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ACADEMIC PORTFOLIO | STAGE 3 ARCHITECTURE CREATIVE SYNERGIES 180060607 | ELLA FREEMAN 2020/2021

creative synergies I would like to thank my tutors, Craig Gray and Stella Mygdali. Thanks for all the continual support and encouragement throughout the year.

AMENDED WORK NEW WORK

i FRAMING

ILLUSTRATED REFLECTIVE DIARY -4-

TESTING

CREATIVE SYNERGIES INTRODUCTION - 10 -

04 SPECIALISM

08 REFINEMENT

THE LIVING PAVILION

- 30 -

- 38 -

09 THE CENTRE FOR MYCELIUM RESEARCH - 92 -

- 82 -

x CULTURAL BIBLIOGRAPHY - 148 -

BRIEF DEVELOPMENT

NANTES SCHOOL OF ARCHITECTURE - 62 -

- 56 -

SYNTHESIS

06 PROCESS WORK - 66 -

07 THINKING THROUGH MAKING - 78 -

THE USER’S JOURNEY

TECHNICAL DETAILS

- 124 -

- 140 -

xii

REFERENCES

APPENDICES

- 154 -

- 158 -

i illustrated reflective diary

ILLUSTRATED REFLECTIVE DIARY | 4

THE ENTRANCE UNDER THE MYCELIUM CANOPY

“Ecology is profoundly about coexistence.” (Morton, 2010, p.4) Stage 3 has been the most fulfilling year of my undergraduate degree. The course has allowed me to explore my personal interests further and fully integrate all stage 3 modules into my design. I especially believe that my dissertation and theory into practice work has vastly influenced my design throughout the year. This year has allowed me to further my interest in community and sustainable design practice by proposing using technology as a tool to advocate for inclusive design practice. The Creative Synergies studio was focussed on bridging communities in the fastdeveloping area of Ouseburn, Newcastle. This post-industrial site is undergoing mass development and as a result gentrification is a major threat to existing communities. The studio was interested in creating a synergy between ‘the city’ and ‘the academy’ by using ‘education and research as a programmatic fulcrum’ (Newcastle APL, 2020, p.4). This studio tests the feasibility of an institutional building acting as a ‘moderator between a transient or even more remote student community, and those existing, established, and emerging communities of the site’ (Newcastle APL, 2020, p.4). This studio has propelled my interest in design inclusivity and the importance of designing for a community. My design proposal aims to bring together Ouseburn’s communities through the research specialism of mycelium biodesign. My proposal and research specialism clearly consider the issues raised by the climate emergency.

ILLUSTRATED REFLECTIVE DIARY | 5

ARC3060: DISSERTATION STUDIES ELLA FREEMAN 180060607

DUDLEY MBC

My dissertation studies focussed on evaluating the value of smart technology in the residential energy sector in an aim to not isolate the most vulnerable groups in society. This study allowed me to combine my interest of inclusive design with sustainable design practice in a real-world context. My study was deep-rooted in sustainable design in relation to the energy sector, specially related to the current net zero goal for 2050. This has meant that sustainable design has been at the forefront of my design process, and brief exploration. My research into biomaterials and mycelium was researched in response to the topics explored in my dissertation. My proposal promotes the use of new biotechnology in the design and construction industry.

(Metropolitan Borough Council)

SMART THERMOSTATS:

AN EVALUATION OF THE RELATIONSHIP BETWEEN ENERGY PERFORMANCE AND PROPERTY ARCHETYPES.

AS SEEN IN ACR3060: DISSERTATION TITLE PAGE

INSTITUTIONS

LOCAL BUSINESSES

NEWCASTLE UNIVERSITY

THE HUB FOR BIOTECHNOLOGY IN THE BUILT ENVIRONMENT

COFFEE SHOPS

PROFESSIONALS

THE OUSEBURN FARM CHARITY

RESEARCHERS

RESIDENTS

NORTHUMBRIA UNIVERISTY

ARCHITECTURE STUDENTS

ARTIST COMMUNITY

ARTISTS

LOCAL RESIDENTS

VISITORS

PROJECTS THE LIVING PAVILION MYCELIUM GROWTH, RESEARCH AND TESTING CENTRE

AS SEEN IN ACR3015: CIRCULAR ECONOMIES MAPPING ILLUSTRATED REFLECTIVE DIARY | 6

“[the architect should] best conserve and enhance the quality of the environment and its natural resources.” (ARB, 2017, p.6) ARCH2 BREWPUB NEWCASTLE BREWING

SITE

OUSEBURN FARM CHARITY

SHIP INN

THE CUMBERLAND ARMS

COOK HOUSE

CAFE @SEVEN STORIES NE1 CAFE

KILN

COFFEE WASTE AGRICULTURAL (FARM) WASTE

AS SEEN IN ARC3015/ARC3013: LOCAL SOURCING SCHEME MAPPING Theory into Practice allowed me to embed concepts I was exploring in my early design stages in theory to situate my project in the wider architectural context. I explored design practices of localism as a way of ‘encouraging local livelihood through local production and consumption, and promotion of local identity’ (Dybdahl, 2019, p.196). This was extremely applicable to designing in Ouseburn as localism can combat gentrification and re-establish a community through designing in accordance with common values. This led to a key principle of my design being enhancing the natural environment already apparent in Ouseburn, as this is a vital part of Ouseburn’s character. Readings such as Morton’s ‘The Ecological Thought’, allowed me to reconsider my opinion on ‘Nature’. Morton’s theory on interconnectedness continued my research into localism, through defining all actions as consequences of others, creating a cycle of cause-andeffect relationships. Local sourcing promotes circular economies which creates positive interconnected relationships. The Centre for Mycelium Research has a local sourcing scheme that advocates for sustainable living through repurposing waste. Coffee waste from local cafés and households, as well as agricultural waste from Ouseburn Charity Farm is collected and re-used in the production process of mushrooms and mycelium insulation panels. This creates an intrinsic connection between ‘the city’ and ‘the academy’ bringing two separate spheres of activity together within my institute.

ILLUSTRATED REFLECTIVE DIARY | 7

Integrated Construction allowed me to realise these key concepts more practically, understanding their impacts on the environment, structure, and end-users. I was able to explore a key concept of my proposal, the contrast between light and dark atmospheres, in a new realm. I began to express these atmospheres in different ways, using environmental design and structural strategies as drivers. My studio specific research pushed me to explore using structure to evidence this atmospheric difference, using a heavy (bio-concrete) structure below ground compared with a lighter (timber-frame stud wall) structure above ground. This exploration furthered my design to create two juxtaposing atmospheres within my building created in response to the strict environmental conditions required for my specialism. I was able to explore how key technological decisions can impact the atmosphere and experience of a design, which ultimately led me to a more established final proposal. Professional Practice has taught me what I want to strive for as a designer, to protect the reputation of architects. The reputation of architects needs to be upheld, especially during the current climate emergency. We must ‘best conserve and enhance the quality of the environment and its natural resources’ (ARB, 2017, p.6). My design has been heavily influenced by this quote from the ARB Code of Conduct and has led to my scheme celebrating the transition between urban and natural in Ouseburn. It has taught me to design considerately and contextually, which are both crucial criterion of the Creative Synergies studio. I strive to be a designer and learner that advocates for the positive adoption of modern technologies, such as mycelium bioproducts, as the tool to connect communities and enhance the already beautiful natural environment. I believe that this year has given me the space to grow as a learner and discover new interests which have propelled my academic curiosity, leading to a more established final design.

OUSEBURN VISUAL ILLUSTRATED REFLECTIVE DIARY | 8

urban

SITE AXONOMETRICS: TOP: ‘URBAN’ BOTTOM: ‘NATURAL’ ILLUSTRATED REFLECTIVE DIARY | 9

natural

creative synergies introduction F RAMING

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framing The first stage of the graduation project unravelled the brief of the Creative Synergies studio. As a studio we were interested in bridging existing communities in Ouseburn with the more transient student communities that often populate the site. Using research as a programmatic fulcrum we were asked to test the plausibility of an institutional building merging said communities (Newcastle APL, 2020, p.4). We began with detailed analysis of ‘the city’ (Ouseburn) and ‘the academy’ (Academic Research), in order to begin our initial search for a synergy. This stage consisted of numerous site visits to Ouseburn, to understand the rich character of the place. ‘The academy’ focussed on research, teaching and communities within Newcastle University which initially helped to broaden our knowledge of ongoing research specialisms. At first, formulating a synergy was difficult as it was appropriate to not only synergise the communities within Ouseburn but also combine many different initial ideas. Studio wide we began a mini design project of a pavilion. This allowed me to test initial design concepts and brief ideas on a potential site in Ouseburn. This exercise relaxed the process of determining a synergy and therefore allowed me to naturally come to a decision through the design process. My project started to delve into the vast research of biomaterials and designing sustainably for the future which continued my ongoing interest in the climate crisis from my dissertation. I explored parametric design strategies through my pavilion design and tested ideas of designing and constructing with mycelium. My research into mycelium pavilion precedents (The Shell Pavilion and The Growing Pavilion) filled me with the knowledge to then implement into my pavilion in Ouseburn. These initial precedent studies became very important in my final design proposal as they allowed me to consider how the temperate climate in Ouseburn could affect the biomaterial: mycelium. I believe that the work I achieved in framing directly translates to my final design proposal. Addressing studio themes early in the design process set a clear agenda for my project that I then chose to continue throughout my graduation project.

FRAMING | 11

ouseburn NEIGHBOURHOOD IN NEWCASTLE UPON TYNE Formerly an industrial hub, now a trendy residential area collecting around the Ouseburn river.

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MACRO TO MICRO MAPPING AS SEEN AS IN ARC3015

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vibrant FRAMING | 14

quirky

AUTHOR’S ‘OUSEBURN’ PHOTOGRAPHY

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THE CITY: OUSEBURN HISTORY OF CRAFT Ouseburn has a rich industrial heritage ranging from glassmaking, pottery, and mining (Ayris and Bolland, 1999). An old tunnel runs under Ouseburn which was used as a waggon-way to transport coal from pits in Jesmond down to ships on the River Tyne. The area’s history of craft is apparent through its architecture of warehouses and brick chimneys. The areas proximity to a river and to Newcastle meant that the whole valley and surrounding areas were covered with industry in the 1890s (Ayris and Bolland, 1999).

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OUSEBURN HISTORY COLLAGE ©CREATIVE SYNERGIES PAST, PRESENT & FUTURE GROUPWORK

OUSEBURN PAST VISUAL ©CREATIVE SYNERGIES PAST, PRESENT & FUTURE GROUPWORK

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MODERN CRAFT VISUAL ©CREATIVE SYNERGIES PAST, PRESENT & FUTURE GROUPWORK

THE CITY: OUSEBURN MODERN CRAFT Ouseburn is a fast-developing area with many different communities. It has been described as ‘vibey’ and ‘magic’ by its locals. Packed full of artists and craft businesses, it is clear the area is developing into a new creative hub. The area once specialised in glassworks and mining, now hosts more fluid artforms, such as wood making and graffiti art.

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1:1000 0

100

COMMUNITIES MAPPING ©CREATIVE SYNERGIES COMMUNITIES GROUPWORK

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OUSEBURN VISUAL

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GENTRIFICATION VISUAL ©CREATIVE SYNERGIES COMMUNITIES GROUPWORK

THE CITY: OUSEBURN THE FUTURE Ouseburn is growing exponentially due to the attraction of its ‘trendy’ industrial heritage and proximity to the city. It has transitioned into a heavily residential area with a vast number of housing developments currently under construction. These developments could potentially threat Ouseburn’s character in the future. The influx of new residents is causing gentrification which could push existing residents and communities out. My institute aims to bring together existing communities with new, more transient communities in Ouseburn, through a research specialism.

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DEVELOPMENT STAGE:

PUBLIC VIEW:

FUTURE DEVELOPMENTS ©CREATIVE SYNERGIES PAST, PRESENT & FUTURE GROUPWORK

POTENTIAL DEVELOPMENT

POSITIVE VIEW

PROPOSED DEVELOPMENT

NEGATIVE VIEW

PLANNING PERMISSION

THE MAILINGS:

The site is a mix of 76 sustainable new homes with communal growing areas and private gardens.

The aim is to develop a medium rise apartment scheme on the western part of the site with a waterside village.

5 2

LOWER STEENBERGS YARD: The plan is to create a block that includes parking/workspace on the lower levels fronting the river with housing on the upper levels.

MALMO QUAY:

FORD STREET: This grassy slope has been suggested in the past for the development of a series of modern houses.

EAST OF MALING STREET: These two vacant sloping sites are suggested for split-level live-work accommodation.

LIME STREET: The strip of land up Lime Street is proposed for self-build housing. Individual plots would be sold off to people wanting to build their own homes.

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BYKER BANK: The timber yard is a possible extension of the Mailings site.

ouseburn

ecology

craft

THE CITY: OUSEBURN ECOLOGY AND CRAFT From my initial research into ‘the city’ I have identified two themes that interest me further about the site. Ouseburn has a unique interaction with craft and nature, both of which are deep rooted in the area’s heritage. I begin to explore how these two themes could meet and create a synergy for my later design proposal.

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AUTHOR’S ‘OUSEBURN’ PHOTOGRAPHY

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BIODIVERSITY MAPPING ©CREATIVE SYNERGIES LANDSCAPE GROUPWORK

20° SLOPE

THE CITY: OUSEBURN ECOLOGY STUDY Ouseburn is situated in a valley, with a very steep and varying topography. This raises challenges when building in the area, due to the increased flood risk and issues concerning soil stability. Structural stability needs to be highly considered when building into the slope, with pile foundations a possibility. Ouseburn has an abundance of trees and shrubs; however, most are selfseeding and the variety is limited. While Ouseburn expands as a creative and residential hub, its natural environment needs to be sustained to create harmony between the city and the ecology.

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ouseburn tree study

THE FUTURE OF LIVING BUILDINGS

HBBE RESEARCH PRINCIPALS

THE ACADEMY RESEARCH THE HUB OF BIOTECHNOLOGY RESEARCH The Hub of Biotechnology in the Built Environment (HBBE) is a research hub combining clusters from Newcastle and Northumbria Universities. Their aim is to develop biotechnologies to ‘create a new generation of Living Buildings that are responsive to their natural environment; grown using engineered living materials; materialise their own waste, reducing pollution, generating energy and high-value products to benefit human health and wellbeing’ (HBBE, 2021). This initial research into ‘the academy’ interests me further and subsequently led me to my research specialism.

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STARGAZING PAVILION

©NCL LIVE BUILD 2018 BLOGSPOT

THE ACADEMY RESEARCH LIVE BUILD ‘HANDS-ON’ TEACHING METHODS Live Build projects are a unique teaching method that allows architecture students to learn ‘hands-on’, gaining real-world experience, preparing them for practice. The Stargazing Pavilion was constructed as part of the ‘Newcastle Live Build Project 2018’ through the partnership between the Park’s Development Trust and Newcastle School of Architecture (Newcastle University Press Office, 2019). I am interested in developing this method of teaching in the construction of my pavilion as well as in my final design proposal.

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02 brief development F RAMING

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mycelium Nature and craft are both important parts of Ouseburn’s character. This project is interested in crafting something from nature. Mycelium is a natural form known as the root of the mushroom. Research is ongoing about using mycelium as a construction material. The roots of the mushroom bind with waste products in order to make strong composites such as bricks. It can also be used to manufacture insulation, and therefore is considered a new sustainable construction material. There is an abundance of current research into mycelium and using living organisms to grow construction materials. Starting with further research into the Hub of Biotechnology (HBBE), this project developed its brief to establish a research specialism of mycelium growth and testing.

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biomorphic design

architecture

ecology

BRIEF DEVELOPMENT BIOMORPHIC DESIGN Ouseburn is occupied by both urban and natural sides. The ecology of Ouseburn needs to be protected whilst the area is rapidly developing. Biomorphic structures are an example of where nature meets architecture and can unite the natural side of Ouseburn with its history in craft. The Shell Mycelium Pavilion is a precedent of a pavilion made from mycelium or mycelium composites. The Shell is constructed from a timber frame with a series of triangular beds. Mycelium will bind with the wood starting to become the structure. Whereas, Hy-Fi is made from mycelium bricks that have been manufactured using agricultural waste and mycelium roots. Over five days, the two elements bind to create a block with a stronger compressive strength than concrete. (Cardwell, 2016)

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HY-FI PAVILION PHOTOGRAPHY ©KRIS GRAVES, 2014

THE SHELL PAVILION PHOTOGRAPHY ©KRISHNA & GOVIND RAJA, 2017

“How can biomorphic design methodology be integrated into architectural education?” (Agkathidis, 2017)

©BIOMORPHIC STRUCTURES, ASTERIOS AGKATHIDIS

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“the ecological crisis makes us aware of how interdependent everything is.” (Morton, 2010, p.30)

2 fungi inoculation

10 soil enrichment

3 substrate colonisation 9 disposal/biodegradation

1 substrate sterilisation

4 preparation substrate 8 final users

6 material dehydration

5 mycelium growth

7 manufacturing

MYCELIUM COMPOSITES CIRCULAR ECONOMY AS SEEN IN ARC3013

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MUSHROOM TO PANEL ROADMAP

Past manufacturing leaked lead into the ground

Pb Pb

Pb Pb Pb

Solar Radiation

Vegetation and produce grown today are to eat

Reflected Thermal Energy

CaCO3

Pb Pb

Overtime lead became trapped in clay-based soil

overgrazed soil baked dry

Potential overgrazing could cause soil to dry

Biomorphic methods used to remedy contaminated ground

REMEDYING CONTAMINATED SOIL AS SEEN IN ARC3013

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THE LIVING PAVILION PHOTOGRAPHY ©ERIK MELANDER, 2019

THE GROWING PAVILION EINDHOVEN, THE NETHERLANDS

The Growing Pavilion is another precedent of a mycelium structure however, it is located in a temperate climate much like Ouseburn. This precedent represents ways to combat extensive moisture and cold whilst allowing the mycelium to grow. Ideal conditions for mycelium growth are warm (25-27°C), dark, and damp (SustainLab, 2019). For this reason, my pavilion will be constructed and used in summer (the highest temperatures in Ouseburn). Similar coatings to the Growing Pavilion will be used to protect the structure from the temperate weather of Ouseburn.

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1. IMPERSHIELD COATING

1. IMPERSHIELD COATING Impersheild coating protects the mycelium from moisture, dirt and provides UV protection. It is made from resin from tree barks and grasses. The resin and the grasses are combined, and it is made into Impersheild through fermentation (Paintsquare, 2019).

2. XYHLO COATING 2. XYHLO COATING

Xyhlo Coating preserved the timber frame of the pavilion. ‘It is the first 100% natural wood-coating, it consists entirely of softwood, crude linseed oil, aureobasidium pullans (a selfhealing fungus), water, sugars, biological thickener, starch and organic emulsifier.’ (Paintsquare, 2019)

MYCELIUM COATINGS DIAGRAM

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03 the living pavilion F RAMING

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pavilion design The Living Pavilion explores ideas of biomorphic design, mycelium growth and parametric design. This study allowed me to develop my brief whilst designing a pavilion that represents my synergy between Ouseburn and the Academy. The pavilion is designed to enhance Ouseburn’s natural character as well as presenting an opportunity to craft a structure from nature. The parametric canopy design is inhabited by mycelium and agricultural waste (from the nearby Ouseburn Charity Farm) to become a living and growing structure as the mycelium binds with the timber frame. The pavilion provides a seating area for locals, passers-by and visitors to enjoy the natural surroundings. It can also be populated by educational talks on biomorphic design and designing sustainably.

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THE LIVING PAVILION SITE The Living Pavilion is designed to be amongst the trees, utilising them as its structure. Therefore, the periphery sites (3a,3b and 3c) were more appropriate due to their denser tree populations and wider green spaces. Site 3c was chosen because of its location next to the river and main pedestrian routes through Ouseburn. The main walking route from North to South cuts straight through 3c, maximising use of the pavilion by residents and visitors to the area.

AUTHOR’S SITE PHOTOGRAPHY

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THE LIVING PAVILION SITE MAP FRAMING | 41

THE LIVING PAVILION SITE ANALYSIS The chosen site sits in the North of Ouseburn, within the valley. This site is more highly populated by nature than the rest of the area, with larger, more established trees. Furthermore, it is abundant with grassland used by the public and by Ouseburn Charity Farm. A main pedestrian route goes through the middle of the site. The site has high footfall, meaning the living pavilion must accommodate for larger number of visitors. This site is largely shadowed by the three viaducts that run over the valley. These super-scale infrastructures create an enhanced industrial atmosphere on the site. The extreme noise of the railway and car bridges must be considered as a challenge when designing on this site.

ROUTES AND RHYTHMS OF OUSEBURN DRAWN BY AUTHOR FOR CREATIVE SYNERGIES LANDSCAPE GROUPWORK

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THE LIVING PAVILION 1:1000 SITE PLAN

1:1000 0

100

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THE SHIP INN

SOUTH

OUSEBURN RIVER

BYKER BRI

1:1000 0

100 FRAMING | 44

IDGE

THE LIVING PAVILION

NORTH

THE LIVING PAVILION 1:1000 SITE SECTION This site section highlights the varying topography of Ouseburn, showing the steep valley slopes, riverbed, and the super-scale infrastructure of the viaducts. The bridges bring a verticality to this section showcasing the macro scale of Ouseburn. Furthermore, it identifies a trend in scale from North to South. The density increases towards the South, with an increased amount of housing developments, businesses, and people. Whereas the scale of infrastructure decreases due to the large viaducts to North and smaller bridges and roads to the South. Most transport connections are pushed to the North of the site, where they can run over the top of the valley.

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the cycle of activity The construction process will be the main activity of the Living Pavilion. It will be community-led and bring together local artists, architects, and designers. The pavilion will be constructed from a series of hexagonal timber beds where the agricultural waste and mycelium will sit. After the pavilion is built, the mycelium will begin to grow and bind with the agricultural waste and the timber frame. During this time the pavilion will be utilised as a shelter and a place to sit. The amphitheatre-style seating allows for educational talks on biomorphic design to take place. After a few months of being used, the pavilion will start to naturally decompose. The hexagonal beds will be separated and replanted into the ground, allowing the matter to decompose into nature. It is 100% biodegradable - creating no waste.

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100% BIODEGRADABLE

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CYCLE OF ACTIVITY DIAGRAM

SEATING AREA DEVELOPMENT

1:1000 0

100

THE LIVING PAVILION DEVELOPMENT The pavilion encompasses two of the three main trees on the site. It will be constructed out of interlocking hexagonal frames that when joined make a strong timber structure. This parametric design is inspired from many biomorphic structures using similar repetitive frameworks. The main structural stability of the pavilion will be from the well-established trees on site. These hexagons will be bolted to the trees to form its main structural support. The amphitheatre style seating allows for educational talks on biomorphic design to be hosted, with Byker Bridge as a backdrop.

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INHABITATION OF THE LIVING PAVILION

1:100 PLAN 1:100 PLAN

A A

EO US EB UR N

EO US EB UR N A

1:100 0

1:100 PAVILION PLAN

1:100 0

THE LIVING PAVILION PLAN & SECTION The Living Pavilion aims to enhance Ouseburn’s already growing relationship to nature. Its location amongst the grassland, trees and river create a quieter space within nature, away from some of the vibrancy of the town centre. Whilst just off a main pedestrian route, the seating design creates a barrier between the pavilion and the path. Furthermore, the seating faces towards the river, allowing users to sit, watch and listen to the natural processes occurring around them. Byker Bridge is seen in the distance which creates a contrast between the industrial, urban side of Ouseburn with the more ecological side of the area.

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EO US EB UR N A

1:100 0 5

4 10

10 15

1:100 PAVILION SECTION

PERSPECTIVE STUDY OF SEATING

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PERSPECTIVE SHADOW STUDY OF PAVILION

THE LIVING PAVILION SHADOW ANALYSIS This study of light and shadows highlights the repetitive parametric cover. Whilst the frame is repetitive, some beds will be left open to let light penetrate through the cover. These gaps in the cover create interesting shadows onto the seating below, which is explored here through the shadow study. The dappled light from the tree canopy will create a mystic atmosphere. This light effect in combination with the prime location next to the river, enhances the natural character of Ouseburn. A perfect setting to hold informal public talks on biomorphic design.

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PLAN SHADOW STUDY OF PAVILION

1:100 1:100 0

0 2

2 4

10 10

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THE LIVING PAVILION RELATIONSHIP WITH BYKER BRIDGE FRAMING | 55

04 specialism TESTING

TESTING | 56

testing The testing stage translated concepts initially explored in the pavilion project into a formal design process. I began this stage with rigorous research into all things mushrooms! This body of knowledge led me to design with strict programmatic requirements of my specialist. Upon reflection, using research as the driver for designing meant that the programme clearly reflected its users and subsequently led me to further develop ‘the user’s journey’ in synthesis. This unique process used in our Studio led me to explore key concepts, ideas, and atmospheres within my institute. For example, I began my journey of testing two different atmospheric qualities of my building, light and dark. This began apparent after my research as mushrooms/mycelium need extremely dark/damp conditions to grow, whereas humans strive off light, open spaces. Testing marked the start of my journey in exploring these principles that highly influenced my final design proposal and my technical studies. I approached testing by designing through these key principals, discovered from my initial research, site visits and thematic case study. Through this rich development process, I was able to understand specific details of my site which ultimately led me to discover the opportunity of building around Byker Bridge. This site movement uncovered a distinct journey from urban to natural on my site. On reflection, this design move was extremely influential to my project and allowed me to design something unique to Ouseburn and my specialism. Testing allowed me to discover a site that encapsulated my initial ideas from framing and develop it into the perfect location for my synergy.

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+ OYSTER MUSHROOM

SUBSTRATE

SPECIALISM MUSHROOM CULTIVATION I began my research into the process of mushroom cultivation. In an act to further link my project to the surrounding context, I researched mushrooms found in Newcastle. The Oyster Mushroom has been sighted in Ouseburn and grows all year round in woodlands, towns, and gardens (Northumberland Wildlife Trust, 2021). Furthermore, it has been identified as the most performative strain and therefore is ideal for the process of mushroom cultivation and mycelium panel growth. This three-step process begins with the inoculation of spores and substrate. My research outlined that coffee waste and agricultural waste was the best substrate for growing mushrooms efficiently.

TESTING | 58

MIXING AND INOCULATION • workbench • mixing vessel

INCUBATION • warm (25-27°C), dark space • growing bags • hanging rails

FRUITING

• hanging rails • cut holes in bags • autumn like conditions (humid and fresh air)

TESTING | 59

VOLTAGE TESTER

STORAGE

WATER

TESTING LAB

GRINDER

TOILETS HYDRATION LAB

SPORE STROAGE

HOMOGENIZATION LAB

RESEARCH LAB

AUTOCLAVE

SANITISATION LAB

CLEAN

HOTPRESS

STORAGE

GROWTH LAB

STAGE

DEHYDRATON LAB

OVEN

SEATS PU BL IC

TOILETS

LECTURE THEATRE

PR I

VA TE

25-27°C AIRFLOW

DARK

DAMP

RECEPTION

FUNCTION ROOM OPEN LIGHT

PROGRAMMATIC BUBBLE DIAGRAM

SPECIALISM A CENTRE FOR MYCELIUM RESEARCH The second process of my institute is the growth and manufacturing process of mycelium insulation panels used in the construction industry. This 6-step process requires strict environmental conditions for the mycelium to grow and bind with the substrate. I began to outline how these two processes would outline a programme for my institute.

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STEP 1: HYDRATION Substrates are first soaked in water to hydrate them. Moisture is a fundamental condition for fungal growth. A water bath is essential for this stage (Jones et al., 2019, p.3).

STEP 2: HOMOGENISATION The hydrated substrate is then homogenised to increase growth surface area. This is achieved by grinding or milling the substrate (Jones et al., 2019, p.3).

STEP 3: SANITISATION It is then sterilised ‘to remove the microbial competition of existing bacteria and fungi already present in the material’ (Jones et al., 2019, p.3). A autoclave is preferred as it keeps the substrate hydrated.

STEP 4: INOCULATION The substrate is inoculated by introducing and evenly dispersing fungal biomass, known as spores (Jones et al., 2019, p.3).

STEP 5: GROWTH Following inoculation, the moulds are stored in temperature-controlled environments. These are damp, dark, and humid (25-27°C) conditions with a 70-80% Relative Humidity (RH). This growth period is dependent on the fungus and substrate used (Jones et al., 2019, p.3).

STEP 6: DEHYDRATION Following growth, the insulation panels are removed from the moulds and are dehydrated. This is to neutralise the fungus and stop further growth. This can be hot-pressed, oven or air dried (Jones et al., 2019, p.3).

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05 nantes school of architecture TESTING

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thematic case study My thematic case study looked at Nantes School of Architecture by Lacaton and Vassal. This precedent study inherently filtered into my testing process and led to the incorporation of a 1:1 testing space within my programme. Lacaton and Vassal played with the interaction of public and private space and made what would normally be a private building open to the public. Their key design moves of continuing the street inside the school led to my proposal giving more space to the outside platform and letting the public roam around my institute.

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INTEGRATION OF THE SCHOOL WITHIN THE GREEN LANDSCAPE

RAMPS ARE USED TO CREATE A GRADUAL CHANGE IN LEVELS

NANTES SCHOOL OF ARCHITECTURE CONTINUATION OF THE STREET 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’ (Ruby and Ruby, 2011, p.17). This allows the school to act as a public space. 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’ (Ruby and Ruby, 2011, p.36). The use of a ramp creates a softer interaction between the ground and the building allowing for the public to gently enter the building.

TESTING | 64

*FULL THEMATIC CASE STUDY REPORT IS FOUND IN THE APPENDIX TEXT TAKEN FROM THEMATIC CASE STUDY

WORKSHOP

OPEN PUBLIC SPACE

INTERACTION BETWEEN PUBLIC AND PRIVATE SPACE

STUDIOS SPACE AVAILABLE FOR MODELING

X2 90CM

INDUSTRIAL CONSTRUCTION PROCESSES CREATES ETXRA SPACE AND ALLOWS FOR LARGE LOADS

EXTRA SPACE ALLOWED FOR 1:1 MODELLING

NANTES SCHOOL OF ARCHITECTURE LINK TO ACADEMIA Within the school all processes are integrated and run alongside each other. This was designed in an act to ‘break the conventions of education as an internal and insular activity’ (Prewett Bizley, 2020). The polycarbonate sheeting allows for the public to also see the activity happening in the workshop, allowing for the work in the school to have direct presence in the life of the city. The use of industrial construction processes allowed for extra space to double the project’s usable surface area, from 12,500 to 26,000 square meters (Ruby and Ruby, 2011, p.13). This space could then be used by the city and the school to accommodate 1:1 scale modelling.

TESTING | 65

06 process work TESTING

TESTING | 66

the process I approached testing through key design principals uncovered in framing and my research into my specialism. I tested through lenses of light and dark, the application of a testing space, responding to Byker Bridge and finally through the urban to natural journey through my institute. Each stage led to key conclusions that informed my next test. I went through a rigorous process of development and extended past the testing review and onto my technical studies and refinement into synthesis.

TESTING | 67

INITIAL DESIGN

THE LIVING PAVILION

INITIAL SITE PLAN

PROCESS WORK LIGHT AND DARK & 1:1 TESTING SPACE I first wanted to test a programmatic requirement that was used in Nantes School of Architecture. Through this design, I tested the application of a 1:1 testing space within my research centre to act as a mediator between private and public space. I conclude that is space works well within my programme and would enhance the interaction between users. This space would invite local creatives to join in with the testing of mycelium insulation panels. Furthermore, I tested the use of the groundline as determining a light or dark environment for the users and for the mushrooms. This rooted from the environmental conditions needed for mushrooms to grow.

TESTING | 68

PUBLIC naturally light

PRIVATE naturally dark

INITIAL SECTION

building into the slope to create dark spaces

INITIAL MASSING STUDIES

L TH ECT EA UR TR E E

testing space acts as the mediator between public and private space

M AN

UF AC T

UR IN G

1:1

ST I

SP AC E

double storey testing space to allow for 1:1 modelling like Nantes School of Architecture

main public entrance

visual connection between outside and testing space, invites public inside to join

INITIAL GROUND FLOOR PLAN N

1:200

TESTING | 69

PROCESS WORK RESPONDING TO BYKER BRIDGE This stage led to thorough testing of my programme on site. A key design move was to ‘move down site’ and occupy the arches of Byker Bridge. This allowed me to consider the verticality of my design and create a beacon for the institute. Furthermore, it allows me to visualise the process of mushroom cultivation. Sectional and massing studies pushed me to test the roofscape of the institute against the curve of the arch. I concluded that a more rectangular shape complimented the arch better and complimented the surrounding building typologies.

more space to expand vertically

SITE SECTION TO SHOW RESPONSE TO THE BRIDGE AND MOVE OF SITE POSITION

THALI TRAY

‘free’ arches to develop without displacing other businesses.

TESTING | 70

WILDFLOWER DREAMWORLD CAKES PATISSERIE

Testing the roofscape against the arch of the bridge. A more rectangular shape would look better next to the curve. 1:1 TESTING SPACE

1:200 0

20m

LECTURE THEATRE

RECEPTION

section aa

MANUFACTURE STORAGE

MUSHROOM GROWTH

GARDENS

ENTRANCE

MANUFACTURING STORAGE MANUFACTURING

SANITISATION

MIXING

DEHYDRATION

1:200 0

section ab

SECTIONAL DEVELOPMENT

20m

COLLAB / OFFICE SPACE FUNCTION ROOM

INCUBATION LAB

WC WC LECTURE THEATRE MIXING ROOM

RECEPTION

MANUFACTURE SPACE

section aa

PLAN DEVELOPMENT

1:200 0

site section

Testing entrance being under the bridge. 6 8 the 10 location of the 20m Entering under the bridge’s threshold with a visual connection to the adjacent growing tower. 4

TESTING | 71

PROCESS WORK THE URBAN TO NATURAL JOURNEY My site under Byker Bridge uncovered a unique transition from the urban side of Ouseburn to the more ecological side. The context is vastly different on either side of Byker Bridge and the building’s typology needs to reflect this change, making it approachable from both sides. This showcases my first experimentation of this journey through my institute. I have studied the threshold of the bridge as well as the design proposition of a mycelium canopy similar to the design of my pavilion. I tested my design through the user experience of my design rather than massing or programmatic decisions.

©XINRUI LIN

THRESHOLD

URBAN

TESTING | 72

NATURAL

THRESHOLD

RECEPTION

PANEL GROWTH LAB

SECTIONAL DEVELOPMENT 1:200 SECTION AB 0

20m

= NOISE

THRESHOLD STUDY UNDER THE CANOPY

URBAN - VIEW FROM SOUTH EAST

TESTING | 73

NATURAL - VIEW FROM NORTH EAST

1ST FEB

8TH FEB

15TH FEB

22ND FEB

8TH MARCH

15TH MARCH

UP UP

1ST MARCH TESTING REVIEW

-2F

-1F

TESTING | 74

ARCH IV ES

2-4F TESTING | 75

INSTITUTIONS

LOCAL BUSINESSES

NEWCASTLE UNIVERSITY

THE HUB FOR BIOTECHNOLOGY IN THE BUILT ENVIRONMENT

COFFEE SHOPS

THE OUSE

PROFESSIONALS

RESEARCHERS

RESIDENTS

ARCHITECTURE STUDENTS

ARTIST COMMUNITY

PROJECTS

MYCELIUM GROWTH, RESEARCH AND TESTING CENTRE

TESTING | 76

LOCAL RESID

NORTHUMBRIA UNIVERISTY

EBURN FARM CHARITY

DENTS

SPECIALISM

ARTISTS

CIRCULAR ECONOMIES MAPPING

VISITORS

This mapping presents my learning from Atelier d’architecture autogérée (aaa) from the Theory into Practice module. This was extremely influential at an early design stage, in order to identify the relationships between the users in the communities and my design interventions (Freeman, 2021). It began my exploration into circular economies and community integration. It began my journey in exploring the interconnectedness of communities and actions, allowing me to develop my knowledge of Morton’s theory.

THE LIVING PAVILION

AS SEEN IN ARC3015

TESTING | 77

07 thinking through making TESTING

TESTING | 78

brickwork For my Thinking Through Making, I researched into bricklaying techniques using Nash’s book ‘Brickwork’. I experimented with four different bonds and incorporated light gaps into each bond. This facilitated the exploration of light and dark within my institute. I played with the idea of using perforated brick to negotiate light into reception spaces. As seen in Integrated Construction, I used digital tools to investigate the shadows and light through different bonds. This helped me to understand which bond would be best for creating open, airy, and light filled reception spaces.

TESTING | 79

FLEMISH BOND WITH LIGHT GAPS This bond allows for alternating gaps that let light through the wall. The Flemish bond doesn’t allow for many light gaps therefore not creating as interesting shadows.

STRETCHER BOND WITH LIGHT GAPS The stretcher bond allows for more light gaps and therefore the light filtered into the reception spaces would be maximised.

FLEMISH BOND WITH DOG TOOTHING Dog toothing allows for bricks to be laid at an angle which leads to small slithers of light to infiltrate through the wall.

FLEMISH BOND WITH VERTICAL DOG TOOTHING This vertical dog toothing allows for the perforated side of the brick to be exposed. I enjoy the aesthetic of this bond however; I am aware this would not be possible when using mycelium bricks.

TESTING | 80

BRICKWORK STUDY AS SEEN IN ARC3013

TESTING | 81

08 refinement S Y N T H E SI S

SYNTHESIS | 82

synthesis Synthesis gave me the opportunity to refine my design proposal in response to my testing feedback as well as the detailed study in ARC3013: Integrated Construction. The technology report gave me the opportunity to address my design proposal from a more practical sense and meant that my design was safe for all users both structurally, environmentally and in case of a fire. This report allowed me to develop my design further and to a more detailed degree ultimately ending with a suitable design to handle the unique environments of mushroom cultivation. Through my synthesis work, you can see the main changes as a result of technology. These included the addition of protected stairways, the design of lobbies to insect high humidity, smoke vents and a firefighter shaft to protect the users in the basement levels. Moreover, I was able to develop the two atmospheres of my building, light and dark, and express these in new ways. A light timber frame stud wall structure is used above ground for the extension towards the valley, whereas a heavy, cold, and dark concrete structure is used below ground creating environments suitable for the mycelium panels to grow. On reflection, this phase included further development even after testing and technology. The first few weeks of this stage gave me the space to develop my design in response to three main user groups and allowed for these spaces to come together and mature into highly developed, useable spaces. Designing for these user groups allowed me to imagine real-life concerns of someone experiencing my design and led to the streamlining of the mycelium production line, the design of a more private function space as well as the addition of a community café to exaggerate the circular economies in my institute. I believe that these final steps convey the inclusivity of my design proposal and therefore were essential steps to finalise a fully resolved proposal.

SYNTHESIS | 83

REFINEMENT COMMUNITY ENGAGEMENT I have developed my design proposal through the lens of the wider community. I have integrated drop-off spaces for businesses and individuals to drop off coffee or agricultural waste to be used as substrate. A community café allows for the community to use and feel connected to the institute as well as creating a new circular economy in the institute.

2 COMMUNITY COFFEE DROP OFF

STORAGE

AGRICULTURAL WASTE DROP OFF

COMMUNITY WASTE DROP OFF (INDIVIDUAL)

COMMUNITY WASTE DROP OFF (INDUSTRIAL) UP

1:100 0

COMMUNITY DROP-OFF

The wider community are integrated into the processes of the research centre through providing coffee waste to be used as substrate.

EXTENSION OF KILN

Ouseburn Charity Farm and local coffee shops drop off agricultural and coffee waste.

The local café ‘kiln’ has an extension in the research centre to serve the wider community. Locals can sit and enjoy a coffee after dropping off their coffee next door.

INDUSTRIAL DROP-OFF

SYNTHESIS | 84

1:1000 0

100

ARCH2 BREWPUB NEWCASTLE BREWING

SITE

OUSEBURN FARM CHARITY

SHIP INN

THE CUMBERLAND ARMS

COOK HOUSE

CAFE @SEVEN STORIES NE1 CAFE

KILN

COFFEE WASTE LOCAL SOURCING SCHEME MAPPING

AGRICULTURAL (FARM) WASTE

AS SEEN IN ARC3015/ARC3013

SYNTHESIS | 85

REFINEMENT MAIN ENTRANCE AND FUNCTION SPACE I have refined the formal public space in order to make the main entrance grander as well as increasing the privacy of the function space. Using louvres, I have disconnected the function space from the main entrance to minimise distractions for users. The unique massing form has been formulated as a means to maximise the outside space given to the platform and plinth. This increased the connection between users and the natural environment as well as achieving outside space for 1:1 testing.

LECTURE THEATRE

FUNCTION SPACE

LECTURE THEATRE

RECEPTION

TESTING

TESTING WELCOME CENTRE UP

MUSHROOM FRUITING

BIKE RACKS

STAFF CHANGING

LARGE PICTURE WINDOW

1:100

FEATURE STAIR WITH VOID

20m

FUNCTION/MEETING ROOM

PRIVACY LOUVRE DN

DN UP

WAITING SPACE

SYNTHESIS | 86

1:100 0

MASSING JUSTIFICATION DIAGRAM

OPENNESS OF RECEPTION SPACE SYNTHESIS | 87

REFINEMENT STREAMLINING THE MYCELIUM PRODUCTION LINE Through a process of refinement, I have rationalised the production line of mycelium insulation panels to simplify the circulation of this process. I have pushed the programme two metres to the North to account for a new ‘mycelium corridor’ that allows for the production to not be intersected by public users. Furthermore, this creates a visual connection between public and private on -1F.

SYNTHESIS | 88

PANEL GROWTH LAB

ARCHIVES

TOILETS

MANUFACTURING SPACE

TESTING SPACE

SYNTHESIS | 106

DN DN

6 8

1:100 0

SYNTHESIS | 107

1:100 4

URBAN TO NATURAL DIAGRAM

5 DN

GFF

1 2

STAFF RECEPTION

LECTURE THEATRE

FUNCTION SPACE

STAFF ENTRANCE

STAFF CHANGING AREA

TOILETS

TESTING SPACE

SYNTHESIS | 108

1:100 0

SYNTHESIS | 109

1FF 1 2

COMMUNITY DROP-OFF

COMMUNITY CAFE - KILN

INDUSTRIAL DROP-OFF

DN UP

2 3

SYNTHESIS | 110

1:100 0

SYNTHESIS | 111

2-4FF 1 2

LOBBY GROWTH LAB

1 UP

LOCATION OF LOBBIES TO INTERSECT HUMIDITY

1 UP

AS SEEN IN ARC3013

ACOUSTIC INSULATION MUSHROOM GROWTH LAB NEGATIVE PRESSURE

LOBBY

OPERABLE WINDOWS OPERABLE WINDOWS

OPERABLE WINDOWS

MUSHROOM GROWTH LAB NEGATIVE PRESSURE

LOBBY

SYNTHESIS | 112 N

1:100 0

SYNTHESIS | 113

THE CENTRE FOR MYCELIUM RESEARCH 1:100 SHORT SECTION SYNTHESIS | 114

1:100 0

SYNTHESIS | 115

1:100

THE CENTRE FOR MYCELIUM RESEARCH 1:100 LONG SECTION SYNTHESIS | 116

1:100 0

SYNTHESIS | 117

10 2

URBAN

THE CENTRE FOR MYCELIUM RESEARCH 1:100 RENDERED SECTION

SYNTHESIS | 118

THRESHOLD

NATURAL

1:100 0

SYNTHESIS | 119

1:100 4

20m

THE CENTRE FOR MYCELIUM RESEARCH SITE AXONOMETRIC - URBAN SIDE

THE CENTRE FOR MYCELIUM RESEARCH SITE AXONOMETRIC - NATURAL SIDE

10 the user’s journey S Y N T H E SI S

SYNTHESIS | 124

users The three user groups of the institute have contrasting experiences due to the programmatic spaces required for each user. I have explored a journey for each user to showcase how they will inhabit the specifically designed spaces. This begins with three different entrances for each user and highlights the spaces where interaction between users occurs. The user experience is majorly influenced by the chosen material palette and atmospheric qualities of each space shown in key space perspectives.

SYNTHESIS | 125

USER’S JOURNEY THE STAFF

The scent of mycelium wafts through the a through the staff entrance in the welcome

After 5 days of waiting, I am finally able to pick the fruited mushrooms from the growing bags! They are ready to be distributed to the community and downstairs to be used in the production of insulation panels.

SYNTHESIS | 126

Downstairs the mycelium production line is trolleys of panels through the basement re

air as the I look up my bike and cycle enter centre.

s already in motion with staff pushing heavy eady to be tested upstairs.

As the I enter, they I am led down a corridor that wraps around the arch of Byker Bridge. I stop and watch large groups of researchers from HBBE walking towards the function room and wonder what function is happening today?

As I enter the growing lab I am instantly hit with the scent of mycelium and the intense humidity. I reach to remove my lab coat when I am ushered over to inspect the insulation panels.

SYNTHESIS | 127

SYNTHESIS | 128

THE CENTRE FOR MYCELIUM RESEARCH STAFF ENTRANCE PERSPECTIVE

SYNTHESIS | 129

SYNTHESIS | 130

THE CENTRE FOR MYCELIUM RESEARCH

HYDRATION AND HOMOGENISATION LABORATORY PERSPECTIVE

SYNTHESIS | 131

USER’S JOURNEY THE WIDER COMMUNITY

As I stumble down Stepney Bank with my j arrives dropping off their staff to work at th

Reaching on my tiptoes I push my jar of coffee waste onto the shelves and leave the busy room to go collect a coffee next door.

SYNTHESIS | 132

Patiently waiting in line, I watch people ent Bridge.

jars of coffee waste, the local kiln café van he centre’s café extension.

ter the centre through the threshold of the

Entering through a wide-open entrance, I can see local Ouseburn farm workers arrive with agricultural waste to deposit.

I manage to grab a table on the outside deck. Sipping on my coffee, I watch the sun shine on the surrounding buildings.

SYNTHESIS | 133

SYNTHESIS | 134

THE CENTRE FOR MYCELIUM RESEARCH COMMUNITY CAFE PERSPECTIVE

SYNTHESIS | 135

USER’S JOURNEY THE STAKEHOLDERS

Families are playing under the canopy, watc mycelium beds. I push past as I’m late for m

I can see the tops of trees though the rooflight as I find my seat in the lecture theatre.

SYNTHESIS | 136

As I exit up the stairs in the reception, I c through to the testing space.

ching the light filter through the hexagonal my meeting!

can see the staff pushing trolley of panels

The reception is filled with people waiting for the lecture to begin. Although it is busy the space feels vast due to the amount of light and voids.

As I wait for the meeting to start, I watch the birds in the trees outside. When no one is speaking, I can even hear them tweet!

SYNTHESIS | 137

SYNTHESIS | 138

THE CENTRE FOR MYCELIUM RESEARCH

PUBLIC-PRIVATE INTERACTION PERSPECTIVE

SYNTHESIS | 139

11 technical details ARC3013

TECHNICAL DETAILS | 140

lightness The ARC3013: Integrated Construction module allowed me to continue my exploration into lightness through a new lens, structure. I have two juxtaposing atmospheres below and above ground which represent spaces designed for humans to inhabit and spaces designed for mycelium to grow. This study of lightness allowed me to design a heavy/solid structure for below ground in contrast with a lighter structure above ground. My 1:20 technical section shows how I have used technology to create these two contrasting environments.

TECHNICAL DETAILS | 141

LIGHT

LOCATION OF TECHNICAL SECTION

GROUND LEVEL

AS SEEN IN ARC3013

TECHNICAL DETAILS 1:20 TECHNICAL SECTION DARK/HEAVY My 1:20 Technical section cuts through the double height archive space and the open reception space above ground. This section showcases the light and dark atmospheres in my institute as well as highlighting the interaction with ecology. The waffle slab intermediate floor acts as a platform that extends outside and allows for users to roam on top of the archives. This presents a unique relationship between public and private activities in my proposal.

TECHNICAL DETAILS | 142

1:20 TECHNICAL SECTION AS SEEN IN ARC3013

TECHNICAL DETAILS | 143

TECHNICAL DETAILS LIGHT STRUCTURE A lighter structure is used above ground to create an open, light filled reception space. The bi-fold doors connect the space to the outside as well as maximising daylight. A timber frame stud wall construction is used with exposed timber joists on the roof. This material strategy is lighter in colour as well as weight, making the space feel like the outside has merged into the inside.

LIGHT, OPEN RECEPTION SPACE

TECHNICAL DETAILS | 144

A. Roof 1. Steel Sheet Roofing 2. 50mm Cavity with Battens 3. 3mm Waterproof Membrane 4. 100mm Mycelium Rigid Insulation 5. Vapour Control Layer 6. 12mm Plywood Boards 7. 140mm Timber Beams 8. Timber Batten External Roof Supports 100x65mm

B. Bi-Fold Door 1. Low Threshold Bi-Fold Door Frame 2. Double Glazed Glass (4mm Glass, 20mm Cavity, 4mm Glass) 3. Steel Grating and AOC drainage channel surrounded by Rockwool Insulation

TECHNICAL SECTION SHOWING LIGHT STRUCTURE AS SEEN IN ARC3013

TECHNICAL DETAILS | 145

TECHNICAL DETAILS HEAVY STRUCTURE A much heavier material strategy is used below ground to create a colder and darker atmosphere. These are the perfect conditions for mushroom growth. Humans inhabiting these spaces will be staff where the environment will feel more clinical and scientific. The strong use of concrete below ground presents a thickness and depth to the structure as well as creating a more enclosed atmosphere.

HUMANS INHABITING SPACES DESIGNED FOR MUSHROOMS TECHNICAL DETAILS | 146

C. Waffle Slab Roof/Decking 1. Timber Decking 63x28mm 2. Timber Battens supporting decking 38mm 3. 3mm Waterproof Membrane 4. 65mm Mycelium Rigid Insulation 5. 85mm Rockwool Insulation cut to a 1:60 fall for drainage 6. Vapour Control Layer 7. 450mm Steel Reinforced Holedeck Waffle Slab 8. Neoprene Thermal Break 9. Steel Plate bolting two waffle slabs together

D. Foundation Detail 1. Concrete Pile Foundation and Cap 2. Waterproof Coating around Pile Cap 3. 60mm Diameter Perforated Drain surrounded by Gravel Backfill 4. 200mm Crushed Hardcore 5. 150mm Coarse Sand 6. 3mm Waterproof Membrane 7. 200mm Reinforced Concrete Slab 8. Vapour Control Layer 9. 150mm Mycelium Rigid Insulation 10. 50mm Screed Finish

Exposed Concrete Waffle Slab Ceiling Exposed Concrete Wall

Exposed Concrete Wall Exposed Screed Floor Finish

TECHNICAL SECTION SHOWING HEAVY STRUCTURE AS SEEN IN ARC3013

TECHNICAL DETAILS | 147

x cultural bibliography

CULTURAL BIBLIOGRAPHY | 148

CULTURAL BIBLIOGRAPHY INSPIRATION FROM NATURE From going on local walks around Jesmond Dene to hiking longer trails in Northumberland National Park, I have experienced the benefits of being in a more natural habitat, in and amongst trees and ecology. I have begun to appreciate this more and has led me to design in a manner to protect the natural habitat. Ouseburn is already abundant with rich ecologies, but my design aims to enhance this further to allow locals to have an ‘escape’ from the hectic city.

CULTURAL BIBLIOGRAPHY | 149

©NEWPORT STREET GALLERY

CULTURAL BIBLIOGRAPHY END OF A CENTURY: DAMIEN HIRST I attended Newport Street Gallery’s virtual exhibition of early works by Damien Hirst. It features his early work from his years as a student to becoming one of Britain’s leading contemporary artists (Newport Street Gallery, 2021). His work interests me because of the way he produces art from/inspired by natural forms, whether this be humans or animals.

CULTURAL BIBLIOGRAPHY | 150

©THE TIMES

©NAUGHTTHOUGHT

CULTURAL BIBLIOGRAPHY MERLIN SHELDRAKE: ENTANGLED LIFE As part of my research into mycelium I watched a series of interviews with Merlin Sheldrake on his new book ‘Entangled Life: How Fungi Make Our Worlds, Change Our Minds & Shape Our Futures’. Listening to Sheldrake speak about his passion made me understand the importance of mycelium and fungi and really connect to my project. Furthermore, I furthered my knowledge of fungi and how their mycelium networks work, live and control the world which led to me understanding the programmatic requirements of my research specialism.

CULTURAL BIBLIOGRAPHY | 151

THEMATIC CASE STUDY REPORTS (THIRD YEAR ARCHITECTURE NEWCASTLE, 2021)

Think Corner

Sculptual Skylight Design Encouraging Interaction with the Public The skylight design is commonly used in JkMM’s architecture design. In Amos-Rex Museum, the skylight creates a public space in the rooftop where the visitors can skate and sit on the sculptual skylight structure. Provide Openess of the Space The high leveled skylight let the natural light projects wider and distribute evenly into the space. The sense of height create by the skylight provide openess in the space, such as for public area and study space in think corner. Enhancing Human Comfort and Health Several studies show that natural light can improve mental health and physical health. In the study space, natural light can improve the concentration and working efficiency. Therefore, skylight design is ideal for study spaces and JKMM has widely used it in their design.

Aleema Aziz Ollie Buckland Ming Chi Leung Jessica Male

Question 1

2. Tai Kwun Hertiage & Arts Centre: This case study presents an interesting approach to dealing with steep topography. Located in Hong Kong, the dramatic level changes have created challenges for the Tai Kwun Hertiage & Arts Centre. The centre has utilised the topography to create stepped outdoor theatre spaces.

Ta i Kw u n H e r i t a g e & A r t s C e n t r e Case Study ARC3001

Think Corner by JKMM Architects utilises natural light in its large entrances and circulation spaces by its quadrilateral skylights design. This creates large atmospheric spaces due to the speculator visual of light on the strong material presence. This design influenced my proposal and pushed me to explore the use of rooflights and north light trusses in my design. These features can be used to filter light down into lower levels and create pleasant environments for the users to work.

Wesley, Ming Chi Leung

Question 1

Herzog & De Mueron

1. Think Corner:

Studio: Curating the City Newcastle University School of Architecture, Planning and Landscape

Simon Tarbox Jenna Goodfellow Lea Udrescu

3. Joanneumsviertel:

Joanneumsviertel, Graz, Austria

Joanneumsviertel explores using basements and building below ground from a conservation perspective. It is interesting to consider how one’s view on building above ground differs from building below ground.

Group 4 - Urban Form

ACROCITÉ - THE AAA

A RESILIENT COMMUNITY In this drawing I have tried to visualise the community aspect of Agrocite. The practice cannot function with out each part - architects, urban planners, residents e.t.c. - all working together harmoniously. Through this shared collaborative process, they are able to create a scheme which revolves around participation and inclusivity. There is no hierarchy, everyone works together to create a resilient city.

AgroCité atelier d’architecture autogérée CULTURAL BIBLIOGRAPHY | 152

ELOISE LITTLER

4. Agrocité: Aaa specialise in inclusive community design where they focus on collaborative design revolving around participation for all members. This practice influenced my design of the 1:1 testing space within my design. This space encourages local creatives to participate and test the mycelium panels making it a collaborative process.

THE HILL HOUSE

5. The Hill House: I enjoy this precedent’s design of creating a ‘breathable box’ by utilising an open-plan shelter design to transform the circulation within the building. This lightweight structure allows large expanses with dramatic walkways to celebrate the scale.

BY SAM FARD, ELEANOR METTHAM, MICHELLE MOK, CATHERINE MCCONNACHE, HANNAH BATHO AND REECE MINOTT

PORT HOUSE ANTWERP ZAHA HADID ARCHITECTS

6. Port House: 2009- 2016

Sophie Henderson Benjamin Galvin Guoyi Huang

Guoyi Huang

The Port House’s dramatic materiality is designed to contrast greatly with the original brick façade. The parametric design poses interesting daylight strategies. My pavilion proposal uses a similar design where the use of a hexagonal parametric design monitors the amount of light under the canopy.

ASHER HON

THE PAUL MARSHALL BUILDING

Grand Hall Lincolns Inn Fields will become a new gateway to the campus of LSE as a whole. This gateway can release the energy of the campus onto the square. The front face, although open and porous, will retain a cer tain formality to welcome visitors to the Paul Marshall Institute.

GRAFTON ARCHITECTS

In the LSE Project, Grafton Architects saw the potential of the site, they can condition the relationship between the city and the building. As the building will contain the Marshall Institute of Philanthropy and Social Entrepreneurship, the ethos of the building and the spaces should represent a vision of diversity, openness, inclusiveness, and love of humanity.

FIGURE 20: The Grand Hall

VISUALITY GROUP | CURATING THE CITY

This related to the idea of opening to free natural elements. To the inspiration from Le Corbusier's Modernism. By having a large h o r i z o n t a l w i n d o w, to p ro ve entire.Better than the idea of Le Corbusier, those opening also open entrance for visitors and users. FIGURE 21: Section of Marshall Building (The red arrow represents the movement of users)

FIGURE 23: Picture of Marshall Building

FIGURE 22: A Floor Plan of Marshall Building (The Yellow arrow represents the lighting)

7. The Paul Marshall Building: This case study explores similar design concepts as my groups thematic case study. Grafton Architect’s create an open Grand Hall to allow for the flow of movement through the space to be continued from the outside. My proposal considers this strategy due to the vast proposition of space given to the exterior platform and plinth as a means to celebrate the connection to ecology.

FIGURE 24: Picture of Marshall Building

YUEN MAN CHENG

8. GMIT Furniture College: This precedent’s structure and design interest me tremendously due to the application of the north light truss windows. This design utilises north daylight and allows it to filter down into workshop spaces. This design brings huge effects to health and wellbeing and is the reason for my proposal utilising similar window design.

STUDIO 8 CURATING THE CITY GMIT Furniture College Letterfrack, Ireland - O’Donnell + Tuomey Ching Yee Jane Li Jamie Ryan Bone Karolina Lutterova Yuen Man Cheng

CULTURAL BIBLIOGRAPHY | 153

xi references

REFERENCES | 154

BIBLIOGRAPHY LIST OF REFERENCES: Agkathidis, A., 2017. Biomorphic structures. London: Laurence King Publishing Ltd. Architect’s Registration Board, 2017. The Architects Code: Standards of Professional Conduct and Practice. [online] Architect’s Registration Board. Available at: <https://arb.org.uk/wpcontent/uploads/2016/05/ Architects-Code-2017.pdf> [Accessed 24 March 2021]. Ayris, I. and Bolland, D., 1999. Ouseburn Heritage. Newcastle: Newcastle City Council. Bizley, P., 2020. Nantes Architecture School – Lacaton Vassal — Prewett Bizley architects | Passivhaus | Retrofit. [online] Prewett Bizley architects | Passivhaus | Retrofit. Available at: <http://www.prewettbizley.com/ graham-bizley-blog/2015/7/2/nantes-architecture-school-lacaton-vassal> [Accessed 30 May 2021]. Cardwell, C., 2016. Bio-Bricks - The Future of Construction. [online] Bebee Producer. Available at: <https://www. bebee.com/ producer/@claire-cardwell/bio-bricks-the-future-of-construction> [Accessed 30 May 2021]. Dybdahl, L., 2019. Business Model Innovation for Sustainability Through Localism. In: Innovation for Sustainability. London: Palgrave Macmillan. Freeman, E., 2021. Integrated Construction Report. Freeman, E., 2021. Theory into Practice Assignment. Hub of Biotechnology in the Built Environment, 2021. About – HBBE. [online] Available at: <http://bbe.ac.uk/ index.php/about/> [Accessed 30 May 2021]. Jones, M., Mautner, A., Luenco, S., Bismarck, A. and John, S., 2019. Engineered mycelium composite construction materials from fungal biorefineries: A critical review. Materials & Design, 187, p.108397. Morton, T., 2010. The Ecological Thought. Cambridge, Mass.: Harvard University Press. Nash, W.G., 1983. Brickwork. New, 3rd ed. London: Hutchinson. Newcastle University Architecture, Planning and Landscape, 2020. Creative Synergies Studio Brief. Newcastle University Press Office, 2019. Students’ design work provides shelter for Northumberland visitors. [online] Available at: <https://www.ncl.ac.uk/press/articles/archive/2019/05/blakehopenick/> [Accessed 30 May 2021]. Newport Street Gallery, 2021. End of a Century - Newport Street Gallery. [online] Available at: <https://www. newportstreetgallery.com/exhibition/end-of-a-century/> [Accessed 30 May 2021]. Northumberland Wildlife Trust, 2021. Oyster mushroom | Northumberland Wildlife Trust. [online] Available at: <https://www.nwt.org.uk/wildlife-explorer/fungi/oyster-mushroom> [Accessed 30 May 2021]. Paintsquare, 2019. Bio-Based Coatings Used on Mycelium Pavilion: Paintsquare News. [online] Available at: <https://www.paintsquare.com/ news/index.cfm?fuseaction=view&id=21803> [Accessed 30 May 2021]. Ruby, I. and Ruby, A., 2011. University Building in France: Nantes School of Architecture. Holcim Foundation. SustainLab, 2019. Growing Mycelium - Workshop. [online] Available at: <https://sustainlabrca.org/growingmyceliumworkshop/#:~:text=Ideal%20conditions%20to%20encourage%20growth,a%20little%20bit%20of%20 airflow> [Accessed 30 May 2021]. Third Year Architecture Newcastle, 2021. Images taken from Thematic Case Study Miro Board [Image]

REFERENCES | 155

LIST OF ILLUSTRATIONS IMAGES THAT ARE NOT MY OWN: Page 6/7: - Dissertation Title Page: Author’s Own. Freeman, E., 2021. As seen in ARC3060: Dissertation Studies - Circular Economies Mapping: Author’s Own. Freeman, E., 2021. As seen in ARC3015: Theory into Practice - Local Sourcing Scheme Mapping: Author’s Own. Freeman, E., 2021. As seen in ARC3015: Theory into Practice & ARC3013: Integrated Construction Page 12/13: - Macro to Micro Mapping: Author’s Own. Freeman, E., 2021. As seen in ARC3015: Theory into Practice Page 16/17: - Ouseburn History Collage: Creative Synergies Past, Present & Future Groupwork - Ouseburn Past Visual: Creative Synergies Past, Present & Future Groupwork Page 18/19: - Modern Craft Visual: Creative Synergies Past, Present & Future Groupwork - Communities Mapping: Creative Synergies Communities Groupwork Page 22/23: - Gentrification Visual: Creative Synergies Communities Groupwork - Future Developments: Creative Synergies Past, Present & Future Groupwork Page 26: - Biodiversity Mapping: Creative Synergies Landscape Groupwork Page 28/29: - The Future of Living Buildings. Sourced from: Guimapang, K., 2019. A living breathing building: How biology and architecture will change construction and the built environment. [online] Archinect News. Available at: <https://archinect.com/news/article/150147904/a-living-breathing-building-how-biology-and-architecturewill-change-construction-and-the-built-environment> [Accessed 30 May 2021]. - HBBE Research Principals. Sourced from: Hub of Biotechnology in the Built Environment, 2021. About – HBBE. [online] Available at: <http://bbe.ac.uk/index.php/about/> [Accessed 30 May 2021]. - Stargazing Pavilion Photography. Sourced from: Live Build Ncl 2018 Blogspot, 2018. NCL Live Build 2018. [online] Available at: <http://livebuildncl2018.blogspot.com/> [Accessed 30 May 2021]. Page 33: - The Shell Pavilion Photography. Sourced from: Raja, K. and Raja, G., 2017. The Shell Pavilion Photography. [Photography]. - Hy-Fi Pavilion Photograph. Sourced from: Graves, K., 2014. Hy-Fi Pavilion Photography. [Photograph]. - Biomorphic Structures Book. Sourced from: Agkathidis, A., 2017. Biomorphic structures. London: Laurence King Publishing Ltd. Page 34/35: - Mycelium Composites Circular Economy: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction - Remedying Contaminated Soil: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction Page 36: - The Living Pavilion Photography. Sourced from: Melander, E., 2019. The Living Pavilion Photography. [Photograph] Page 42: - Routes and Rhythms of Ouseburn: Author’s Own. Freeman, E., 2020. Drawn as contribution to Creative Synergies Landscape Groupwork Page 58: - Oyster Mushroom. Sourced from: Han AgroCare, 2021. Oyster Mushrooms - Han AgroCare. [online] Available at: <http://hanagrocare.com/product/oyster-mushrooms/> [Accessed 30 May 2021]. - Substrate. Sourced from: Pollini, B., 2021. Insulating panel research. [online] Mediamatic. Available at: <https:// www.mediamatic.net/en/page/86138/insulating-panel-research> [Accessed 30 May 2021]. Page 59: - Mixing and Incubation Process Image. Sourced from: Unicorn Bags, 2013. Spawning Bags of Grain | Unicorn Bags. [online] Available at: <https://unicornbags.com/spawning-bags-of-grain/> [Accessed 30 May 2021]. - Fruiting Process Image. Sourced from: Everything Mushrooms, 2016. Cathy’s Lab: Running Oysters – Sawdust

REFERENCES | 156

vs Grain Spawn and Other Insights. [online] Available at: <https://everythingmushrooms.com/cathys-labrunning-oysters-sawdust-vs-grain-spawn-and-other-insights/> [Accessed 30 May 2021]. Page 72: - Urban to Natural Photograph. Lin, X., 2020. [Photograph] Page 76/77: - Circular Economies Mapping: Author’s Own. Freeman, E., 2021. As seen in ARC3015: Theory into Practice Page 79: - Brickwork Book. Sourced from: Nash, W.G., 1983 Brickwork. New, 3rd ed. London: Hutchinson. Page 81: - Brickwork Study: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction Page 85: - Local Sourcing Scheme Mapping: Author’s Own. Freeman, E., 2021. As seen in ARC3015: Theory into Practice & ARC3013: Integrated Construction Page 91: - Shadow Analysis of Proposal in Site showing natural shading from Byker Bridge: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction - Benefits of Utilising Byker Bridge Structure: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction Page 94: - Ouseburn Natural Photograph. Sourced from: Cabinet of Curiosities, 2014. Underneath the arches. [online] Available at: <https://cabinetofcuriosities-greenfingers.blogspot.com/2014/08/underneath-arches.html> [Accessed 30 May 2021]. Page 112: - Location of Lobby to Intersect Humidity: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction Page 142/143: - Location of Technical Section: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction 1:20 Technical Section: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction Page 145: - Technical Section showing Light Structure: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction Page 147: - Technical Section showing Heavy Structure: Author’s Own. Freeman, E., 2021. As seen in ARC3013: Integrated Construction Page 150: - Photography from Newport Street Gallery Exhibition. Sourced from: Newport Street Gallery, 2021. End of a Century - Newport Street Gallery. [online] Available at: <https://www.newportstreetgallery.com/exhibition/ end-of-a-century/> [Accessed 30 May 2021]. Page 151: - Merlin Sheldrake, Entangled Life. Sourced from: Carey, J., 2020. Entangled Life: How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures by Merlin Sheldrake, review. [online] The Times. Available at: <https://www.thetimes.co.uk/article/entangled-life-how-fungi-make-our-worlds-change-our-minds-andshape-our-futures-merlin-sheldrake-review-8b9f3k65q> [Accessed 30 May 2021]. - Entangled Life Book: Naught Thought. Sourced from: Naught Thought, 2020. Dispatches to Massia – This Compost. [online] Available at: <https://naughtthought.wordpress.com/2020/09/18/dispatches-to-massiathis-compost/> [Accessed 30 May 2021]. Page 152/153: - Thematic Case Study Reports. Sourced from: Third Year Architecture Newcastle, 2021. Images taken from Thematic Case Study Miro Board [Image]

REFERENCES | 157

xii appendices

APPENDICES | 158

THEMATIC CASE STUDY FULL REPORT

NANTES SCHOOL OF ARCHITECTURE LACATON AND VASSAL

NANTES SCHOOL OF ARCHITECTURE | SITE PLAN

APPENDICES | 159

Creative Synergies Group 3: Question 01: Ehan Halimun Question 02: Ella Freeman Question 03: Xinrui Lin Question 04: Chao Jung Chang Question 05: Anna Toft

TABLE OF CONTENTS 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 ?

( .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

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 | TOPOGRAPHICAL CONTEXT

Ella Freeman CONTINUATION OF THE STREET: Figure 2: Continuation of street Diagram

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. 3

Ibid. p.17

Figure 3: Photograph by Lacaton and Vassal

Figure 4: Render by Lacaton and Vassal

Figure 5: Photograph by Lacaton and Vassal

THE RAMPS AND DECKS: Figure 6: Ramp Diagram

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. Figure 1: Nantes Site Plan

Ibid. p.36

APPENDICES | 160

QUESTION 02 | RELATIONSHIP WITH THE CITY

Ella Freeman Figure 8: Participation Diagram

2nd STRUCTURE

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

PUBLIC

1. PARTICIPATION:

PARTICIPATION IN DESIGN

BENEFITS TO LOCAL COMMUNITIES

STAFF

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

USE OF UNPROGRAMMED SPACES

STUDENTS

Ibid. p.19

ITECTURE

CH HOOL OF AR NANTES SC

OPENINGS

Figure 7: Benefits to communities Diagram

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

QUESTION 02 | LINK TO ACADEMIA

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

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

Ibid. p.36

Ella Freeman

ARCHITECTURE - AN INSULAR ACTIVITY? 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

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].

1:1 SCALE MODELLING:

Figure 18: Photograph by Lacaton and Vassal

Figure 19: Photograph by Lacaton and Vassal 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

APPENDICES | 161

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

QUESTION 02 | NANTES VS OUSEBURN

Ella Freeman

SIMILARITIES:

DIFFERENCES:

INDUSTRIAL PAST AND BUILDING TYPOLOGY:

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

NANTES

OUSEBURN 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.

Figure 22: Photograph by Franklin Azzi

Figure 21: Photograph by Ella Freeman

Figure 23: Photograph by M. Argyroglo

NANTES

Figure 28: Photograph by GX Project

Figure 30: Photograph by BCNUEJ

Figure 29: Photograph by Happy Pontist

Figure 31: Photograph by Lacaton and Vassal

SCALE:

PROXIMITY TO A WATER BODY: Figure 24: Ousburn Green space Diagram

Figure 26: Photograph by Simon Menges

Figure 25: Nantes Green space Diagram

LOIR ER

Figure 32: Ouseburn Density Diagram

Figure 33: Nantes Density Diagram

IVER

OPEN GREEN SPACE OPEN GREEN SPACE

Figure 27: Photograph by BNCUEJ

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.

QUESTION 01 | SPATIAL ARRANGEMENT 9 8

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

7. Cafeteria 8. Maintenance

9. Workshop office A

A A

11. Exhibition space

10. Workshop

6. Lobby

11. Exhibition space 7

5. Reprographics

3. Workspace 4. Classrooms

C A

1. Auditorium 2. Event space bu re a u 3. Storage 4. Nurse

3. Studios

1 3

L ev e l 2 B 1. Studios 2 . C o o rd i n a t i o n 3 . Wo r k s p a c e

5. Student services

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

Level 0A 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 r c h - CE R M A

7. Cafeteria

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.

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)

DENSER - MORE BUILDINGS

LESS DENSE - LESS BUILDINGS

OPEN GREEN SPACE

B 6

B 11

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 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 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

1 A

4 1

5 4

bicycle parking

A 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 r o o m s 4 . Wo r k s p a c e

3. Coordination

7. Student services

C L ev e l 0B 1. Auditorium (250 seats) 2 . A m p i t h e a t re ( 1 5 0 s e a t s ) 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

A 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 ve 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.

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.

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

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 .

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.

APPENDICES | 162

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

QUESTION 01 | MAIN AND TEMPORARY LEVELS

Ehan Halimun

F i g u re 3 6

F i g u re 3 7

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

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

c o n c re t e s l a b s a n d p o s t s s e r ve 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

F i g u re 3 8

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. 14

S t eve n s , p a r a . 7 .

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

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

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

QUESTION 01 | CONNECTIONS BETWEEN LEVELS

Ehan Halimun

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

APPENDICES | 163

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

QUESTION 01 | UNPROGRAMMED AND PROGRAMMED SPACE

Ehan Halimun

F i g u re 41

F i g u re 4 2

F i g u re 4 5 F i g u re 4 3

F i g u re 4 4

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.

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

15 16

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

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Xinrui Lin 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

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

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

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 19

Stevens

Figure 49: Facade of polycarbonate panels

Figure 46: Nantes Site Plan

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

Prewett Bizley

APPENDICES | 164

Figure 50: Theses panels modulates the interior lighting

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE 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

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

Gas Radiator

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

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

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

Cross Ventilation

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

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 22

Ruby and Ruby

Nocturnal air currents Figure 52 - Collages of Climate Performance during Summer

APPENDICES | 165

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Xinrui Lin

Spatial Configuration 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) 23

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 > .

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

Circulation Light Steel Structure

Ruby and Ruby

Figure 53 - First Floor Plan

Figure 54 - 3D Modelling Diagram

QUESTION 4 | THEORATICAL POSITION

Chao Jung Changg 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

Figure 59

LACATON & VASSAL 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 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

APPENDICES | 166

QUESTION 4 | THEORATICAL POSITION

Chao Jung Changg

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)

Programmed spaces

Exhibitions

Installation art

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.

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 Crits

Social events Figure 62

Total building volume: 100,926 m3 Total volume of construction materials: 8,067 m3 92% of the school’s volume is free for use.

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 63

Figure 61

QUESTION 4 | THEORATICAL POSITION

Chao Jung Chang

INTEGRATION WITH THE CONTEXT Completely accessible to the general public, the Nantes School of Architecture is a truly public space. 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) The building’s industrial character firmly embeds the school in its urban context, formerly dominated by industrial warehouses and transport infrastructures. (Fig.66-67)

Figure 67

Figure 66

Figure 68

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 69 Figure 64

Figure 65

APPENDICES | 167

QUESTION 4 | THEORATICAL POSITION

Chao Jung Chang

STRUCTURAL SOLUTION TO ENERGY EFFICIENCY 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.

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.

Figure 74

Figure 71

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 72

Figure 73

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

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. 25

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. Figure 77: Interior FRAC

FRAC DUNKERQUE

NANTES ARCHITECTURE SCHOOL

Figure 75: FRAC Dunkerque edited google image

Figure 76: Nantes architecture school edited google image

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. FRAC DUNKERQUE - SECTION

NANTES ARCHITECTURE SCHOOL - SECTION

appropriable free space Figure 78: Gallery space FRAC

Figure 80: FRAC Dunkerque edited section

Figure 81: FRAC Dunkerque facade

Figure 82: Nantes school of architecture edited 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 83: Nantes school of architecture facade

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 Figure 79: Exterior FRAC

APPENDICES | 168

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

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 26

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].

SEONA REID BUILDING

SUSTAINABLE DESING - SEONA REID BUILDING

NANTES ARCHITECTURE SCHOOL

Figure 85: Exterior Reid building 1

Figure 88: Seona Reid building edited google image

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

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

ure 83: Nantes school of architecture facade

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 87: Interior Reid building

Figure 91: Reid building programme

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

Figure 92: Nantes school light access diagram

Anna Toft

The Mackintosh Glasgow school of art was ‘built over a period of nine years’ 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

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 93: Libary space

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 100: Mackintosh libary section

Orientation opposite to the Nantes building

Larger unprogrammed space

Figure 101: Material Mackintosh

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 104: Nantes school open space

APPENDICES | 169

Figure 105: Mackintosh school open space

Figure 102: Material Nantes school

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

Anna Toft

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. 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 109: Beecroft building circulation

Figure 110: Nantes school circulation

Figure 106: Facade Beecroft building Figure 111: Map 1:600 Beecroft building

Figure 112: Nantes school edited google map

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.

Figure 114: Beecroft massing diagram

Figure 107: Section Beecroft building

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 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.

LIST OF FIGURES: 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 ] 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 , 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 > [ 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 > [ 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 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 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 / MAC 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- O F - 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- O F - 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 HA 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 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- POLYCA 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 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 O LY 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: / / 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 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 MA , 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 H AO 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 H AO 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 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 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 2011)

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 HA 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 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 MAG 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 -

F I GU R E F I GU R E F I GU R E F I GU R E F I GU R E

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

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 41 : P H O T O B Y P H I L I P P E RUAU LT 4 2 : P H O T O B Y P H I L I P P E RUAU LT 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 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

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

APPENDICES | 170

BIBLIOGRAPHY: 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 - O F -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

‘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 - O F OX F O R D - B E E C RO F T - BU I L DI N G - H AW 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 - O F - 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 ] .

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

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 - O F -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 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 - O F -A R T C H A R L E S - R E N N I E - M AC K 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 ] .

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 H AUS | 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 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 - O F -A R T C H A R L E S - R E N N I E - M AC K 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 - O F - OX F O R D - B E E C RO F T - BU I L DI N G H AW 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

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 O R - C L 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 - 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 / > [ 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 - MACK 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- 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 -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 AC K I N T OS H -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 AC K I N T OS H -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 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 HAT - I S - E X AC T LY-AP O LY CA R BO N 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 - O F -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 ]

APPENDICES | 171

1:20 TECHNICAL SECTION & PART ELEVATION STUDY A CENTRE FOR GROWTH, RESEARCH AND TESTING OF MYCELIUM INSULATION PANELS ELLA FREEMAN - CREATIVE SYNERGIES 180060607

A: Foundation Detail

1. Concrete Pile Foundation and Cap 2. Waterproof Coating around Pile Cap 3. 60mm Diameter Perforated Drain surrounded by Gravel Backfill 4. 200mm Crushed Hardcore 5. 150mm Coarse Sand 6. 3mm Waterproof Membrane 7. 200mm Reinforced Concrete Slab 8. Vapour Control Layer 9. 150mm Mycelium Rigid Insulation 10. 50mm Screed Finish

B: Retaining Wall

1. Gravel Backfill to allow drain away 2. 180mm Diameter Perforated Drain 3. Studded Geo-textured Membrane to prevent blockage 4. Angled Mortar to prevent water pooling 5. 3mm Waterproof Membrane (x2 layers) 6. 150mm Mycelium Rigid Insulation 7. 500mm Reinforced Concrete Wall

C: Tree Planter

1. 120mm Perforated Drain surrounded by Gravel Backfill 2. Concrete Planter 3. Planting Soil Mix to Manufacturers Specifications 4. 80mm Thick Bark Mulch 5. 100mm Concrete Curb

D: Internal Wall

1. 150mm Concrete 2. 100mm Rigid Mycelium Insulation with 100mm Mineral Wool at the base 3. 70mm Concrete

E: Intermediate Concrete Floor

1. Steel ‘I’ Beams 2. 200mm Concrete Slab Floor exposed as floor finish

F: External Decking Lower Ground 1. Timber Decking 63x28mm 2. 50mm Screed 3. 350mm Concrete Slab 4. 150mm Mycelium Rigid Insulation

G: External Concrete Wall

1. Mycelium Brick 65x112.5mm tied back to concrete wall using Steel wall ties 2. Aluminium Flashing 3. 75mm Cavity 4. 3mm Waterproofing Membrane 5. 100mm Mycelium Insulation 6. Vapour Control Layer 7. 200mm Concrete Wall exposed as wall finish

H: Window

1. Fixed Chamfered Window Frame 2. Double Glazed Window (4mm Glass, 20mm Cavity, 4mm Glass)

I: Waffle Slab Roof/Decking

1. Timber Decking 63x28mm 2. Timber Battens supporting decking 38mm 3. 3mm Waterproof Membrane 4. 65mm Mycelium Rigid Insulation 5. 85mm Rockwool Insulation cut to a 1:60 fall for drainage 6. Steel Grating and AOC drainage channel surrounded by Rockwool Insulation 7. Toughened Glass Railing tied to waffle slab 8. Vapour Control Layer 9. 450mm Steel Reinforced Holedeck Waffle Slab 10. Neoprene Thermal Break 11. Steel Plate bolting two waffle slabs together

J: Internal Intermediate Floor

1. 25mm Wood Floor Finish 2. 65mm Screed 3. Vapour Control Layer 4. 150mm Mycelium Rigid Insulation with 30mm Rockwool Insulation

K: Bi-Fold Door

1. Low Threshold Bi-Fold Door Frame 2. Double Glazed Glass (4mm Glass, 20mm Cavity, 4mm Glass) 3. Steel Grating and AOC drainage channel surrounded by Rockwool Insulation

L: External Timber Stud Wall

1. Mycelium Brick 65x112.5mm tied back to stud wall using Steel wall ties 2. Aluminium Flashing 3. 75mm Cavity 4. 140mm Timber Stud Wall 5. 3mm Waterproofing Membrane 6. 150mm Mycelium Insulation 7. Vapour Control Layer 8. 12mm Plywood Board Finish 9. 30mm Rockwool Insulation

M: Roof

1. Steel Sheet Roofing 2. 50mm Cavity with Battens 3. 3mm Waterproof Membrane 4. 100mm Mycelium Rigid Insulation 5. Vapour Control Layer 6. 12mm Plywood Boards 7. 140mm Timber Beams 8. Timber Batten External Roof Supports 100x65mm

Student Number

180060607

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BA ARCHITECTURE: ACADEMIC PORTFOLIO CREATIVE SYNERGIES 180060607: ELLA FREEMAN