , W O R L DA RC H I T E C T S, 2 0 1 2 < H T T P S: / / W W W.W O R L D -A RC H I T E C T S.CO M / E N / A RC H I T E C T U R E - N E W S / R E V I E W S / N A N T E S - SC H OO L - OF -A RC H I T E C T U R E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 4 : 3 D M O DE L L I N G DI AG RA M B Y X I N RU I L I N F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 5 5 : P H O T OG RA P H O F A N N E L ACAT O N A N D J E A N - P H I L I P P E VASS A L F RO M “ T H E DAY L I G H T A N D BU I L DI N G CO M P O N E N T AWA R D 2 0 1 1 ” < H T T P: / / T H E DAY L I G H TAWA R D.CO M / L ACAT O N -A N D -VASS A L / > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 6 : DI AG RA M O F T E N T S I N N I G E R B Y C HAO J U N G C H A N G F I GU R E 5 7 : P I C T U R E O F J E A N - P H I L I P P E VASS A L ’S H OUS I N G DE S I G N I N N I G E R F RO M < H T T P S: / / O F H OUS E S.CO M / P OS T / 1 3 7 3 3 1 6 7 1 0 3 1 / 26 7 -J E A N - P H I L I P P E - VASS A L -VASS A L H OUS E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 8 : MA I SO N K E R E M MA B Y L ACAT O N & VASS A L F RO M “ MA I SO N K E R E M M A , K E R E M MA ” , L ACAT O N A N D VASS A L , < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 1 4 > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 5 9 : M A I SO N L ATA P I E B Y L ACAT O N & VASS A L F RO M MA I SO N “ L ATA P I E F LO I RAC ” , L ACAT O N A N D VASS A L , < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 2 5 > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] F I GU R E 6 0: DI AG RA M O F G R E E N H OUS E S YS T E M S B Y C H AO J U N G C HA N G F I GU R E 6 1 : S I T E P L A N S H O W I N G T H E BU I L DI N G OU T L I N E A N D T H E S I T E BOU N DA R Y B Y C H AO J U N G C HA N G F I GU R E 6 2 : DI AG RA M S S H O W I N G T H E P O T E N T I A L F U N C T I O N S O F T H E U N P ROG RA M M E D S PAC E S B Y C HAO J U N G C H A N G F I GU R E 6 3 : DI AG RA M S H O W I N G T H E DE S I G N A P P ROAC H O F L ACAT O N A N D VASS A L CO M PA R E D T O O T H E R A RC H I T E C T S B Y C HAO J U N G C H A N G F I GU R E 6 4 : P I C T U R E S H O W I N G T H E CO N N E C T I O N B E T W E E N T H E BU I L DI N G A N D T H E CO N T E X T F RO M - B I Z L E Y, P R E W E T T, " N A N T E S A RC H I T E C T U R E SC H OO L – L ACAT O N VASS A L — P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V H AUS | R E T RO F I T " , P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V HAUS | R E T RO F I T, 2 0 2 0 < H T T P: / / W W W. P R E W E T T B I Z L E Y.CO M / G RA H A M B I Z L E Y- B LOG / 2 0 1 5/ 7/ 2 / N A N T E S -A RC H I T E C T U R E - SC H OO L - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 6 5 : P H O T OG RA P H O F T H E E N T RA N C E O F T H E W O R KS H O P S PAC E F RO M - B I Z L E Y, P R E W E T T, " N A N T E S A RC H I T E C T U R E SC H OO L – L ACAT O N VASS A L — P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V H AUS | R E T RO F I T " , P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V HAUS | R E T RO F I T, 2 0 2 0 < H T T P: / / W W W. P R E W E T T B I Z L E Y.CO M / G RA H A M - B I Z L E YB LOG / 2 0 1 5/ 7/ 2 / N A N T E S -A RC H I T E C T U R E - SC H OO L - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] F I GU R E 6 6 : BU I L DI N G OU T L I N E DI AG RA M B Y C HAO J U N G C H A N G F I GU R E 6 7 : E N C LOS E D S PAC E / P U B L I C S PAC E DI AG RA M B Y C HAO J U N G C H A N G F I GU R E 6 8 : S K E T C H O F T H E S LO P E B Y C H AO J U N G C HA N G F I GU R E 6 9 : S K E T C H O F T H E BU I L DI N G E X T E R I O R A N D T H E SU R ROU N DI N GS B Y C HAO J U N G C H A N G F I GU R E 7 0: DI AG RA M O F C L I MAT E S YS T E M O F T H E BU I L DI N G I N W I N T E R B Y C H AO J U N G C HA N G F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 7 1 : DI AG RA M O F C L I MAT E S YS T E M O F T H E BU I L DI N G I N S P R I N G / AU T U M N B Y C HAO J U N G C H A N G F RO M - RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 7 2 : DI AG RA M O F C L I MAT E S YS T E M O F T H E BU I L DI N G I N SU M M E R B Y C HAO J U N G C H A N G F RO M - RU B Y, I L K A , A N D A N D R E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) F I GU R E 7 3 : DI AG RA M O F P O LYCA R BO N AT E PA N E L B Y C HAO J U N G C HA N G F I GU R E 74 : BU I L DI N G FACA DE F RO M - RU B Y, I L K A , A N D A N D R E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2011) F I GU R E S 7 5 -76 : S I T E P L A N S F RO M GOOG L E I MAG E B Y A N N A T O F T F I GU R E S 7 7 -7 9 : RUAU LT, P. , 2 00 9 . F RAC DU N K E RQ U E . [ I M AG E ] AVA I L A B L E AT: < H T T P S: / / W W W. A RC H DA I LY.CO M / P H O T OG RA P H E R / P H I L I P P E - RUAU LT ? A D _ N A M E = P ROJ E C T S P E CS & A D _ M E DI U M = S I N G L E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . F I GU R E 8 0: F RAC DU N K E RQ U E E DI T E D S E C T I O N B Y A N N A T O F T F I GU R E 8 1 : VASS A L , L . , 2 00 9 . L ACAT O N & VASS A L . [ O N L I N E ] L ACAT O N VASS A L .CO M . AVA I L A B L E AT: < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X . P H P ? I DP = 6 1 > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . F I GU R E 8 2 : N A N T E S SC H OO L O F A RC H I T E C T U R E E DI T E D S E C T I O N B Y A N N A T O F T F I GU R E 8 3 : L ACAT O N A N D VASS A L , 2 0 1 0. N A N T E S SC H OO L O F A RC H I T E C T U R E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X . P H P > [ ACC E SS E D 1 4

F RO N T PAG E : P H O T OG RA P H O F N A N T E S SC H OO L O F A RC H I T E C T U R E B Y P H I L I P P E RUAU LT F RO M - " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, 2 0 2 0 < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ]

DE C E M B E R 2 0 2 0 ] . F I GU R E 8 4 : C L I MAT E CO N T RO L DI AG RA M B Y A N N A T O F T F I GU R E 8 5 - 8 7 : DE E Z E N , 2 0 1 4 . S E O N A R E I D BU I L DI N G. [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. DE Z E E N .CO M / 2 0 1 4 / 0 3/ 0 6 / G L ASGO W- SC H OO L - OF -A R T - R E I D - BU I L DI N G S T E V E N - H O L L / > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . F I GU R E S 8 8 - 8 9 : S I T E P L A N S F O R M GOOG L E I M AG E B Y A N N A T O F T F I GU R E 9 0: R E I D BU I L DI N G SUS TA I N A B I L I T Y DI AG RA M B Y A N N A T O F T F I GU R E 9 1 : R E I D BU I L DI N G P ROG RA M M E B Y A N N A T O F T F I GU R E 9 2 : N A N T E S SC H OO L O F A RC H I T E C T U R E L I G H T ACC E SS DI AG RA M B Y A N N A T O F T F I GU R E 9 3 - 9 7 : DE E Z E N , 2 0 1 8 . MAC K I N T OS H SC H OO L O F A RC H I T E C T U R E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. DE Z E E N .CO M / 2 0 1 8 / 0 6 / 0 5/ G L ASGO W - SC H OO L - OF -A R T C HA R L E S - R E N N I E - M ACK I N T OSH - MAS T E R W O R K -1 5 0 -A N N I V E RS A R Y/ > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . F I GU R E S 9 8 - 9 9 : S I T E P L A N S F RO M GOOG L E I MAG E B Y A N N A T O F T F I GU R E 1 00: MAC K I N T OS H L I B RA R Y S E C T I O N B Y A N N A T O F T F I GU R E 1 0 1 : DE E Z E N , 2 0 1 8 . MAC K I N T OS H SC H OO L O F A RC H I T E C T U R E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. DE Z E E N .CO M / 2 0 1 8 / 0 6 / 0 5/ G L ASGO W- SC H OO L - OF -A R T C HA R L E S - R E N N I E - M ACK I N T OSH - MAS T E R W O R K -1 5 0 -A N N I V E RS A R Y/ > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . F I GU R E 1 0 2 : L ACAT O N A N D VASS A L , 2 0 1 0. N A N T E S SC H OO L O F A RC H I T E C T U R E . [ I MAG E ] AVA I L A B L E AT: < H T T P S: / / W W W. L ACAT O N VASS A L .CO M / I N DE X . P H P > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . F I GU R E 1 0 3 : MASS I N G DI AG RA M S B Y A N N A T O F T F I GU R E 1 0 4 : N A N T E S SC H OO L O P E N S PAC E B Y A N N A T O F T F I GU R E 1 0 5 : MAC K I N T OS H SC H OO L O P E N S PAC E B Y A N N A T O F T F I GU R E S 1 0 6 -1 0 8 : A RC H DA I LY, 2 0 1 8 . B E E C RO F T BU I L DI N G. [ I M AG E ] AVA I L A B L E AT: < H T T P S: / / W W W. A RC H DA I LY.CO M / 9 0 2 1 41 / U N I V E RS I T Y - OF - OX F O R D - B E E C RO F T - BU I L DI N G HAW K I N S - B RO W N > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . F I GU R E 1 0 9 : B E E C RO F T C I RCU L AT I O N DI AG RA M B Y A N N A T O F T F I GU R E 1 1 0: N A N T E S SC H OO L C I RCU L AT I O N B Y A N N A T O F T F I GU R E 1 1 1 : M A P 1 : 6 00 B E E C RO F T BU I L DI N G B Y A N N A T O F T F I GU R E 1 1 2 : S I T E P L A N F RO M GOOG L E I MAG E B Y A N N A T O F T F I GU R E S 1 1 3 : B E E C RO F T S E C T I O N S H O W I N G SUS TA I N A B I L I T Y B Y A N N A T O F T F I GU R E S 1 1 4 -1 1 5 : M ASS I N G DI AG RA M S B Y A N N A T O F T

‘SC H OO L O F A RC H I T E C T U R E ’ , E U M I E S AWA R D < H T T P S: / / M I E S A RC H .CO M / W O R K / 8 1 1 > A RC H DA I LY. 2 0 1 8 . U N I V E RS I T Y O F OX F O R D B E E C RO F T BU I L DI N G / HAW K I N S \ B RO W N . [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W. A RC H DA I LY.CO M / 9 0 2 1 41 / U N I V E RS I T Y - OF OX F O R D - B E E C RO F T - BU I L DI N G - HAW K I N S - B RO W N ? A D _ M E DI U M = GA L L E R Y > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . A RC H DA I LY. 2 00 9 . F RAC DU N K E RQ U E / L ACAT O N & VASS A L . [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W. A RC H DA I LY.CO M / 4 7 5 5 0 7/ F RAC - OF - T H E - N O R T H - R E G I O N - L ACAT O N A N D -VASS A L > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . A RC H DA I LY. 2 0 2 0. " N A N T E S SC H OO L O F A RC H I T E C T U R E / L ACAT O N & VASS A L" , A RC H DA I LY, < H T T P S: / / W W W. A RC H DA I LY.CO M / 2 5 41 9 3/ N A N T E S - SC H OO L - OF -A RC H I T E C T U R E L ACAT O N -VASS A L > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] B I Z L E Y, P R E W E T T, " N A N T E S A RC H I T E C T U R E SC H OO L – L ACAT O N VASS A L — P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V H AUS | R E T RO F I T " , P R E W E T T B I Z L E Y A RC H I T E C T S | PASS I V HAUS | R E T RO F I T, 2 0 2 0 < H T T P: / / W W W. P R E W E T T B I Z L E Y.CO M / G RA H A M - B I Z L E Y- B LOG / 2 0 1 5/ 7/ 2 / N A N T E S -A RC H I T E C T U R E - SC H OO L - L ACAT O N -VASS A L > [ ACC E SS E D 1 1 DE C E M B E R 2 0 2 0 ] CA R BO N B R I E F. 2 0 2 0. Q & A : W H Y C E M E N T E M I SS I O N S M AT T E R F O R C L I M AT E C HA N G E | CA R BO N B R I E F. [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W.CA R BO N B R I E F.O RG / Q AW H Y- C E M E N T - E M I SS I O N S - MAT T E R - F OR - CL I M AT E - C HA N G E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . DI F F E N , “ E L E C T R I C H E AT I N G VS. GAS H E AT I N G ” , 2 0 2 0 < H T T P S: / / W W W. DI F F E N .CO M / DI F F E R E N C E / E L E C T R I C _ H E AT I N G _ VS _ GAS _ H E AT I N G > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] E - F LUX .CO M . 2 0 2 0. OU T O F BO LOG N A : L ACAT O N A N D VASS A L ’S N A N T E S SC H OO L O F A RC H I T E C T U R E . [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W. E - F LUX .CO M / J OU R N A L / 6 4 / 6 0 8 6 7/ OU T - OF - BOLOG N A- L ACAT O N -A N D -VASS A L - S - N A N T E S - SC H OO L - OF -A RC H I T E C T U R E / > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] GS A . AC.U K . 2 0 1 8 . T H E MAC K I N T OS H BU I L DI N G. [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W.GS A . AC.U K / V I S I T - GS A / MAC K I N T OS H - BU I L DI N G - T OU RS / T H E - MAC K I N T OS H BU I L DI N G / > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . I N S P I RAT I O N . DE TA I L . DE . 2 0 2 0. FACU LT Y O F A RC H I T E C T U R E BU I L DI N G I N N A N T E S - DE TA I L I N S P I RAT I O N . [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / I N S P I RAT I O N . DE TA I L . DE / FACU LT Y- OF -A RC H I T E C T U R E - BU I L DI N G - I N - N A N T E S -1 0 3 5 4 4 . H T M L > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . M ACK I N T OSH -A RC H I T E C T U R E .G L A . AC.U K . 2 0 2 0. MAC K I N T OS H A RC H I T E C T U R E : T H E CATA LOGU E - B RO W S E - DI S P L AY. [ O N L I N E ] AVA I L A B L E AT: < H T T P S: / / W W W. M ACK I N T OSH -A RC H I T E C T U R E .G L A . AC.U K / CATA LOGU E / B RO W S E / DI S P L AY/ ? RS = 1 3 3 & X M L = DE S > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] . MAT E R I A L , “ W HAT E X AC T LY I S A P O LYCA R BO N AT E T RA N S LUC E N T FACA DE ? ” , A RC H DA I LY, 2 0 1 9 < H T T P S: / / W W W. A RC H DA I LY.CO M / 9 2 2 7 3 5/ W HAT - I S - E X AC T LY-APOLYCA R BON AT E - T RA N S LUC E N T - FACA DE > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ] RU B Y, I L K A , A N D A N DR E AS RU B Y, U N I V E RS I T Y BU I L DI N G I N F RA N C E : N A N T E S SC H OO L O F A RC H I T E C T U R E , E D. ( H O LC I M F OU N DAT I O N 2 0 1 1 ) S T E V E N S, P H I L I P, ‘ L I S BO N A RC H I T E C T U R E T R I E N N A L E : L ACAT O N & VASS A L W I N S L I F E T I M E AC H I E V E M E N T AWA R D ’ , DE S I G N BOO M , 2 0 1 6 < H T T P S: / / W W W. DE S I G N BOO M .CO M / A RC H I T E C T U R E / L I S BO N -A RC H I T E C T U R E - T R I E N N A L E - L ACAT O N -VASS A L - L I F E T I M E -AC H I E V E M E N T -AWA R D -1 0 -1 1 - 2 0 1 6 / > W O R L DA RC H I T E C T S, L ACAT O N & VASS A L F RO M - “ N A N T E S SC H OO L O F A RC H I T E C T U R E ” , 2 0 1 2 < H T T P S: / / W W W.W O R L D -A RC H I T E C T S.CO M / E N / A RC H I T E C T U R E - N E W S / R E V I E W S / N A N T E S - SC H OO L - OF -A RC H I T E C T U R E > [ ACC E SS E D 1 4 DE C E M B E R 2 0 2 0 ]

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Hydroponic space, 2021. Traditional vs vertical farming. [image] Available at: <https://hydroponicsspace.com/hydroponic-cotton-is-it-achievable/> [Accessed 3 May 2021]. Leathart, H., You, R., Stubbs, N. and Woods, J., 2021. Granby Four Streets Project. Newcastle upon Tyne: Newcastle University, p.1. Li, C., Bone, J., Lutterova, K. and Cheng, Y., 2021. GMIT Furniture college. Newcastle upon Tyne: Newcastle University, p.1. Mok, M., Mc Chonnachie, C., Batho, H., Fard, S., Mettham, E. and Minott, R., 2021. The Hill House. Newcastle upon Tyne: New Newcastle.gov.uk. 2021. NEWCASTLE CITY COUNCIL REGENERATION DIRECTORATE. [online] Available at: <https://www.newcastle.gov.uk/sites/default/files/2019-01/ Local%20List%20-%20Newcastle%20Upon%20Tyne.pdf> [Accessed 3 June 2021]. Tarbox, S., 2021. Joanneumsviertel, Gaza, Austria. Newcastle upon Tyne: Newcastle University, p.7. the%20United%20Kingdom%20averaged%2024.07%20GBP,Million%20in%20May%20of%202020.> [Accessed 2 June 2021]. Toft, A., 2021. Integrated technology. Newcastle upon Tyne: Newcastle University, p.12. Toft, A., 2021. Craft and Architecture. Newcastle upon Tyne: Newcastle University, p.9. Tradingeconomics.com. 2021. United Kingdom Imports of Cotton | 2000-2021 Data | 2022-2023 Forecast | Historical. [online] Available at: <https://tradingeconomics.com/united-kingdom/imports-of-cotton#:~:text=Imports%20of%20Cotton%20in%20 Windle, P., Asenova, A., Zhang, Y. and Skuz, J., 2021. Fondaco dei Tedeshi. Newcastle upon Tyne: Newcastle University, p.1. Yeong, A., Duvoisin, L., Hill, G., Thompson, A. and Fong, P., 2021. Gerrit Rietveld academy and Sandberg institute. Newcastle upon Tyne, p.1.

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List of Figures

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