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3 RITUALS Academic Portfolio of Architecture

ARC3001 Architectural Design HYELIM LEE 170352066

Contents 4-5 6-7 8 - 11

Reflective Report Studio Brief Site Introduction - Blyth Primer - Project Introduction & Site History - Design Concept - Tea house precedent & Rituals Study - Design Development - Final Design & Japanese Timber Joinery Workshop Graduation Project - Staging - Thinking Through Making Week - Realisation & Synthesis - Field Trip Case Study Report - Finland

12 - 15 16 17 - 19 20 21 - 29

30 - 39 40 - 41 42 - 87 88 - 119

ARC3013 ARC3014 ARC3015 ARC3060

120 128 130 132

Illustrated Cultural Bibliography List of illustrations Bibliography Appendix - Skteches (Graduation project)

142 - 147 148 - 149 150 151 - 153

New/ Amended work

127 129 131 141

Reflective Report

Stage 3 as my final year began with the refinement of my dissertation to finalise successfully. As I am a person who studying architecture, I have an interest in the relationship between architecture and environment, the dissertation was about it. During the researching and writing about the relationship, I felt the grandeur and fragility of nature at the same time. People, we often admire at the power of nature that humans can not do anything about, and are surprised when we face the great thing created by mother nature. However, nature is being destroyed by human beings, it is losing its life. Therefore, I noticed again the efforts to protect nature should happen more actively in architecture. In terms of the design course in Stage 3, the first project was a primer, designing a small intervention based on the ritual of the Japanese tea ceremony as my studio is 'Rituals'. Before talking about the project, if I talk about the reason I decided the studio 'Rituals' because I believe Human, Nature and Architecture never can be separable. I also think the baseline of good or bad architecture is from a human who uses and experience it. During the primer project, I studied about Japanese tea house, tea garden and tea ceremony, I noticed that their harmony and cooperation. Architecture is fully designed to support the action of ritual and it enhances the spirit of the ritual. Their harmony makes each other shine, creates beauty.

Photographed by Marc

Based on the learning from the relationship between the Japanese tea house and tea ceremony, I tried to design my graduation project, the Museum of Blyth's Industry. I tried to melt the ritual of contemplation into the exhibition hall using the control of architectural elements such as materials, lights and sounds. Especially I tried to create a special atmosphere based on the physical senses of a human being such as sight, hearing and touch to encourage the action of ritual naturally. I also blend the circulation or movement of visiting the museum and the ritual of contemplation, I called the journey towards past and memory.

Studio Brief

Studio 07 Rituals

The studio â&#x20AC;&#x2DC;Ritualsâ&#x20AC;&#x2122; focuses on the interaction of how rituals are linked to architectural space and form. Ritual or habitual process and movement can affect designing space and building form, spaces can affect rituals and actions as well. For me, rituals are all patterns of peopleâ&#x20AC;&#x2122;s movement and actions. All people have different their habitual actions, these actions can have special patterns even though it happens unconsciously. When these patterns are gathering, it creates spatial typology. Architectural typology sometimes involves rituals from the past, it continues to the present time or disappears with changes. However, most of the present rituals are rooted the past rituals, there is similarity. Through some typology study, we analysed the relationship between specific traditional typology and ritual. Architecture has the power to encourage a specific activity through the arrangement, shape and size of spaces and atmosphere. These architectural elements are based on the senses of human in the process of reading spaces. Effective use of the physical sensory perception in architecture is not only to create the richness of spaces but also to promote specific actions. The studio project was designated in the context of Blyth, Northumberland. Primer project is a small intervention related to Japanese tea ceremony; that has very strong ritualistic actions and spatial design, to understand what is a meaning of ritual and how it can shape space and building. From the staging to my final graduation project is to design a larger building, the museum of Blyth's industry as an educational institute, social hub and workshop based on a particular ritual, contemplation.

Site Introduction - Blyth

Blyth is a part of Northumberland in the UK, Blyth is divided in 9; Sleekburn, Kitty Brewster, Cowpen, Croft, Newsham, Isabella, Pleassey, Wensleydale and South Blyth.

BLYTH

Sleekburn

Northumberland

Cowpen

Croft

Kitty Brewster Isabella

Wensleydale

Pleassey Newsham South Blyth

(Port of Blyth, 2020)

Population/ Ages/ Industry

Population : 5,494 Males : 2,643 Females : 2,851

Population : 4,284 Males : 2,128 Females : 2,156

Population : 4,726 Males : 2,266 Females : 2,460

Ages 0-15 years : 1,152 (21.0%) 16-64 years : 3,481 (63.4%) 65+ years : 861 (15.7%)

Ages 0-15 years : 760 (17.7%) 16-64 years : 2,727 (63.7%) 65+ years : 797 (18.6%)

Ages 0-15 years : 853 (18.0%) 16-64 years : 3,032 (64.2%) 65+ years : 841 (17.8%)

Industry (aged 16-74 in employment) 1st : Whsale&ret trad; repair motor vehicles... (16.8%) 2nd : Human Health & Social Work (13.3%) Kitty Brewster 3rd : Manufacturing (12.3%)

Sleekburn

Industry (aged 16-74 in employment) 1st : Human Health & Social Work (17.4%) 2nd : Whsale&ret trade; repair motor vehicles... (15.0%) 3rd : Manufacturing (10.7%)

Croft

Population : 4,278 Males : 2,128 Females : 2,150

Population : 4,432 Males : 2,133 Females : 2,299 Ages 0-15 years : 974 (22%) 16-64 years : 2,755 (62.2%) 65+ years : 703 (15.9%)

Cowpen

Industry (aged 16-74 in employment) 1st : Whsale&ret trad; repair motor vehicles... (16.9%) 2nd : Human Health & Social Work (15.1%) 3rd : Manufacturing (13.7%)

Ages 0-15 years : 649 (15.2%) 16-64 years : 2,807 (65.6%) 65+ years : 822 (19.2%)

Isabella

2nd : Whsale&ret trad; repair motor vehicles... (14.1%) 3rd : Pub Admin&Def; Compulsory Soc Sec (11.3%)

Population : 3,998 Males : 1,930 Females : 2,068 Ages 0-15 years : 671 (16.8%) 16-64 years : 2,578 (64.5%) 65+ years : 749 (18.7%)

Pleassey

a Prim

ea g Ar n i p hop

ry S

Industry (aged 16-74 in employment) 1st : Whsale&ret trad; repair motor vehicles... (16.1%) 2nd : Human Health & Social Work (14.2%) 3rd : Manufacturing (12.1%)

Population : 4,834 Males : 2,393 Females : 2,441

Population : 4,742 Males : 2,329 Females : 2,413

Ages 0-15 years : 860 (17.8%) 16-64 years : 3,298 (68.2%) 65+ years : 676 (14.0%)

Ages 0-15 years : 1,039 (21.9%) 16-64 years : 3,062 (64.6%) 65+ years : 641 (13.5%)

Newsham

ntre

Industry (aged 16-74 in employment)

Industry (aged 16-74 in employment) 1st : Whasle&ret trad; repair motor vehicles... (17.4%) 2nd : Human Health & Social Work (16.7%) 3rd : Consturction (9.8%)

Industry (aged 16-74 in employment) 1st : Whsale&ret trad; repair motor vehicles... (16.4%) 2nd : Human Health & Social Work (14.7%) 3rd : Manufacturing (11.4%)

Town C e

Wensleydale 1st : Human Health & Social Work (14.7%)

Population : 4,835 Males : 2,350 Females : 2,485 Ages 0-15 years : 1,046 (21.6%) 16-64 years : 3,008 (62.2%) 65+ years : 781 (16.2%)

Industry (aged 16-74 in employment) 1st : Human Health & Social Work (18.1%) 2nd : Whsale&ret trad; repair motor vehicles... (17.4%) 3rd : Manufacturing (10.2%)

South Blyth

Industry (aged 16-74 in employment) 1st : Whsale&ret trad; repair motor vehicles... (14.3%) 2nd : Pub Admin&Def; Compulsory Soc Sec (13.6%) 3rd : Human Health & Social Work (12.8%)

Classification of building use Residential (dwellings) - e.g. Flat and House Residential (Insititutional & others) - e.g. Hospital, School with living accommodation, Hotel, Hostel and any other residential purpose

Around 37,339 people are living in the town of Blyth, the site for the tea room is a market place in Croft where the population is around 4,725. Croft is one of the smallest areas in Blyth but, the population is relatively high and there are a town centre and primary shopping centre.

After the shipbuilding industry collapsed the local economy had decreased. In 1992, the industry of renewable energy production from winds turbines joined in Blyth. Wind turbines have been built on the sea and harbour. Shipping, manufacturing and any other industries are also located near the harbour. In the town centre, shop, commercial, office, industrial buildings are assembled however, there is a lack of leisure centres, educational institutions and cultural infrastructures.

Office - e.g. Offices or premises for the administration, clerical work and communications (postal, telegraph and radio) Assembly and recreation - e.g. Broadcasting, recording and film studio open to public, exhibition, church, leisure centre, museum, school, library and station Industrial - e.g. Factory and any other premises for manufacturing, altering, repairing, and cleaning Storage and other non-residential - e.g. Storage ans car park Shop and commercial - e.g. Shops or places for a retail trade or business

Primer Project Introduction

Japanese tea 'matcha'

Alice Pasqual (2019)

Japanese tea ceremony

Creative Commons Zero -CC0 (2019)

Primer was to design a small intervention for Blyth related to a ritual. The Japanese tea ceremony was focused to design a small tea room in Blyth. Japan has a very old tradition of tea ceremony called ‘Chanoyu’. Sen Rikyu mentioned “Tea is nothing more than boiling water, making tea and drinking it.” Like what he said, tea could be just boiled water. However, tea can have more function than just reducing thirst. In Japan, tea was mainly consumed by Buddhist monks, the tea ceremony was not just the act of drinking tea to them. It involved the meaning of harmony, respect, purity and tranquillity with mindfulness. It was spread to royal classes of Japanese first, then all in Japan. The tea ceremony became a part of Japanese culture and art. Kakuzo Okakura mentioned “Tea ceremony is more than an idealization of the form of drinking, it is a religion of the art of life.”

Site History - Market Place/ Industry

Blyth coal mining

Gemma Hudson-NEC (2016)

Blyth market place in 1950s

Gemma Hudson-NEC (2016)

Shipbuilding in Blyth

Nowadays, many of Blyth people are employed in wholesale & retail trade industry, then human health & social work and manufacturing. However, the main industries in the past were coal mining and shipbuilding with salt trade, fishing, and railways. These industries mostly couldn't survive, the local economy has undergone depression. The Keel Row Shopping centre opened next to the market square in 1991 for regeneration, brought retailers to Blyth with the revitalisation of the town centre.

1890s

Digimap (2019)

1920s

Digimap (2019)

1960s

Digimap (2019)

Present

Digimap (2019)

Carl Racey (2015)

Keel Row Shopping Centre

The market place had been kept for a long time but, was redeveloped recently to attract further investment with the extension of the market place and artwork called 'Hyperscope'. The Hyperscope symbolises the town history of the coal mining industry and wartime submarine base.

Market Place(Square) Hyperscope by Simon Watkinson

Design Concept

Tea House Precedents

Submariners memorial

Tea Room

Hyperscope (artwork)

(Sculpture nature, 2018)

Glass tea house - Hiroshi Sugimoto The key concept of the tea room is the connection between past and present and complexity and simplicity based on the ritual of the Japanese tea ceremony.

Tea Room

Memorial

The glass modern tea house fully represents simplicity, minimalism and purity, these features are linked with the spirit of Japanese tea ceremony (harmony, respect, purity and calmness).

Especially, the design of the tea room is inspired by the Japanese tea ceremony. The action of the tea ceremony is well organized and simple without any useless movement. This movement is based on complex and detailed rules. Simplicity and complexity are the words of opposite condition however, they are connected, not separated. The tea room shows the connection between simplicity and complexity.

The tea house is not decorated and has a very simple cube shape. Using glass, it allows that people from the outside can see the inside clearly, nothing is hidden. In addition, this is a very tiny building based on the spirit of a monk (frugality, plainness and simplicity).

The tea room will help to bring historical and memorial events to daily life. When people are in the tea room for relaxation, mindfulness or remembrance related to the memorial, they can see both the view of the market where have diverse daily lives and the view of the static memorial. Therefore, the tea room is where past and present meet together, the past and history can permeate to daily life.

(Zhuanlan, 2020)

Zen Garden Precedent

Ritual - Japanese Tea Ceremony

Tea House

Tea House Waiting Bench (koshikake) Sunken Hearth

Stone Water Basin (tsukubai)

Tea Master

Guests

(Tare, 2019)

Meaning of the sand/ gravel/ rock in zen gardens

(Academic, 2020)

Inner Garden (uchi-roji)

Middle Gate (chumon)

Outer Garden (soto roji)

Boiling Water

Waiting Bench (koshikake)

A zen garden is a Japanese rock garden or dry landscape garden style. It is mostly composed of rocks, water features, moss, pruned trees and bushes with gravel or sand. White sand and gravel means purity and also represent water. The placement and selection of rocks is the most important work in making a zen garden. Rocks for the Japanese gardening are classified based on the shape; tall vertical, low vertical, arching, reclining, or flat. It is to represent other natural elements using rocks. For example, igneous volcanic rocks are commonly used to represent mountains, smooth rounded sedimentary rocks are used for the borders of gravel that means rivers.

Chashaku

Put Matcha (Green tea powder)

Drink Tea Procedure for Preparing Tea Chawan

Enjoy the Tea and Chawan with Eyes

Waiting Room (yoritsuki)

Chasen

Gate

START

Stir with the Chasen

Pull the Hot Water

Design Development

Final Design

The design process starts with the modelling of the keyword 'connection' (between simplicity and complexity, past and present). The abstract model shows that the simplicity what we can see from the final form is rooted or based on the complexity that is hidden behind. The first design was a tea house rather than tea room however, it was refined and simplified more and more. In the end, only one tea room was left to show minimalism. The roof design came from the traditional Japanese tea house's roof. I made the simple clean surface of the roof then add structures to show the strict orders of the tea ceremony with simple but also complex junctions. Abstract model of the key word - Connection

Initial design process of the tea room (Sketches and models)

Massing Model of the tea room - Simplicity

Model of the tea room - Roof structure

1:50 Scale model

Based on the massing and structure models, it added details, especially materiality of walls was carefully chosen for the concept. It consists of two transparent glass walls, two translucent glass walls and ceiling. The clear glass facades with the wood structure catch the views of the memorial and market, one side is the memorial (past) and another side is the market (present). Other two translucent walls were chosen to reduce the visual burdens by too much opening and views and to make users focus on the specific views from the transparent glasses. The translucent ceiling diffuses sunlight, allows a soft light inside. Doors and door frames have minimalised design with thin-thickness. Other elements such as roof structure and ventilation were designed fewer decorations and thickness as well. The idea of the tea garden is from Japanese Zen gardens (Rock gardens), the floor near the tea room is paved by white gravels which means the water and river. Trees have parallelly planted both sides based on the tea room, it helps to focus on the views.

1:50 Scale model

1:20 Scale model

Japanese Timber Joinery Workshop

The Japanese timber joinery workshop was in Liverpool. We experienced making a diverse type of joinery systems. After the workshop, we designed a timber joinery system for the primer project by applying the workshop experience.

Timber Joinery - Sketches and models

Japanese Timber Joinery Workshop Model

Timber Joinery - Roof Structure of the primer proejct

Primer Show - Exhibition Photos

The big image is a concept image that shows the connection between past and present in the tea room.

Photographed by Marc

Graduation Project

(Port of Blyth, 2020)

Staging My graduation project is the museum of Blyth's industry on the same site, Blyth market place. The market place is a huge public square in the town centre and also part of the main shopping centre. The Blyth used to have an economic boom in the past, however, has undergone low economic growth and depression after the collapse of the main local industries, coal mining, shipbuilding and shipping. Therefore, the project is focused on the revival of Blyth as a big goal.

Blyth has a history of shipbuilding shipping and coal mining industries because of a geographical feature. These two were the biggest and main industries of Blyth, theshipping industry have continuous such as shipping pulp and paper from Scandinavia for the newspaper industries of England and Scotland. The shipbuilding industry was related to sailing history in the past. The tall ship called 'the William' that was built in Blyth was with captain William on the journey of the voyage when he first discovered Antarctica. It was a historically big achievement, Blyth celebrated him and the vessel.

The coal mining industry that brought an economic boom in the past of Blyth has been replaced by the renewable energy industry recently. Especially wind energy is the most focused part, bioenergy is currently having an interest in Blyth. The museum will include these Blyth's history and future.

Site Analysis Market Place - Lots of closed shops/ restaurants/ cafes - Low quality shops/ restaurants └ Small number of market visitors/ tourists

Car Park - A big empty town centre (Market place) └ No use of the space except market days

- Lack of social/ Cultural/ Leisure/ Educational buildings

Keel Row Shopping Centre

└ Reduction of local communities & the number of young people (leaving the town) - Disconnection between the memorial park and the town centre └ Forgotten local history and culture

Memorial

- Huge Car park(s)

- Good accessibility (Private/ Public transport)

Site e lac ings P d l i t ke bu Mar cial r e m Com

- Event: Blyth Market (Every friday & Saturdays)

3 Photographed by Rachel

Market place approach 4

Shopfront

SURVEY - Market Town Benchmarking Blyth Report (amt-i, 2013) BLYTH Town centre Users

Purposes of Town centre visits Other (5%)

16-25 (6%) 26-35 (12%)

65+ (18%)

Male (29%) Female (71%)

56-65 (24%)

Shoppers origin

Leisure (8%)

46-55 (18%)

(35%)

Less than an hour

Tourists (3%)

(49%)

1-2 hours 2-4 hours (11%)

Work (10%) Access Services (18%)

36-45 (22%)

Amount of time people stay in the Town Centre

Visitors (22%) Convenience Shopping (54%)

4-6 hours

(2%)

All day

(3%)

Locals (74%)

Comparison Shopping (6%)

The satisfaction rate of the physical appearane of the town centre Very Good

*Note Locals : Who live within a Post Code covering the town Visitors : Who live within a Post Code less than a 30 mins drive away Tourists : Who live within a Post Code further than a 30 mins drive away

Good

(1%) (15%)

Poor

(39%)

Very Poor

(46%)

Positive aspects of the Town Centre (61%)

Access to Services

Very Good

(54%)

Convenience (e.g. near where you live)

Good

(51%)

Car Parking Transport

(10%) (33%)

Very Poor

(18%)

(56%)

(18%)

Restaurants

(16%)

Leisure Facilities

The satisfaction rate of the leisure and cultural offering in the town centre

(13%)

Markets

(12%)

Very Good

Shopping

(11%)

Good

Cultural Activities

(8%)

Poor

Physical appearance

(7%)

Very Poor

Negative aspects of the Town Centre (85%)

Physical appearance

(82%)

Shopping (68%)

Markets (44%)

Cultural Activities Pubs/ Bars/ Nightclubs

(37%) (35%)

Leisure Facilities

(1%) (23%) (52%) (24%)

Positive aspects of having a business in the town (Multiselect) (82%)

Potential local customers

(82%)

Car parking Geographical location

(27%)

Transport links

(27%)

Market(s)

(27%)

(28%)

Restaurants

(28%)

Safety Transports

(18%)

Car Parking

(18%)

Negative aspects of having a business in the town (Multiselect)

(9%)

Competition from other places

Convenience (e.g. near where you live)

(9%)

Rental values/ property costs

(6%)

(58%)

Prosperity of the town

Access to Services Ease of walking around the town centre

(1%)

Poor

(39%)

Safety

Pubs/ Bars/ Nightclubs

The satisfaction rate of the variety of shops in the town centre

(60%)

Ease of Walking around the town centre

Emvironment

(54%) (33%) (29%)

New Market Place Plan More colour in the Market Sq. Improvements to Market Sq have not really improved reflection from grey.

Market (Startup Business)

More investment in the public infrastructure, for example, improve paving, lighting, etc, make it all uniform or divide the town centre into quarters (old quarter, Culture quarter, Food quarter and business quarter for example) and improve the streets to match each quarter. Improve the flow of the town centre, and quay side. The quayside would be a huge commercial selling point, but is not even close to its potential.

Memorial

Tea Room

Museum Main Entrance

Make the market indoor, the 'new' market place is too large and badly conceived.

More use of market square on non market day. Do something with the vast space that is the market area.

Tourist Information Centre

The Museum of Blyth’s Industry

... send money on BLYTH based culture and arts not parachuting in artists from Newcastle and beyond when there are tens of artists in Blyth who would like the work and would also do it for love of their town.

- Extension of the memorial park to the market place by a tea room Improve the appearrance of the Market Place. This is/should be the hub of the town. The currentt state of the buildings does not do justice to the town centre. This should be a priority, rather than the shop fronts beyond the bus station.

└ Reminding local history and culture └ Learning from the history

- Construction of The Museum of Blyth Industry

└ Providing a place to relax in the centre of town └ Providing a space for temporary market stalls

- Change a market storage/ toilet building to a tourist information centre

└ Celebration of the local industries and history

└ Vitalisation tourisms

└ Introduction of the local history and culture to tourists

└ Promotion the town and Blyth market

└ The new Blyth industry education (Renewable energy) └ Bringing historical map of the market place back to the site - Construction Small shops for startup business └ Revival of a shopping street Comments by locals (Blyth)

- Redesigning the market place like a park

└ Reduction of the financial burden for young or new business man

Programme Analysis

Massing Design

The key idea is continued from the primer and thinking through making project, the keyword is digging out memory and history. The museum construction is to bring localsâ&#x20AC;&#x2122; active and positive participation for the revival of the local industry and economy with personal growth by looking back into history and learning from the past The museum will offer history and job education related to the local industry and spaces for social activity. Therefore, it includes diverse programmes such as exhibition places, workshop, lecture theatre, seminar rooms and pc rooms.

-2 floor 10m 2

Service area Office area

Sub Toilet Disable

Public area

Present (2020)

Storage

Visitors

150m2

Sub Toilet Female

Staffs

26m 2

Building Maintenance Workshop

Reserves, Storage

Bringing historical map back to the market place

Permanent Exhibition

Sub Toilet Male 25m 2

45m2

40m2

Temporary Exhibition

280m 2

70m2

Meeting room

Staff room 45m2

Workshop 40m2

Lobby/ Corridor/ Lifts/ Stairs 10m 2

Staff rest-room/ Shower/ Toilets/ Cafeteria Infirmary

Cafeteria 15m 2

52m2

Restaurant 60m

Ground floor

Museum Basic Form & Location

Event room /Library Reception

Archive

Curator Room Director Room Manager Room

Staff Cloakroom

Cleaning Centre

Lecture theatre

Seminar Room(s)

Toilet Male

Toilet Female

Toilet Disable

34m 2

32m 2

45m2

10m2

PC Room 30m 2

-1 floor

1890s

1920s

1930s

1960s

Thinking Through Making Week

Crafting Process

TTMW 1:20 Model

This model expresses the connection of past, present and future. This joinery model using the concrete and timber that are the main structural materials of the museum is inspired by the image of holding hands and Japanese timber joinery system. Two big pieces symbolise past and future that they are in opposite condition s the small piece symbolizes the present that holds and links past and future together.

TTMW Exhibition

Realisation & Synthesis

Design Development The massing design is inspired by the earth stratum and stacked books and historical records. This building has a total of three floors, the bottom floor means the past, the middle floor is half underground and symbolizes present and the top floor means the future.

PRESENT

PAST

PRESENT PRESENT PRESENT PRESENT PAST PAST

PAST PAST

PAST

PRESENT PRESENT

Ritual: Contemplation

P AST

PAST PAST PAST

Earth Stratum -Time Accumulation The action of viewing an exhibition

THE MUSEUM OF BLYTHâ&#x20AC;&#x2122;s INDUSTRY Stacked Books and Historical Records

The journey of looking back into the past and memory

Rummage Through Memories/ Records Contemplation (Deep thinking/ concentration/ the action of finding answer...)

I applied the ritual of contemplation to the action of viewing an exhibition to create the journey of looking back into the past and memory.

FUTURE

PRESENT

Future Present Past

PAST

The Museum of Blyth’s Industry - Offering history education (local industry) └ Energy museum (from coal mining to renewable energy) └ Ship museum (from shipbuilding to shipping/sailing) - Offering job education (Renewable energy industry) └ to help the gowth of local industry and employment - Offering the places for social activity and learning └ Exhibition hall └ Library └ Lecture theatre └ Workshop └ Seminar/ meeting rooms └ PC room

The Market Place - Offering place for relaxation/ social and economic activity └ Blyth Market place in market days └ Park in non-market days └ Event place in special days (Memorial, social and cultural events)

The sunken market place design is inspired by Coal colliery and pit. It means the journey of going into the past. Therefore, the memorial, the tea room and the main entrance of the museum are facing each other.

Plans

-2 floor

-1 floor 8

Ground floor

8 1

2 4

16 8

6 7

1 Main Entrance 2 Lobby 3 Reception 4 Shop/ Book shop 5 Workshop 6 PC room 7 Seminar rooms 8 Toilet 9 Green energy experience zone 10 Lecture Theatre 11 Market storage

12 13 14 15 16 17 18 19 20 21

Restaurant Cafe Staff room Staff lounge Staff Meeting room Archive Manager, Director and Curator rooms Staff shower room Cleaning room Kitchen

22 23 24 25 26 27 28

Clothes changing room Glass Lifts Megazine and book space Seating and social space Storage Energy and Ship museums Lounge

Entrance Fire escapes

7 12

11 0

Programme

Lecture Theatre Exhibition Hall Lobby/ Reception/ Bookshop Library Staff Rooms/ Storage Restaurant/ Cafe Corridor Fire Exists

Private & Public

-2 floor

Circulation

-1 floor

Ground floor

Entrance/ Exists

Private ................................... Public

Fire exists Public (All) Lecture theatre users Museum users Staffs

Elevation 1 - From the main car road to the market place

The south-east facing facade (towards the main car road) consists of glass mainly to catch natural sunlight into the building. Based on the materials of surrounding buildings, red bricks are used. In addition, the museum is used lots of wood materials for the structure, interior finishing and cladding as following the policy of the Blyth town that focuses on environmental issues.

10m 1:200

Elevation 2 - From the market place to the main car road

The north-west facing facade (towards the market place) consists of diverse materials such as red/ grey/ brown brick, wood, glass and concrete. It is to represent the gathering pieces of memories and historical records. Also, most of them will be recycled materials to records and show the trace of historical and old buildings on the facade based on the concept 'the connection of past, present and future'.

10m 1:200

Section 1

10m 1:200

Section 2

Lobby

Exhibition Hall (Past)

Section 2 shows the lobby and exhibition hall with the path from the entrance. A model of a ship that built in Blyth will be exhibited on the lobby to celebrate the shipbuilding and shipping industry. The space in between the stairs, lifts and reception is for the artwork about coal mining.

10m 1:200

Section 3

Exhibition Hall (Past)

The darker space in section 3 is the exhibition hall to help the concentration and contemplation. I offered underfloor display space for the coal mining objects, very smooth natural light will come indirectly from the ceiling gap between two walls.

5m 1:100

Section 4

ARTWORK

When museum visitors came out of the exhibition hall, they will arrive at the library but also social space in section 4. They can freely read books and seat on the stairs and share what they learnt or what they thought in the exhibition. The high open space is to exhibit a hanging cenotaphic and monumental artwork related to the renewable energy industry.

5m 1:100

Section 5

Lecture Theatre

Section 5 shows the lecture theatre where is at the end of the first basement. If they want more professional study related to the Blyth industry, they can join a public lecture series The ceiling design of the lecture room is considered for acoustic and natural lighting It symbolizes the freedom of changeable future.

5m 1:100

Perspective concept image - From the main car road to the museum

This scene is the view from the direction where is River Blyth to the museum or the market place. When people used public transports to visit the site or the museum, especially the bus, visitors will face this scene first. The clear glass facade allows to see the big model of a ship from the outside, will catch people's interests. Natural daylights will go through the glass into the building and shine the interior space.

Perspective concept image Museum Main Entrance/ Water/ Market Place -

When the visitors arrived on the market place, they can see the water feature that symbolises the River Blyth and sea that are strongly related to the local industry with a ship model in the museum. The water feature becomes a place where children can frolic, but also calm water will help to control and keep calm their minds before starting the time travel.

Perspective concept image - Start of the journey (The main museum entrance)

They need to use the sunken entrance (ramp and stairs) to access the museum, that symbolises the start of the journey towards history and the past inspired by a coal pit and colliery.

Perspective concept image Museum Lobby/ Book shop/ Reception -

After they passed the entrance, they will meet the model of the ship in the lobby, they can buy tickets, museum souvenirs and books from the shop and reception.

Perspective concept image - Natural lighting in the ship museum with water reflection

If they use a stair next to the reception, they can directly arrive at the exhibition hall. There will be two different doors, one is for energy museum and another one is for ship museum. They can see this scene when they enter the ship museum exhibition zone. The water lighting effect creates a miracle and sacred atmosphere to help concentration and contemplation. It symbolises that you are in the past and also the sunken ship industry that doesnâ&#x20AC;&#x2122;t exist anymore in Blyth.

Perspective concept image Soft natural lighting from the ground floor in the energy museum -

This is the view when raised their heads toward a ceiling next to the wall in the energy museum (Coal mining and renewable energy). This space is to create the feeling that they are standing under the coal shaft.

Perspective concept image - Restaurnat/ Cafe in the musuem

After visiting the exhibition hall and library, they can see the restaurant and cafe if they go upstairs (ground floor). They can enjoy meals and drinks with the view of the market place and the memorial.

Perspective concept image Market Days -

After the exhibition, they can also enjoy market events on the site every week. Diverse shape and size of market stalls will stand, each shop will have its unique items and foods.

Perspective concept image - Market place

After their shopping, they can bring the items and foods they bought to the seating area and open them and enjoy. This space will be good to stay for relaxation and healing with the view of people's dailylives, water and the market place.

St. Mary’s Church The Museum of Blyth’s Industry Market Place (Square)

Keel Row Shopping Centre

Bus Station

Field Trip Case Study Report - Finland (Group Work)

Oodi Helsinki Library

Architects/ Designers - ALA Architects

ALA Architects is an architecture firm based in Helsinki, operating globally which specializes in demanding public and cultural buildings, unique renovation projects, station design and ma ster planning. ALA is committed to seeking fresh angles, flowing forms and surprising solutions on all levels of architecture. We challenge ourselves to provide alternatives, develop prototypes and look for innovations. We trust in beauty achieved by combining the intuitive with the ana lytic, the practical with the extravagant, and the rational with the irrational.

FOUNDED: 2005 REGISTERED IN: Finland, Norway MEMBER OF: Association of Finnish Architectsâ&#x20AC;&#x2122; Offices ATL, Arkitektbedriftene iNorge TURNOVER IN 2018: Approx. 4,636,000 â&#x201A;Ź STAFF: 3 partners, 30 architects M.Sc./M.Arch., 2 graduated junior designers M.Sc/M.Arch, 7 architecture students, 3 interior architects, 4 technical assistants, 3 administrative employees WORKING LANGUAGES: Finnish, English, Chinese, French, German, Italian, Japanese, Norwegian, Russian, Slovak, Spanish, Swedish, Turkish

Bauhaus

Minimalism

Scandinavian

Bauhausâ&#x20AC;&#x2122;s building Walter Gropius Weimar, Germany 1919

Before

Architecture Style

Architectural Eras

ALA uses contemporary design tools such as building information modelling, 3D printing, and parametric design software combined with the more traditional model building and materials research. Once they designed Kilden performing arts centre, their designs such as Oodi Helsinki Central Library and Oodi Helsinki Central Library would like to build a curving wall for the entrance which made of wedged CNC milled solid plankscan. This special structure also provides a sense of welcoming, creating a canopy, and also blending the interior and exterior spaces and creating shelter for public events in front of the building.

In nordic a rchitecture, most of them a re Scandinavian architecture. This design style has been characterised by modernism, simplicity, minimalism and functionality since the 1950s. It embraces the idea that beautiful and functional homes and everyday objects should be available to everybody. For us Finns, Scandinavian architecture means a natural way of life â&#x20AC;&#x201C; one that helps us stay close to nature even in urban surroundings. The climate in the Nordic countries is varied, ranging from the cold and dark winter time to the mildly warm summertime filled with light. The harsh conditions have led to simplicity of form and function, to clean lines and stylish practicality â&#x20AC;&#x201C; all the while keeping comfort in mind. These ideals are achieved by the innovative use of natural materials.

1950

Bacelona Pavilion Mies van der Rohe Barcelona, Spain 1929

Church of the Light Tadao Ando Ibaraki, Osaka 1999

1960

1970

1980

Finlandia Hall Alvar Aalto Helsinki, Finland 1971

Kilden performing arts centre ALA Architects Helsinki, Finland 2012

1990

2000

2010

Oodi Helsinki Central Library ALA Architect Helsinki, Finland 2018

Present

Typology - Libraries

Sendai Mediatheque

Seattle Central Library

Halifax Central Library

by Toyo Ito

by LMN, OMA

by Fowler Bauld & Mitchell, Schmidt Hammer Lassen Architects

Sendai Mediatheque

Seattle Central Library

Sendai Mediatheque

Seattle Central Library

Halifax Central Library

View orientation

(Hobson, n.d.)

(Ruault , n.d.)

(Mork, n.d.)

Aim - transparency, link with the street (CASE, n.d.)

2001

Among the first libraries to ever consider implicating solution for digital information. ‘Users’ freedom’, ‘lack of restrictions’, ‘people can behave like they were on the street’ (Peitx, 2017) Introduction of digital media at the end of the 20th century began the transformation of what a library was. Among the reduced collection of printed media, libraries were providing access to digital information. A new concept was introduced where the users became the key element of importance. With that, the experiments of a new special organisation have begun.

2004

Main view through the city

2014

NOT ALL-PURPOSE built spaces BUTsaparate areas ALLOWING FLEXIBILITY of specific functions chosen for each space.

Reflection of a loca l mixture of culture and contribution to the community. All AGES, all CULTURES.

‘Information store’ (Seattle Central Library / OMA + LMN, 2009)

‘Cultural Hub’

Sendai Medioteque was among the first to promote the freedom of the user. Visitors were supposed to feel as comfortable and unrestricted as if they were on a street thus the main feature – transparency – was introduced. The library became the centre of all media where each level was dedicated to a certain theme. Seattle Public Library took the idea of a modern library to the next level with its spaces capable to fluctuate between a range of functions.

Main view through the city

Halifax Central Library’s structure was more organised with open plan in the central areas of the building and more private rooms by its perimeter. Designed to unite the variety of cultures of an area the building included spaces for leisure as well as for education and became a multi-levelled public space intended to serve the local community. Such openness and community-orientation will be also seen further in the Oodi library.

Structure aimed to represent feeling of forest. Artificial lighting prioritised. (Trimble, n.d.)

Interior lighting prioritisedprioritised (Mende, n.d.) Interior lighting

Defused lighting Central atrium natural lighting (Mork, n.d.) Defused lighting Central atrium natural lighting (Mork, n.d.)

Both shadowed and well lit areas created for users’ choice. Reading area using natural light (Ruault, n.d.) Both shadowed and well-lit areas

Structure aimed to represent the feeling of the forest. Artificial lighting created for users’ choice. Reading prioritised. (Trimble, n.d.) area using natural light (Ruault, n.d.)

(Mende, n.d.)

POSITIONING IN THE CITY AND VIEWS & AFFECT ON INTERIOR EXPERIENCE

View orrientation

Seating area view, top floor (Mork, n.d)

Typology - Programme

Sendai Mediatheque

Seattle Central Library

Halifax Central Library

Section. Highlighted circulation path with an angled walkway in the library area.

Floor plan Level 4. Use of colloumns allows OPEN PLAN

Purpose-built spaces, each floor has its function. Oodi library has a clear separation of spaces too yet they include several functions.

Floor 2 Information center

Seattle Central Library Purpose-built BUT allows switching between specific lists of functions. Oodi library allows less flexibility, specifically on the 1st floor with its restricted spaces.

0 Storage 1 Study 2 Small Program Room 3 Adult learning 4 Music lab 5 Active Gaming 6 Help desk 7 Elementary reading 8 Learning Program 9 Family reading 10 Self checkout

Floor 3 Library

Halifax Central Library

Floor 5 Galleries

A mix of function is spread over the open plan, some enclosed purpose-oriented spaces are located at both sides framing the centre.

All Floors have a different plan. Structure: plates, tubes, skin.

Similar to OODI library 1st-floor plan.

Library area top-level (Plan simplified). Open broad spaces with a free plan. Steel structure.

Sites

Sites - Accessibility

The Oodi library is located in the toolonlahti area, which is the heart of Helsinki. It is surrounded by recent representatives of arts, publishing and commercial institutions. It connects directly to the central park via the toolo bay green area, a prominent area of recreation and public events. The interplay of different levels and views in the surroundings, a s w e l l a s t h e c o l l ec tion of a m bitio u s architectural gestures and concepts, creates an intricate yet very modern local context for the building. The site is superbly accessible, being a short walking distance from the Helsinki railway station, which is also a major local transit hub with metro, bus and tram links. Mannerheimintie is the main thoroughfare of downtown Helsinki and the direction where the library building will be most visible from, but most of the public will approach the building from the south along the Toolonlahdenkatu, from between Sanomatalo and the Holiday Inn hotel.

Key Buildings

Oodi Library

Vehicle

Tram

Train

Bus

Pedestrian

Tram Station

Rainway Stataion

Bus Stop

Sites - View

Concept and Design Development Site boundary

The design concept starts from the site and library programme. The site is a long rectangle shape, the library is facing the parliament, surrounded by art and cultural institutions (music centre, an art museum and an office of newspaper/ magazine) with a civic square. It symbolises the relationship between government and the citizens, and freedom of expression and democracy. Architects firstly divided the massing into 3 floors with 3 different categorized activities; learning from reading, learning from doing or activity, and meeting, and created an entrance square at the corner near the main road for easy approach. Also, the curved canopy was made to extend the civic square and to offer a balcony for a city view towards the parliament.

Oodi Library

Office of newspaper Music centre

Civic Square

Art museum Parliament

Learning space (Calm) Doing space Meeting space (active)

Massing (Box) - Library Programme

3 Floors - 3 Atmospheres

Balcony

On the second floor, visitors can enjoy an unobstructed 360-degree panorama view of the city centre, because of the entire glass-wall. Visitors can see the key buildings, such as the Parliament House, Kiasma Museum, Sanoma House, Finlandia Hall and Helsinki Music Centre from this floor.

Final form of the library

Entrance square

Civic square

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101

Programme - Form and Function Lots of curves are used for facade and interior spaces, the massing was smoothly pushed in and out, the curved canopy continues the interior space, and linked to the walls and ceiling. The curve for the top floor is based on the design concept of the library called ‘Book Heaven’. The top floor is designed like a floating space above the busy central Helsinki with the level change of the floor, the ceiling looks like clouds in the sky with several holes that natural sunlight can come through in the building. The curtain walls for this floor were chosen to get enough sunlight into the building with skylights, and also to offer a panoramic view of Helsinki city centre. The combination of ceiling & floor design and material choice for walls made stronger concept which is ‘Book Heaven’.

LIBRARY CULTURE

THE PULSE OF THE CITY

Models by ALA Architects

(Archinfo, 2018) 1 - (Mortimer, 2018) 2, 3, 4- (Uusheimo, 2019)

Clouds ceiling / Floor level change

A library and cultural centre can be combined to create a dynamic and yet tranquil series of spaces. The two programs' relationship in terms of space needs a consistent organisation of separation and unification. It requires a multi-functional and flexible strategy to provides the functions.

CITY AND NATURE 1

The balance between these a city and nature is crucial to maintaining the usable space of the city's urban fabric. The site provides a passageway between the city centre and the natural environment in the North. It strengthens the relationship between the two entities and the usability of the library and cultural centre.

‘Clouds’ ceiling

LIBRARY COLLECTION AREA BOOK HEAVEN

Book Heaven

MEETING MUSIC STUDIO FACILITIES STUDYING

READING

The new cultural centre emphasises the diversity of social spaces and the function of the building. With a program dedicated to attracting people, the cultural centre becomes a magnet. It requires a dynamic sequence of areas which are flexible, durable and sensitive to the requirements of the ever-changing needs of the public. It is not only an attraction point but a social hub for the people.

KNOWLEDGE Each visit can be a different experience, through the resources and the social spaces provided by the organisation within the building. The library is not only a provider of knowledge and information through books but also through the primary method of learning: social interaction.

Skylights

Curved Canopy = Balcony + extension of the civic square

CITIZEN’S BALCONY

WORKING FACILITIES URBAN WORKSHOPS

LOBBY CULTURAL MAGNET

CHILDREN’S WORLD

ADMINSTRATIONS

CAFE

EVENT SPACES

RESTAURANT

MEETING

CAFE

GAMING

EVENT SPACES

PLAYGROUND MULTI-PURPOSE HALL FACILITIES CINEMA MAIN ENTRANCES

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103

The library functions are divided on three levels G Floor

Accessible WC 3

8 1

Learning: The classical, serene library

Doing: Interactive, technology, flexible climate control darkened, multifunctional space

LEARNING DOING SHARING EARTH

Main

Checkout

Drop-in computers

Restaurant Oodi

Returns

Playground Loru

Multi-purpose hall

Europa experience

Buildings for cultural activities └ Conference halls

Buildings for recreational activities └ Auditoriums and music centres

Buildings for other cultural activities └ Education buildings └ Information centres and areas └ Other education centres Buildings for offices and professional practices └ Offices └ Commercial buildings └ Bars, Cafeterias └ Restaurants Buildings for recreational activities └ Theatres └ Cinemas

Accessible WC 161 5 7

1 1

2 1 1 11 1

Child care room

Toilet

Info

8 9 6

4 2 2 2

Group rooms

Game rooms

Urban workshop

Lerning Spaces

Workstations

8 Reading room

Studios

Copying

Living lab

Prams

Cafeteria

Info

Cinema

Additional

Buildings for cultural activities └ Libaries and media libraries

Buildings for travel and tourism └ Information and reception centres

1 Floor

2 Floor

6 7

5 4

Info

Sharing: Quick visits, events, encounters, live content

Programme Uses SKY

Cafeteria

2 3

Children and families

Other languages

Adult’s nonfiction

Event space

Children’s collections

Board games

Story room

Music

Adult’s Fictions

Reservations

Magazines

Young adults’ collections, LGBTQIA+, Films, Comics, Console games, Board games

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105

Programme - Visual Connectivity

ESCALATOR

PUBLIC LIFT

The second floor is an open floor plan topped with an undulating cloudlike ceiling. A peaceful, tranquil environment encourages the public to read, learn, think, and to enjoy themselves. From this level, one can enjoy an unobstructed 360-degree panorama view of the city centre. PUBLIC STAIRS

PUBLIC LIFT

2 FLOOR : 360 panoramic view to the city

2 FLOOR

1 FLOOR : Low visibility due to the undulating structure The middle floor consists of flexible irregularly shaped rooms and corners, inhabiting the spaces between the trusses of the bridge structure. The enclosed spaces with less exterior views are planned to serve both noisy and quiet activities.

1 FLOOR

SKY LEARNING

G FLOOR : Main view is the connection of main entrance with the public square

DOING SHARING EARTH

G FLOOR Vertical Connection Between Each Floors They are all connected by three different vertical connections

The Plaza in front of the building seamlessly continues inside the ground floor level of the library building. The technical solution has enabled the concept of a column-free public area to maximize the accessibility and visibility of the program.

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107

Spatial Sequence - Circulation

Spatial Sequence - Vertical Circulation

Black spiral staircase

(Croviking, 2018)

Escalators on the ground floor (Uusheimo, 2019) Entrances/ Exists From entrances to stairs / from stairs to exists From entrances to lifts / from lifts to exists

Spiral Stair

From entrances to escalators / from escalators to exists

Escalators

ALA Architects tried to achieve the interplay between the three individual floors as a key concept. Every three floors have different atmosphere based on different activities, and stairs, escalators and lifts link each space so, it plays a role as transition spaces. The horizontal circulations are connected with vertical circulation mostly in the middle space of each floor. The main horizontal movement is straight in widthways.

The main vertical circulations are a black spiral stair and escalators. During the journey of vertical movement, visitors can feel the change of atmosphere; the bustling and noisy ground floor, the slightly active and less noisy middle floor, and the calm top floor.

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109

Spatial Sequence - Horizontal Circulation

Atmosphere - Exterior/ Interior Exterior

Ground floor

Theatre / exibition user Other user (other activities purposes; studio, game room, rab ...) Ground floor lobby

(Uusheimo, 2019)

1st floor Exterior at the day

Exterior at the night sketches

Interior

Multi-functional space users (gaming, recording, playing, meeting, experimenting and studying)

1st floor social space

(Helmet-kirjasto, 2018)

2nd floor

Library user (no kids) Library user (with kids)

The ground floor is a public space open to all as part of the public square. Also, there are restaurant, cafe, theatre and exhibition spaces, it has a high transient population. Therefore, it is a horizontally opened space, the circulation is relatively simple for smooth movement. The first floor is a multi-functional space with many spatial divisions on a smaller scale based on the function of each room. The middle area is an opened social space, plays a role in the connection with vertical and horizontal circulations. Also, it is linked to the narrow corridors for accessing small rooms. The top floor is a big open planed library, but space is divided into a grid by bookshelves. Therefore, the movement is regular and spread evenly.

Ground floor sketches 2nd floor library

(Uusheimo, 2019)

Oodi is a landmark on a grand square not less expressive than its surrounding structures each with their feature. Among the cloudy day and dark Finnish night, the building attracts with its curved form and welcoming warmth of timber colours. The ground floorâ&#x20AC;&#x2122;s main entrance leads to a bright open space yet with its corners â&#x20AC;&#x201C; the curved sealing touching the floor creating space reachable only for kids to explore. The First floor strikes with its ambiguousness. Among its low and black sealing with grey surfaces reflecting a warm light and space-consuming structural elements some users feel claustrophobic, others find it intimate and comfortable, which is proved by the great number of users. In contrast

to the enclosed central level reveals itself the top floor with its ceiling intended to represent clouds of heaven. While it is a questionable matter if those curves and skylight resemble the heavens, the lighting seems fitting for the area mainly intended for reading. The variety of seating levels and designs can each find their use for both open and enclosed areas are provided among the wide-open plan. However, such openness periodically causes distracting noise level, cornering some of the users to the more isolated reading spaces.

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111

Second floor sketches

First floor sketches

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113

Threshold - Ground Floor

On the second floor, visitors can enjoy an unobstructed 360-degree panorama view of the city centre, because of the entire glass-wall. There is a large public terrace on the second floor, it doubles the amount of public outdoor space available for library visitors and creates a new destination where people can meet and observe the city below.

Plaza Door Glass-wall Staircase & Escalator Glass-wall

By opening directly to the surrounding cityscape and by dissolving the border between indoor and outdoor areas, the building engages directly with the Toolonlahti area. The large foyer and the glasswalled multi-purpose hall on the ground level act as indoor extensions of the outdoor spaces. There will be three public entrances in the building: one in the south for the main pedestrian flow from the direction of the Central Railway Station, one next to the Kansalaistori square to the west of the building shielded by the overhanging canopy, as well as one for the visitors to the family library and the movie theatre in the northeastern corner.

Terrace Door Glass-wall Staircase & Escalator Glass-wall

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115

Threshold - Internal Transition

Structural Strategy

The spaces for maintenance and library logistics are located at the basement level. There are three different the atmosphere in each floor, and these three floors are connected by staircase, escalator and lift, so visitors can experience the transition of different characters of space by staircase, escalator and lift.

Oodiâ&#x20AC;&#x2122;s spatial concept based on three individual public floors is executed by building the library as an inhabited, asymmetrical bridge spanning over 100 meters over the open ground floor space. The bridge structure consisting of steel trusses and beams is supported by two massive steel arches, tensioned together with a reinforced concrete tension slab. The innovative structural solution has enabled both the construction of the flexible column-free interior spaces and the possibility for the construction of a future road tunnel under the site.

Staircase Public Access Maintenance & Logistics

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117

Structural Strategy - Interior Space

Environmental Strategy - Ventilation The ventilation strategy is based on two main plant areas at both ends of the building and a cost-efficient and clear routing throughout the levels. Efficient heat recovery systems and low energy consumption of the machines themselves are a priority. Natural ventilation has been studied in detail and has excellent potential to enhance both the sustainability and user experience quality of the building. Solar shading and smart outer shell design play a

RETURN AIR EXTRACTED FROM HIGH LEVEL

PLENUM TO DELIVER DISPLACEMENT VENTILATION SUPPLY AIR

significant role in functionality and performance. The design of the building envelope is essential to the passive energy approach adopted by the project team. Detailed analysis of the façade performance has informed the environmental solutions and has allowed the team to minimise the requirement for mechanical environmental control systems, which facilitates the highly flexible architectural solution.

HEAT FROM OCCUPANTS DRAWS IN FRESH AIR AND PROMOTOS STRATIFICA TION OF ‘DIRTY’, HOT AIR TO THE UNOCCUPIED HIGH LEVELS

LOW VELOCITY DISPLACEMENT VENTILATION SYSTEM DELIVERS TEMPERED AIR TO LIBRARY AREA

RETURN AIR FOR DISPLACEMENT VENTILATION SYSTEM TAKEN VIA MEZZANINE LEVEL VOID

GLAZING PROTECTED FROM DOWN DRAUGHTS AND CONDENSATION VIA PERIMETER AIR DIFFUSER

Unlike the traditional building structure like columns, the structural design is supported by two massive steel arcs, columns for this design is not necessary. Therefore, the firstfloor space is allowed to organise different shape of room and area for providing multi-purpose area and create more interesting space for a specific use. As you can see, there is an open area for a user to sit around without any structural columns between them, and the wooden columns throughout this floor are just only for connecting the electricity, but not for the structural purpose.

FRESH AIR SUPPLIED AT ROOM AMBIENT TEMPERATURES MAIN LOBBY AREA HEATING & COOLING DELIVERED BY AIR BASED SYSTEM VIA RAISED FLOOR PLENUM

CHILLED BEAMS PROVIDE NECESSARY COOLING TO OCCUPIED AREAS

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Environmental Strategy - Lighting

Artificial Lighting Natural Lighting

1F The libraryâ&#x20AC;&#x2122;s efficiency in planning and operations can also be observed in its overall passive-energy design approach; the use of Finnish spruce and glass expanses for the facade is sensitive to local climate conditions and maximizes the admission of daylight. The glass facades allow for large amounts of functional daylight in the public areas, reducing the use of artificial light and enhancing the quality of the interior spaces as a multifunctional citizenâ&#x20AC;&#x2122;s forum. However, during different seasons and weather conditions, the light throughout Oodi is an integral part of its architecture, adapting to the various times of the day and seasonal lighting conditions.

GF Natural Lighting and Artificial Lighting on Different Floors

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ARC3013 Architectural Technology 3: Integrating Construction

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=VLMZNTWWZ IQZ KWVLQ\QWVQVO [a[\MU ZML]KM[ \PM P]UQLQ\a PMI\[ \PM QVLWWZ [XIKM IVL PMTX[ \PM ^MV\QTI\QWV

=VLMZNTWWZ IQZ KWVLQ\QWVQVO [a[\MU KWV\ZWT[ \PM P]UQLQ\a ZML]KM[ \PM QVLWWZ \MUXMZI\]ZM IVL PMTX[ \PM ^MV\QTI\QWV

1\ Q[ JI[ML WV \PM QLMI \PI\ Å&#x201D;<PM XI[\ UILM XZM[MV\

:IQV_I\MZ LZIQVIOM KWTTMK\[ ZIQV_I\MZ NZWU \PM ZWWN ZIQV_I\MZ _QTT JM NQT\MZML IVL ZMKaKTML NWZ \WQTM\[

;WTIZ XIVMT[ WV \PM +4< ZWWN XZWL]KM MTMK\ZQKQ\a IVL [\WZM QV \PM JI\\MZQM[

UU \PMZUIT QV[]TI\QWV Q[ IXXTQML \W \PM +4< ZWWN [\Z]K\]ZM \W ZML]KM \PM PMI\ TW[[

,]IT JTQVL[ IZM QV[\ITTML VM`\ \W \PM OTI[[ _ITT[ <PQV JTQVL 8W[[QJTM \W [MM I ^QM_ \PZW]OP \PM JTQVL [UITT IUW]V\ WN TQOP\QVO <PQKS JTQVL .]TTa JTWKS W]\ TQOP\ IVL ^QM_

IVL _QTT UISM N]\]ZMÅ&#x2022; I[ ZMKWZLML PQ[\WZa [PW_[ PW_ [M^MZIT LMKQ[QWV[ _MZM UILM \W W^MZKWUM LQNNQK]T\QM[

22 Clothes changing room 23 Glass Lifts

[WKQIT K]T\]ZIT IVL TMQ[]ZM NIKQTQ\a Q[ TIKSML IT[W UW[\ WN \PM \W_V KMV\ZM ][MZ[ IZM TWKIT XMWXTM NWZ KWV^MVQMVKM

<ZQXTM OTIbML [UIZ\ OTI[[ ZWWN IVL _ITT[ ITTW_ I P]OM IUW]V\ WN VI\]ZIT TQOP\ IVL PMI\ QV \PM [XIKM[ _Q\P TM[[ \PMZUIT TW[[

:MML ZWTT [KZMMV[ \PI\ KWV\ZWT \PM IUW]V\ WN VI\]ZIT []VTQOP\ _Q\PW]\ \PM JTWKSQVO \PM ^QM_ WN [Sa IZM QV[\ITTML ]VLMZ \PM ZWWN [\Z]K\]ZM \W LW I ZWTM I[ I []V[PILM

IT[W \PM UIQV [PWXXQVO IZMI WN *Ta\P 0Q[\WZQKITTa *Ta\P

.QO ?QV\MZ LIa

6I\]ZIT TQOP\ OW QV \PM OZW]VL NTWWZ IVL I XIZ\ WN \PM NQZ[\ JI[MUMV\ \PZW]OP \PM OTI[[ ZWWN IVL _ITT[ \W UQVQUQ[M \PM ][M WN IZ\QNQKQIT TQOP\QVO ;_Q\KPIJTM [UIZ\ OTI[[ ;IOM/TI[[ ZML]KM[ \PM IUW]V\ WN \PM VI\]ZIT TQOP\ IVL PMI\ [XIKM[

10 Lecture Theatre 11 Market storage

) [Q\M Q[ I UIZSM\ XTIKM _PMZM Q[ I \W_V KMV\ZM IVL

.QO ! ;]UUMZ LIa

=VLMZNTWWZ IQZ KWVLQ\QWVQVO [a[\MU ZML]KM[ \PM P]UQLQ\a PMI\[ \PM QVLWWZ [XIKM IVL PMTX[ \PM ^MV\QTI\QWV

=VLMZNTWWZ IQZ KWVLQ\QWVQVO [a[\MU KWV\ZWT[ \PM P]UQLQ\a IVL \MUXMZI\]ZM

.QO ;Q\M 8TIV 5IZSM\ 8TIKM Entrance Fire escapes

.QO /WWOTM 5IX *Ta\P

.QO )`W ,ZI_QVO 5I[[QVO

.QO ;MK\QWV[

/MW\PMZUIT PMI\ X]UX [a[\MU ITTW_[ _IZU _I\MZ _Q\P \PM UQVQUQ[ML ][M WN MVMZOa NWZ PMI\QVO

/MW\PMZUIT PMI\ X]UX [a[\MU ITTW_[ KWTL _I\MZ _Q\P \PM UQVQUQ[ML ][M WN MVMZOa NWZ KWWTQVO _I\MZ -VMZOa [I^QVO NWZ KWWTQVO

.QO " 8TIV[

8:7/:)55)<1+ ;=55):A

.QO ;WTIZ -VMZOa ;a[\MU

6I\]ZIT 4QOP\

=VLMZNTWWZ )QZ +WVLQ\QWVQVO ;a[\MU >MV\QTI\QWV 0MI\QVO IVL +WWTQVO

Summer - 9:00am

2.2mm Electrochromic lite (annealed) Support Lite (heat strengthened)

750mm

Black Silicone Desiccant

Black Obscurration Band

Primary Seal SageGlass Coating

600mm

Interlayer

Sealed Gas-filled Space

Summer - 4:00pm

Sealed Gas-filled Space

Centre Lite (heat strengthened) Inboard Lite (heat strengthened)

600mm

1950mm

210mm

2000mm

SURFACE 2

SURFACE 8

SURFACE 7

SURFACE 6

SURFACE 5

SURFACE 4

EXTERIOR

SURFACE 1

0.09

INTERIOR

SURFACE 3

.QO ! )QZ +WVLQ\QWVQVO ,W_VNTW_ =VQ\ .IV <MZUQVIT =VQ\[ )-< V L

.QO ;UIZ\ ;IOM/TI[[ ;KPä´¹KW Winter - 9:00am

Rainwater gutter

Downflow air conditioning unit

Lecture Theatre Staff area, Storage Public space (Seminar & PC rooms, Cafe, Restaurant, Workshop, Green energy experience zone and shop) Energy museum Ship museum

Private ...................... Public

Winter - 4:00pm

Theatre users Staffs All users Energy museum users Ship museum users

Fan-assisted terminal

Return air grille

Rainwater Filter

Rainwater Storage Tank

.QO 8TIV ;MK\QWV

.QO ;aUUM\Za

.QO ! 0QMZIZKPa

.QO 8ZWOZIUUM

.QO 8ZQ^I\M 8]JTQK

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SECTION 2 1:20 TECHNICAL SECTION + PART ELEVATION STUDY

-@<-:17:

16<-:17:

-@<-:17:

5IZSM\ XTIKM

<PM SMa " [MK\QWV Q[ I XIZ\ WN \PM J]QTLQVO _PMZM LQ^MZ[M UI\MZQIT[ UMM\ \WOM\PMZ _Q\P _I\MZ IZ\QNQKQIT _I\MZ XWWT IVL _PMZM [PW_[ \PM KWVKMX\ I NTWI\QVO [PQX JWI\ KTMIZTa <PM UIQV UI\MZQIT[ WN \PM U][M]U [\Z]K\]ZM IZM +4< OT]TIU OTI[[ IVL KWVKZM\M <PM NIKILM \PI\ NIKQVO \PM UIZSM\ XTIKM IVL \PM ZWWN WN \PM TWJJa KWV[Q[\[ WN UIQVTa [UIZ\ OTI[[M[ _Q\P OT]TIU XW[\[ \W JZQVO QV\MZIK\QWV JM\_MMV QVLWWZ IVL W]\LWWZ [XIKM[ _Q\P I ^QM_ WN [Sa IVL UIZSM\ XTIKM IVL \W UQVQUQ[M \PM JW]VLIZa <PM JI[MUMV\ _QTT JM J]QT\ Ja ZMQVNWZKML KWVKZM\M \PI\ [\ZWVO MVW]OP \W []XXWZ\ \PM J]QTLQVO _MQOP\ IVL P]UQLQ\a IT[W \W XZM^MV\ I KWTTIX[M Ja [WQT[ .QO ;MK\QWV TMN\ .QO -TM^I\QWV UQLLTM .QO )`W LQIOZIU JW\\WU

2 300x50mm Glulam (decoration) 4 Slatted timber with steel connection

4 Rain water Drainage

5 0.7mm zinc sheet

8 9 10 11 12 13 14 15

7 700x320mm Glulam timber

3 4 5 6 7

8 200x200mm Timber studs 9 200mm Foam insulation

glass

thermal

14 15

10 Plywood

Graded Sand

6 Steel fixing battens

8 9

10 11 12

Excavation level

Water heat transfer fluid

35m

12 Slatted timber with steel connection

.QO ;\Z]K\]ZIT -TMUMV\ <MZ\QIZa

U-Tube

11 Dual Blinds with a roller blind box

Hot Water Tank

Borehole

13 300x50mm Glulam (decoration) 7 Aluminium frame + Structurally bonded adhesive + Glazing tap + silicone joints

14 2000x4000mm reed roll screen with U shaped Aluminium frame 15 100x250mm Glulam

30 .QO :WWN -`\MZQWZ ?ITT ,M\IQT[

Grout tube

8 100mm Steel I beam 9 33mm Toughened heat soak laminated glass 10 400mm Reinforced concrete

12 11 10 9 1 2 3 4 5

7 8

1 400mm Reinforced concrete 2 120mm Foam insulation

glass

thermal

22 18

19 20 21 23 24

3 Polymer bitumen membrane 4 Ground (Soil)

5 600x300mm Stone tile 6 Underfloor Ventilation System: Fantile unit, Supply Air Grille, Acoustic attenuator with dust box 7 75x75x200mm Pedestal 8 Indirect Light Box: LED strip lighting -`PQJQ\QWV ;XIKM

9 Fixing battens

25 26

10 120mm Acoustic insulation 11 Mortar setting bed + Scratch coat 12 600x300x25mm stone tile with mortar joint

.QO *I[MUMV\ +WVKZM\M .TWWZ ?ITT ,M\IQT[

Water Supply

Heat pump

Pipe spacer

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Power Connection

11 Water proofing paint

5][M]U 4WJJa

;<:=+<=:)4 ;<:)<-/A )6, +76;<:=+<176 ;-9=-6+16/ 200mm XPC insulaion

5 Polymer bitumen membrane

6 Polymer bitumen membrane

.QO <PM =VLMZNTWWZ )QZ +WVLQ\QWVQVO ;a[\MU )-< V L

0.3m 0.1m

3 0.7mm zinc sheet

3 100x200 Glulam timber

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1 Triple pane SageGlass (Electrochromic switchable Low E insulating glass) with aluminium frame

2 3000x1750mm Triple pane SageGlass (Electrochromic switchable Low E insulating glass) with silicone joints

.QO :IQV_I\MZ +WTTMK\QWV IVL :MKaKTQVO ;a[\MU

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1 250x800mm Glulam beam with steel connection

<-+061+)4 ;-+<176 8):< -4->)<176 "

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12 Mortar surface 13 Natural stone slate 14 Wood fixing battens 15 200mm Foam glass thermal insulation 16 Slatted timber 17 Wood fixing battens 18 200mm Cross laminated timber 19 12.5mm Acoustic insulation 20 600x300mm Flooring tile 21 75x75x200mm Pedestal 22 Aluminium frame + Structurally boned adhesive + Glazing tape + silicone joints 23 100x200mm Timber 24 33mm Toughened heat soak laminated glass 25 Vertical slatted timber grill with interconnecting aluminium dowels 26 250x800mm Glulam beam with steel connection 27 250x800mm Glulam beam 28 250x400mm Glulam beam 29 Wood fixing battens 30 White painted wood

110mm .QO +TW[ML 4WWX ;MK\QWVIT ,QIOZIU /IZU[QZQ

Geothermal vertical Heat pump system tubes

.QO >MZ\QKIT +TW[ML 4WWX 1V[\ITTI\QWV 2WPV

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Rainwater Storage Tank

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.QO ;\Z]K\]ZIT -TMUMV\ 8ZQUIZa

Exterior Tertiary structure - Main entrance Glass wall with Steel frame

CLT stairs/ Reinforced concrete fire escape stairs

Interior Secondary Structure Glulam beams

Interior Primary Structure Glulam posts + CLT walls

Exterior Primary Structure Reinforced Concrete Walls + Roof (Entrance)

Glass lifts

CLT stairs/ Reinforced concrete fire escape stairs

Exterior secondary Structure Glass with Steel frame

Primary Lecture Theatre Structure Reinforced concrete walls and floor

Interior Primary Structure CLT walls and floors + Glulam posts

Exterior Tertiary Structure - Cladding Slatted Timber + Timber block

Exterior secondary Structure Glass with glulam mullions + Steel framed windows

Interior Primary Structure CLT walls and floor

Exterior Primary Structure glulam post + CLT/ Reinforced concrete wall

Foam glass thermal insulation + Polymer bitumen membrane

CLT panel (Office roof)

Reed roll screen - Ceiling, Sunshade

Primary Roof Structure Glulam beam

Secondary Roof Structure Glass/ CLT roof with zinc

125

Solar panels

124

)XXZW^ML ,WK]UMV\ 5

Thermal insulation CLT Wall

Waterproof membrane Fixing battens Wood block (Cladding)

)XXZW^ML ,WK]UMV\ 3

9.44m

<PM \PZM[PWTL TM^MT NWZ IKKM[[QJTM MV\ZIVKM Q[ ZMKWUUMVLML \W JM [IUM I[ \PM OZW]VL _Q\PW]\ ]X[\IVL IVL [TWXM[ WZ ĹŚ UU <PM â&#x20AC;Ť ÚĄâ&#x20AC;ŹIVL â&#x20AC;Ť Ú˘â&#x20AC;ŹIKKM[[QJTM MV\ZIVKM[ PI^M I NTI\ \PZM[PWTL 6W TM^MT LQNNMZMVKM

Timber studs

Interior

2.38m

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8I[[MVOMZ TQN\ KIZ[ LQUMV[QWV [PW]TL JM UQVQU]U ` UU <PMZM IZM \PZMM TQN\[ QV \W\IT \PM LQUMV[QWV[ WN \PM TQN\ KIZ[ IZM ` UU

Interior

10.66m

3.7m

â&#x20AC;ŤÚĄâ&#x20AC;Ź

4.9m

PEDESTRIAN ROAD

Plywood

.1O 7^MZITT *]QTLQVO -TMUMV\[

-2 basement

-1 basement

Ground floor

150mm CLT

Ramp

1800mm

1700mm

1000mm

Disability toilets Steel I beam

Glulam Beam

Water

Glass Automatic sliding door

Access routes

PEDESTRIAN ROAD

4.9m

â&#x20AC;ŤÚĄâ&#x20AC;Ź

Distances/ Dimensions Interior

Museum entrances

1000mm

â&#x20AC;ŤÚ˘â&#x20AC;Ź

1700mm

.QO .ZWU <PM -`\MZVIT 4IVL[KIXM <W <PM ,Q[IJTM =[MZ[ -V\ZIVKM -V\ZIVKM )VL :WIL ,QUMV[QWV

1100mm

Glass Automatic sliding door (Single)

CAR ROAD

.QO -`\MZQWZ 1V\MZQWZ /T]TIU ?ITT ?Q\P ?ITS 7V /TI[[ :WWN ,M\IQT

.QO 1V\MZVIT ;\IQZ[ ,QUMV[QWV 0IVLZIQT ,M\IQT

.QO )`W 1V\MZVIT ;\IQZ[ ,QUMV[QWV 0IVLZIQT ,M\IQT

.1:- ;<:)<-/A 8):< *

SECTION 4 STUDIO SPECIFIC TECHNICAL RESEARCH 41/0<16/

)XXZW^ML ,WK]UMV\ * )[[MUJTa IVL ZMKZMI\QWV 5][M]U

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3900mm

Staircases

Fixing battens

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2000mm

Handrails continue from the beginning to the end of the stairs above 1000mm from the ground

Lifts (Museum)

Slatted timber Aluminium frame Glass

Timber studs

Roof

Accessible entrances (Automatic)

Harzard warning surface â&#x20AC;&#x2DC;corduroyâ&#x20AC;&#x2122; on the each steps for advance warning of the level changes

â&#x20AC;ŤÚ˘â&#x20AC;Ź LED Lightings are inserted above the handrails and illuminate it

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Thermal insulation

1900mm

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2.1m

CAR ROAD

Waterproof membrane

170mm 60mm

0IVLZIQT[ NWZ [\IQZ[ [PW]TL JM XW[Q\QWVML JM\_MMV ! IVL UU NZWU \PM XQ\KP TQVM WZ NTWWZ <PM PIVLZIQT[ NWZ \PM [\IQZKI[M IZM LM[QOVML \W TWKI\M IJW^M UU NZWU \PM XQ\KP TQVM LECTURE THEATRE

Exterior

Glulam Post

90mm

50mm

I )V ]VWJ[\Z]K\ML UQVQU]U TMVO\P WN MIKP TIVLQVO Q[ UU <PM [\IQZKI[M PI[ ` ! IVL ! ` UU TIVLQVO[

5QVQU]U _QL\P WN M`\MZVIT LWWZ[ \W OMVMZIT X]JTQK J]QTLQVO[ Q[ UU QV \PM KI[M WN VM_ J]QTLQVO[ <PM â&#x20AC;Ť ÚĄâ&#x20AC;ŹIVL â&#x20AC;Ť Ú˘â&#x20AC;ŹLWWZ[ PI^M UU IVL UU _QL\P MIKP

.QO +4< ?ITT ,M\IQT

300mm 100mm 230mm

) UQVQU]U [\IQZ _QL\P Q[ UU NWZ J]QTLQVO[ W\PMZ \PIV L_MTTQVO[ <PM [\IQZKI[M _QL\P Q[ UU

<PM UW[\ [I\Q[NIK\WZa LWWZ NWZ UW[\ XMWXTM Q[ I XW_MZML LWWZ <PM â&#x20AC;Ť ÚĄâ&#x20AC;ŹIVL â&#x20AC;Ť Ú˘â&#x20AC;ŹLWWZ[ IZM I]\WUI\QK [TQLQVO LWWZ[ Ja [MV[WZ[ 1\ KIV ZML]KM IVa ZQ[S[ ZMTI\ML \W [_QVO LWWZ[ IVL LWM[ VW\ ZMY]QZM XPa[QKIT XW_MZ NWZ LWWZ WXMVQVO

Exterior

;M\ KWV[\Z]K\QWV NMVKM[ NWZ [INM\a

) ZQ[M NWZ I OMVMZIT IKKM[[ [\IQZ [PW]TL JM UQVQU]U UU IVL UI`QU]U UU \PM OWQVO [PW]TL JM UQVQU]U UU IVL UI`QU]U UU <PM [\IQZKI[M NWZ \PM M`PQJQ\QWV PITT IKKM[[ NZWU \PM TWJJa PI[ UU ZQ[M IVL UU OWQVO

4.39m

MARKET SQUARE

4QUQ\I\QWV[ WV \ZI^MT LQ[\IVKM PWZQbWV\ITTa NWZ IZMI[ _Q\P [MI\QVO QV ZW_[ []KP I[ \PMI\ZM Q[ UI`QU]U U QV \PM KI[M UWZM \PIV WVM LQZMK\QWV MT[M_PMZM Q[ U <PMZM Q[ I \W\IT WN NW]Z NQZM M`Q\[ VMIZ \PM TMK\]ZM \PMI\ZM UI`QU]U LQ[\IVKM Q[ U NZWU \PM \PMI\ZM <PM LQ[\IVKM[ NZWU \PM W\PMZ XTIKM[ \W M`Q[\[ IZM TM[[ \PIV U

<ZILQ\QWVIT 3WZMIV PW][M 0IVWS PI[ IV WXMV [\Z]K\]ZM \W ITTW_ _IZU []VTQOP\ IVL NZM[P IQZ[ PW_M^MZ IT[W JZQVO ]V_IV\ML [\ZWVO []VTQOP\[ M[XMKQITTa L]ZQVO PW\ []UUMZ *IUJWW IVL ZMML [KZMMV[ _MZM ][ML \W UQVQUQ[M \PM ]V_IV\ML QUXIK\ WN []VTQOP\ Q\ Q[ KITTML *IT 1 \ZQML \W IXXTa \PM \ZILQ\QWVIT MTMUMV\ JI[ML WV \PM _Q[LWU WN IVKM[\WZ[ \W UWLMZV IZKPQ\MK\]ZM

21.51m

36.28m

32.86m 43.8m

)Z\QNQKQIT TQOP\QVO WN M[KIXM ZW]\M[ [PW]TL JM WNNMZML -UMZOMVKa NTWWZ TQOP\QVO _QTT JM M^MZa M[KIXM ZW]\M[ _Q\P LQZMK\QWV UIZS \W_IZL VMIZM[\ M`Q\[ -`Q\ [QOV[ IZM VMMLML M^MZa LWWZ_Ia WZ W\PMZ M`Q\ XZW^QLQVO IKKM[[ \W I UMIV[ WN M[KIXM -`Q\ [QOV _QTT JM TWKI\ML WV \WX WN M[KIXM LWWZ[ IVL KWZZQLWZ[

:MML ZWTT [KZMMV KZMI\M I _I^ML KMQTQVO \PI\ [aUJWTQ[M[ \PM [IQT[ WN I [PQX IVL \PM NTW_ WN _I\MZ IVL \QUM <PQ[ \MKPVQKITTa LWM[ I ZWTM \W ZML]KM [\ZWVO []VTQOP\ QUXIK\ J]\ SMMX IQZ UW^MUMV\ IVL \PM ^QM_ WN \PM [Sa 1V ;W]\P 3WZMI ZMML IVL JIUJWW [KZMMV PI^M JMMV ][ML JW\P JIUJWW ZWTT [KZMMV _I[ UWZM KWUUWVTa ][ML QV 2IXIV 0W_M^MZ 1 LMKQLM ZMML \PI\ Q[ TQOP\MZ IVL KPMIXMZ \PIV JIUJWW _Q\P PQOP NTM`QJQTQ\a \W IKPQM^M \PI\ I KMQTQVO [_Ia[ TQSM I ZMIT _I^M _Q\P \PM [XMKQIT OMV\TM [W]VL WN \PM ZMML Ja _QVL JTW_QVO

23.27m

33.77m

14.61m

32.17m

34.17m

;M\ UW]TL[ IVL [\MMT[ XW]Z KWVKZM\M NWZ TMK\]ZM \PMI\ZM IVL 1V[\ITTI\QWV WN \PM /ZW]VL NTWWZ +4< NTWWZ[ _ITT[ IVL OT]TIU 8]\ OT]TIU JMIU[ IVL +4< XIVMT[ NWZ \PM ZWWN KWV[\Z]K\QWV \PM MV\ZIVKM KWV[\Z]K\QWV 8]\ NQZ[\ JI[MUMV\ +4< NTWWZ[ IVL [\Z]K\]ZM _Q\P NIKILM [\Z]K\]ZM[ _ITT[ _Q\P OT]TIU XW[\[ IVL JMIU[ NWZ \PM OTI[[ NIKILM

.QO +WVKMX\ ,QIOZIU

23.61m

.QO 2IXIV *IUJWW *TQVL 6I^Q <WX <WVLIJIaI[PQ ]VLMZ

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8]\ /TI[[ \PMZUIT QV[]TI\QWV IVL _I\MZXZWWN UMUJZIVM ;M\ \QUJMZ JTWKS IVL [TI\\ML \QUJMZ KTILLQVO 1V[\ITTI\QWV WN ! ,MTQ^MZQVO XZMNIJZQKI\ML UIZSM\ J]QTLQVO[ \W \PM [Q\M +W^MZQVO ZWWN ][QVO bQVK [WTIZ XIVMT[ WV \PM ZWWN 4IVL[KIXQVO IVL XTIV\QVO

Opening Protected Concrete Staircase Staircases Lifts Escape Routes Travel Distances for Escape

.QO .QZM ;\ZI\MOa ,QIOZIU

Fire Escape Self-closing Fire Doors/Shutters Refuge Zone Evacuation Chair Fire Hydrants .QO :MML :WTT ;KZMMV ?M)ZM>MZa !

P -`\MZVIT [\IQZ[ [PW]TL PI^M VW UWZM \PIV ZQ[MZ[ NWZ I OWQVO$ UU QV I NTQOP\ WZ VW UWZM \PIV ZQ[MZ[ NWZ I OWQVOĹ§ UU <PM ZQ[MZ PMQOP\[ WN â&#x20AC;Ť ÚĄâ&#x20AC;ŹIVL â&#x20AC;Ť\[ Ú˘â&#x20AC;ŹIQZ[ IZM UU â&#x20AC;Ť ÚĄâ&#x20AC;Ź [\IQZ[ PI^M ZQ[MZ[ QV I NTQOP\ â&#x20AC;Ť Ú˘â&#x20AC;ŹPI[ ZQ[MZ[ R ) [\MX VW[QVO [PW]TL JM TW_MZ \PIV UU <PM VW[QVO[ WN â&#x20AC;Ť ÚĄâ&#x20AC;ŹIVL â&#x20AC;Ť\[ Ú˘â&#x20AC;ŹIQZ[ IZM UU

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170352066 Rituals

CRITICAL REFLECTION

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My graduation project is 'The Museum of Blyth Industry' for the growth of the local economy and society. The current Blyth economic condition is closer to recession or slowdown of economic performance, the number of a facility for social activity and society is deficient with the lack of activities for tourists. The project is planned to offer a space for self-learning and educational programme for the public (include local and tourists) with social activity, and also publicise Blyth history and industry. The museum design and concept has also affected a ritual of contemplation (the act of deep thinking, the observation of inner side or other things and finding enlightenment or answer) to encourage individuals spontaneous behaviours for local and personal growth. Therefore, I set the key concept that is 'a sailing boat that brings people to better future', the museum will do a role to offer a chance people can concentrate their memories and history to find the next direction of future and answer through the contemplative exhibition hall.

The structure of the exhibition hall (-2 basement) consists of mainly glulam posts and beams, and the main material of the upper floors inner structure is CLT panels. For the exterior structure above the ground is mainly glass with glulam structure to minimise the boundary of indoor and outdoor space visually. This overall structure is planned that the inner building looks like a floating boat. The reason I used wood materials mainly for the museum is for sustainability and responsibility of climate change. Furthermore, the currently Blyth is focusing on the industry of sustainable energy such as biomass and wind energy and walking toward a green future. Therefore, I applied wood material and sustainable energy system in the building as a follow of their urban planning strategy.

Ceiling reflection Side Wall reflection

Roof FL + 5,000

For the studio-specific study, I focused on atmosphere, especially lighting and acoustic, related to a specific ritual. Human continuously interacts with space and feel the atmosphere through senses; hearing, sight, touch, smell and taste. Space and atmosphere can promote specific behaviours. Space consists of diverse physical building elements such as building materials for structure and finishing in various shape and sensory elements such as lighting and sound, it makes a special atmosphere. I tried to make a sacred atmosphere with the reflection of the two past Blyth industries (coal mining and shipbuilding) for the exhibition hall using lighting, material and acoustic control. I decided to use rough stone slates and tiles to express sunken situations of two past industries. Also, I planned overall brightness of the space darker with bringing natural light through the water on a glass roof into the exhibition hall. This special lighting effect and dark space with the rough texture of materials will bring calmness and sereneness, help concentration with the delivering the feeling that visitors themselves are in the past or coal colliery and shipbuilding site.

Direct sound Speaker

During the current design project and the report, I learnt how design idea, structure and any other building elements with environmental/ service strategy can be together and how these elements can make the concept stronger.

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BIBLIOGRAPHY

LIST OF ILLUSTRATION

AET (n.d.) How Ufac Works. [ebook] Available at: <https://www.ribaproductselector.com/ Docs/2/15672/external/COL130655.pdf> [Accessed 1 May 2020].

Fig.1 Concept (author,2020)

ArchDaily (2017) Freemenâ&#x20AC;&#x2122;S School Swimming Pool / Hawkins\Brown. [online] Available at: <https://www.archdaily.com/885514/freemens-school-swimming-pool-hawkins-brown> [Accessed 1 April 2020]. ArchEyes (2016) Roof Sentiment Installation In Seoul By SOA - Society Of Architecture. [online] Available at: <https://archeyes.com/roof-sentiment-soa-society-architecture/> [Accessed 20 April 2020]. Baldwin, E. (2020) Architectural Details: The Stunning Glulam Beams Of London Freemen's School Pool - Architizer Journal. [online] Architizer. Available at: <https://architizer.com/blog/ practice/details/freemens-school-pool/> [Accessed 2 April 2020]. Domus (2015) Soa: Roof Sentiment. [online] Available at: <https://www.domusweb.it/en/ news/2015/09/04/soa_roof_sentiment.html.> [Accessed 19 April 2020].

Fig.2 Site Plan - Market Place (author, 2020) Fig.3 (Google map, 2020) Fig.4 Axo Drawing- Massing (author, 2020) Fig.5 Sections (author, 2020) Fig.6 1:500 Plans (author, 2020) Fig.7 Plan & Section (author, 2020) Fig.8 Symmetryy (author, 2020) Fig.9 Hierarchy (author, 2020)

Energy Saver (n.d.) Geothermal Heat Pumps. [online] Available at: <https://www.energy.gov/ energysaver/heat-and-cool/heat-pump-systems/geothermal-heat-pumps> [Accessed 17 April 2020].

Fig.10 Private & Public (author, 2020)

HM Government (2013) Approved Document K Protection From Falling, Collision And Impact.

Fig.12 Circulation (author, 2020)

HM Government (2015) Approved Document M Access To And Use Of Buildings.

Fig.13 Section (left) (author, 2020)

HM Government (2019) Approved Document B Fire Safety.

Fig.14 Elevation (middle) (author, 2020)

Steven (2020) Open Loop Vs. Closed Loop Geothermal. [online] Available at: <https://iwae.com/ resources/articles/open-loop-vs-closed-loop-geothermal.html> [Accessed 8 April 2020].

Fig.15 Axo diagram (bottom) (author, 2020)

Regina Weber, M. (2015) Glass Construction. Detail,. Sageglass (2020) Performance & Acoustical Data. [online] Available at: <https://www.sageglass. com/sites/default/files/mkt-043_performance_and_acoustical_data_flyer.pdf> [Accessed 6 April 2020]. Sageglass (2020) Product Sheet IGU. [online] Available at: <https://www.sageglass.com/sites/ default/files/scs_046_igu_cutsheet.pdf> [Accessed 4 April 2020]. scape, D. (2013) Roof Sentiment | Lab D+H. [online] Dhscape.com. Available at: <http://dhscape. com/projects/roof-sentiment/> [Accessed 12 April 2020]. Stil-acoustics (2020) Slatted Timber Ceilings | Slatted Timber Walls. [online] Available at: <http://stil-acoustics.co.uk/Timber-Acoustic/Fine-Line.html> [Accessed 21 April 2020]. Tuffx Glass (2020) Walk On Glass Floors | Structural Glass Flooring | Tuffx Glass. [online] Available at: <https://www.tuffxglass.co.uk/products/walk-on-glass-floors/> [Accessed 4 April 2020].

Fig.11 Programme (author, 2020)

Fig.16 Roof/ Exterior Wall Detailis (author, 2020) Fig.17 Basement Concrete Floor/ Wall Details (author, 2020) Fig.18 Glass Roof/ Interior Floor and Walls/ Exterior Glass Wall Details (author, 2020) Fig.19 Summer day (author, 2020) Fig.20 Summer night (author, 2020) Fig.21 Winter day (author, 2020) Fig.22 Winter night (author, 2020) Fig.23 Summer/ Winter and Day/Night - Natural light (author, 2020) Fig.24 Smart SageGlass (author, 2020), Schä´šco (2017) Die Innovative GlaslĂśsung Sageglass. [image] Available at: <https://www.youtube.com/watch?v=zREDyirnw40&app=desktop> [Accessed 1 May 2020].

Fig.25 Smart SageGlass (Schä´šco, 2017)

Fig.46 Lighting Towards Fire Escape (author, 2020)

Fig.26 Solar Energy System (author, 2020)

Fig.47 Emergency Assembly Point (author, 2020)

Fig.27 Rainwater Collection and Recycling System (author, 2020)

Fig.48 From The External Landscape To The Main Entrance (author, 2020)

Fig.28 Diagram - Ventilation, Heating and Cooling (author, 2020)

Fig.49 Stair Section Detail (author, 2020)

Fig.29 Air Conditioning Downflows Unit/ Fan Terminal Units (author, 2020), AET (n.d.) How Ufac Works. Available at: <https://www.ribaproductselector.com/Docs/2/15672/external/COL130655. pdf> [Accessed 1 May 2020].

Fig.50 External Landscape And Main Entrance Section (author, 2020)

Fig.30 The Underfloor Air Conditioning System (AET, n.d.)

Fig.52 From The External Landscape To The Disable User Entrance - Entrance And Road Dimension

Fig.31 Closed-Loop Sectional Diagrm (author, 2020), Garmsiri, S., Kouhi, S. and Rosen, M. (2014) Recovery Of Sewer Waste Heat Vs. Heat Pumps Using Borehole Geothermal Energy Storage For A Small Community Water Heating System: Comparison And Feasibility Analysis. [online] Semanticscholar.org. Available at: <https://www.semanticscholar.org/paper/Recovery-of-SewerWaste-Heat-vs.-Heat-Pumps-Using-a-Garmsiri-Kouhi/7c13c85174a9d2d1e6e4b8c50632132fbe06be dd> [Accessed 23 April 2020]. Fig.32 Vertical Closed-Loop Installation - John, L. (2013) Installation Of A Closed Loop Vertical Well Geosystem - Replacing Open Loop Well System. [online] Youtube. Available at: <https:// www.youtube.com/watch?v=zIiMliQfsOE> [Accessed 28 April 2020]. Fig.33 Geothermal Vertical Closed-Loop (author, 2020) Fig.34 Structural Diagram (Ground floor, -1 floor and -2 floor) (author, 2020) Fig.35 Structurl Element (Tertiary) (author, 2020) Fig.36 Structural Element (Secondary) (author, 2020) Fig.37 Structural Element (Primary) (author, 2020) Fig.38 Overall Building Element (author, 2020) Fig.39 Glulam Post And Beam Connection (author, 2020) Fig.40 Glulam Primary Structure With Zinc Sheet + Decorative Timber Element (author, 2020) Fig.41 CLT Wall Detaiil (author, 2020) Fig.42 Exterior Interior Glulam Wall With Walk-On Glass Roof Detail (author, 2020) Fig.43 Construction Sequencing (author, 2020) Fig.44 Fire Strategy Diagram (author, 2020) Fig.45 Fire Escape Concrete Stairs (author, 2020)

Fig.51 From The External Landscape To The Disable Users Entrance (author, 2020)

Fig.53 Internal Stairs Dimension/ Handrail Detail (author, 2020) Fig.54 Axo- Internal Stairs Dimension/ Handrail Detail (author, 2020) Fig.55 Concept Diagram (author, 2020)

GL -3,000 Market square floor level

Fig.56 Reed Roll Screen - WeAreVery (2019) Window Reed Screen. [online] Available at: <https:// smartstore.naver.com/clickselect/products/4815915142?NaPm=ct%3Dk9nwflyg%7Cci%3Da780ef5 65d596dd99ccd299308a5cd114f3e5f23%7Ctr%3Dimg%7Csn%3D452586%7Chk%3De89da088feb6 48ae7440f43c374105305495eb51> [Accessed 30 April 2020].

Fig.57 Waved Reed Ceiling Design (author, 2020)

14 1

Roof Construction: 0.7mm zinc sheet, Polymer bitumen membrane, 100 x 300mm Glulam timber Ceiling joists, 3000 x 1750mm Triple pane SageGlass(Electrochromic switchable Low E insulating glass) with silicone joints

Roof Edge Construction: 0.7mm zinc sheet, Polymer bitumen membrane, 700 x 320mm Glulam timber; Rainwater dranage system: Painted aluminium gutter

Facade Construction (top): Plywood, Wood fixing battens, 200mm Foam glass thermal insulation, timber studs (diverse sizes), Polymer bitumen membrane, 0.7mm zinc sheet, Steel fixing battens, Slatted timber with steel connection

Ceiling Sun Shade System: 2000 x 4000mm Reed roll screen with U shaped Aluminium frame; Facade Sun Shade System: Dual Blinds with a roller blind box

Transom and mullion facade: Triple pane SageGlass(Electrochromic switchable Low E insulating glass) with aluminium frame

Walk on Roof with Water: 33mm Toughened heat soak laminated glass, Structurally boneded adhesive, Glazing tape, Aluminium frame, Silicone joints, 100mm Steel I beam

Walk on glass (Interior): 33mm toughened heat soak laminated glass, Structurally boneded adhesive, Glazing tape, Aluminium frame

Wall Construction (left to right): Slatted timber with fixing joints, Wood fixing battens, 200mm Foam glass thermal insulation, Timber studs (diverse sizes), Wood fixing battens, White painted plywood

First Basement floor Construction: 600 x 300mm Flooring tile, Pedestal, 12.5mm Acoustic insulation, 200mm Cross laminated timber; Underfloor Ventilation System: Fantile unit, Supply Air Grille, Acoustic attenuator with dust box

Fig.58 Japan- Bamboo Blind - NAVI (2018) Difference And Usage Of Blinds And Reeds. [online] Available at: <http://sumonavi.jp/news/detail/?id=166> [Accessed 1 May 2020]/ Tomitabayashi City Office (2018) Traditional Crafts In Tondabayashi. [online] Available at: <https://www.city. tondabayashi.lg.jp/soshiki/36/1504.html> [Accessed 1 May 2020]. Fig.59 South Korea- Bamboo/ Reed Blinds - Korea Cultural Heritage Foundation (2018) Korea Cultural Heritage Foundation. [online] Available at: <http://www.k-heritage.tv/brd/board/256/ L/CATEGORY/614/menu/253?brdType=R&thisPage=3&bbIdx=16783&searchField=&searchText=> [Accessed 1 May 2020]/ Yim, D. (2019) Interview With Master Jo Dae-Yong And The Architects Jang Young-Chul And Chun Sook-Hee. [online] Walkinto Korea - Korea Tourism. Available at: <http://www.walkintokorea.com/news/articleView.html?idxno=164> [Accessed 1 May 2020]. Fig.60 Precedent: Roof Sentiment, South Korea - Reed Blinds - Shin, K. (2016) Roof Sentiment Installation In Seoul By SOA - Society Of Architecture. [online] ArchEyes. Available at: <https:// archeyes.com/roof-sentiment-soa-society-architecture/> [Accessed 1 May 2020].

-1 FL - 5,000

Fig.61 Expected Light Quality By Water - Curiosity (2012) Musee De L'archeologie SousMarine, Monaco_ Ateliers Jean Nouvel. [online] Available at: <http://visual-curiosity.blogspot. com/2012/09/musee-de-larcheologie-sous-marine_11.html> [Accessed 1 May 2020]. Fig.62 Water Reflection Natural Lighting Effect (author, 2020) Fig.63 Exhibition Hall Section - Indoor, Outdoor Water Lighting Effect (author, 2020)

Fig.64 Section Of The Lecture Theatre Sky Light (author, 2020)

Fig.65 Theatre Precedent - Gahl, C. (2020) Qingdao Grand Theater | GMP Architekten - Arch2o. Com. [online] Arch2O.com. Available at: <https://www.arch2o.com/qingdao-grand-theater-gmparchiteken/> [Accessed 1 May 2020]. Fig.66 Lecture Theatre - Acoustic Ceiling Design (author, 2020)

11 -2 FL - 10,000

ARC 3013 INTEGRATING CONSTRUCTION 0A-415 4-- ;\]LQW :Q\]IT[ 3I\Q *TWU +ZIQO /ZIa 2WPV 3QV[TMa

10 Second Basement Ceiling Construction: Plywood, Vertical Slatted timber grill with interconnecting aluminium dowels 11 Second Basement Floor Construction: 600 x 300mm Stone tile, 75 x 75 x 200 Pedestal, 400mm Reinforced concrete, 120mm Foam glass thermal insulation, Polymer bitumen membrane; Underfloor Ventilation System: Fantile unit, Supply Air Grille, Acoustic attenuator with dust box 12 Second Basement Post and Beam Primer Structure: 250 x 250mm Glulam post with steel connection; 250 x 800mm Glulam beam with steel connection

13 Second Basement Wall Construction: 600 x 300 x 25mmStone tile with mortar joint, Mortar setting bed, Scratch coat, 120mm Acoustic insulation, Wood fixing battens, 400mm Reinforced concrete, 120mm Foam glass thermal insulation, Polymer bitumen membrane; Indirect Light Box: LED strip lighting

14 Pond Construction: Natural Slate, Mortar surface, Water proofing paint, Angle fillet, 400mm Reinforced concrete, 120mm Foam glass thermal insulation, Polymer bitumen membrane

128

129

ARC3014 Professional Practice and Management 3.1

â&#x2014;&#x2020;suggesting detailed plans and working drawings with construction management and completion of the landscaping project.

- Building Services Engineer The building services engineer is also needed to work with the design team from the early design stage for the effective integration and detailed design with time saving 5. The engineer is required to advice mechanical/ electrical services of the project with the responsibility of â&#x2014;&#x2020;ensuring to suggest sustainable solutions for a comfortable environment (water, heating, cooling, lighting, ventilation etc) â&#x2014;&#x2020;suggesting proper plans or drawings about the layout of services materials such as water pipes and ventilation systems with the monitoring of whole installation process6

ARC3014 PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK REPORT

Keeping to Budget

The Quantity Surveyor (QS) will be hired by the client in stage 1, is responsible for the cost planning and management of the needs and agreements by the client and contractor7. The QS will plan and estimate costs during various stages. At the early stage of design, it will be calculated approximately based on the other similar building and size to set the basic range of the budget. In stage 2, the cost plan will be made how much should be spent on speciďŹ c parts or elements within the project. The architect will continue the discussion and compromise to update the estimated project budget with the client using the elemental method based on the Building Cost Information Service (BCIS) cost structure during the design development process before stage 48. The QS will do cost check to ensure the possibility of the construction within the budget before the construction stage. When the construction starts, the QS will monitor the cost of how much was consumed for the project, submit periodic ďŹ nancial reports and bills of quantities to the client. Planning - Blyth Valley Borough Local Development Framework Core Strategy (2007)

170352066

The Blyth has the Core Strategy Development plan (2007) by Blyth Valley Borough Council. The Core Strategy vision is "To achieve the regeneration and renaissance of Blyth Valley by 2021 through the attainment of a longterm sustainable development strategy in order to make Blyth Valley a place of involvement, opportunity and prosperity for all, whilst safeguarding and enhancing the unique qualities of our natural and historic environment9". A strategy for the Town centre is to encourage the diversity of uses in the town centre and to attract more people and tourism (residents, employers, shoppers and visitors) with the supply of retail accommodation for national high street retailers10.

Site Pedestrians/ Cyclists ETC. (non-powered movement) Retail Frontage Policies En

Local Environmental Enhancements Positive Measures within Conservation Areas Footpath/ Cycleway Secondary Vehicle Access

2-2 Proposals map

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SECTION 1 PROJECT INFORMATION Title of Project : The museum of Blyth industry, Blyth Client : Northumberland County Council Type of building : Educational/ Assembly building (new-build) Area : 3,150m2 (Museum)/ 4,518.5m2 (Site) The local economic growth through the development of Blyth local industry and tourist's attraction is the key aim of this project. The objective is to oďŹ&#x20AC;er a centre where support educational, social and cultural activities for the locals and tourists of Blyth. The design brief of the museum, as a part of the revival of Blyth economy project, is based on the idea "the past made present and will make future". The museum encourages the development/ growth of the town and individuals by offering the historic information of the local industry and future industry education. The building contains not only an exhibition hall but also lecture theatre, workshop, seminar/PC room and library for the public. As a part of the museum programme, the green energy experience activity and lecture will be delivered for the future local sustainable energy industry. A site is a market place where is the town centre and also the main shopping area in Blyth. Commercial shops surround the market place and a bus station and car park are near the site, it has high accessibility for both public transport users and private car users. Blyth market is held on the site every week Wednesday, Friday And Saturday, small local traders join it. Therefore, the design brief also includes interaction with the market and surrounding shops.

Surrounding buildings are mostly 2-3 storey, the museum has total 3 storeys however it has a relatively higher ceiling. Therefore, some building parts will be built under the ground to keep similar building height based on the context. Furthermore, the landscape design focus on oďŹ&#x20AC;ering enough space for the market and restful space. The market place will be rebuilt to a sunken landscape inspired by a colliery and a dry dock to create a more surrounded atmosphere as based on the complaints from locals about the current huge empty opened space. The programme of spaces in the museum is mainly to deliver enough learning activity and social gathering. The exhibition hall as a main space of the museum is under the ground. It is to create meditative atmosphere and space with the contrast of the vibrant market place, and also to link the physical experience with the concept "digging out memory an history" and "going into the memory". Another core space is the lecture theatre, it is accessible from the middle and top ďŹ&#x201A;oor both.

Staff access Public access

Staff room(s) (282mÂ˛)

Toilet

(660mÂ˛)

Keel Row Shopping Centre Blyth Market Square

The Museum of Blyth Industry

Client (Employer)

Toilet

Shop/ Cafe/ Restaurant

1-1 Site map

Exhibition hall

Lecture Theatre (310mÂ˛)

2-1 Procurement Strategy

-1

(768mÂ˛)

1-3 Building Programme

Architect

Structural Engineer

Interior Designer

Services Engineer

Sub Contractor

Landscape architect

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Engineering Consultant

- Landscape Architect The landscape architect will work closely with the architect from the early stage of design to the construction process for the general advice about the planning application and the project completion4. The design and planning of urban public landscape and planting on the site will be major works. The landscape architect has required the responsibility of â&#x2014;&#x2020;evaluating & analysing site condition and uses with urban and environmental elements (sun, soil, wind, noise, buildings, roads etc)

Library/ Social Space

-2 1-2 Site photos

Design Consultant

Other Consultants

B.Maintenance Work.

Contractor

Consultant team Quantity Surveyor

Reserves, Storage

Site Boundary

The proposed building will take a single-stage traditional procurement strategy to achieve both design and quality through competitive tendering with cost certainty. Although this procurement needs more time for the full documentation and sequential process compare to other procurements1, the quality is more important for the project with row risks related to the complex design. For the cost, Lump sum contract is required to ďŹ x the cost with the agreement based on the drawings and the bill of quantities2.

Lobby

PC Room Workshop Seminar(s)

Experience zone (Energy)

Submariners Memorial

Reception/ Lobby/ Corridor/ Lifts/ Stairs

Shop/ Cafe/ Restaurant

According to the construction site (town centre) with the consideration that it is a public building running by country, the balance between time, money and quality is important. The reasonable expense and high quality or above-average quality should be achieved as the public building where can oďŹ&#x20AC;er an equal chance to use a good facility for everyone also the construction fee will be paid by the tax. Furthermore, the construction period should be considered because it can negatively impact local economic activity when the construction starts on the site and near-site such as market, shop and restaurant with longer inconvenience to pedestrians.

Cafe/ Retaurant (78mÂ˛)

St. Maryâ&#x20AC;&#x2122;s Church

LIST OF ILUSTRATIONS

Procurement Strategy

A consultant team will be appointed first when the design is done, a contractor will be employed3. Client as an employer need to communicate building contractor and consultant at the same time, building contractor and consultant require to work together with enough communication although they are not in a contractual relationship. However, always they need to contact the client ďŹ rst before their communication.

Keel Row Car Park

Toilet

SECTION 2 BRIEF PROPOSALS

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BIBLIOGRAPHY Â Â? Â? Â?Â? Â Â? Â? Â Â&#x20AC;Â? Â&#x201A; Â? Â&#x192; Â&#x201E; Â? Â? Â&#x2026; Â&#x2020; Â&#x20AC;Â? Â&#x2020; Â? Â? Â&#x2021; Â&#x2021; Â? Â? Â&#x20AC;Â? Â? Â&#x2020; Â? Â? Â? Â&#x2C6; Â Â&#x2030; Â&#x160; Â&#x2039; Â&#x152; Â&#x2039; Â? Â?

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Â&#x20AC; Â&#x2018; Â&#x17D; Â? Â&#x2039;Â? Â? Â&#x17D; Â? Â&#x2019; Â? Â? Â? Â? Â&#x201C; Â? Â&#x2039; Â? Â? Â&#x201C; Â&#x2019; Â? Â&#x201C; Â&#x2019; Â? Â&#x2039;Â&#x201C; Â&#x201D; Â&#x17D; Â Â? Â&#x201C; Â&#x2019; Â&#x201C; Â&#x201C; Â&#x201C; Â&#x201C; Â Â&#x2039;Â&#x201C; Â&#x201E;Â&#x2019;Â&#x201E; Â&#x201C; Â&#x2039; Â&#x201C; Â&#x152; Â&#x2039; Â&#x2039; Â&#x152; Â&#x2039; Â&#x201E; Â&#x20AC; Â&#x17D; Â? Â&#x2019; Â? Â? Â?Â? Â? Â? Â? Â? Â&#x2022; Â&#x20AC; Â? Â Â&#x2013; Â? Â&#x2022; Â&#x2018; Â&#x2019; Â&#x2039; Â&#x2014; Â&#x2021;Â&#x2DC; Â? Â? Â&#x20AC; Â? Â? Â? Â?Â&#x17D; Â? _ Â? Â&#x2039; Â&#x2014;Â? Â&#x2039;Â? Â&#x2122;Â&#x161; Â? _ _ Â? Â? _Â&#x2019; Â&#x17D; _Â&#x2030; Â?Â? Â&#x2C6; Â Â&#x2030; Â&#x160; Â? Â&#x201E; Â&#x20AC;Â? Â&#x2030;Â? Â&#x203A; Â&#x201E; Â&#x2013;Â&#x2018; Â&#x153; Â&#x2018;Â&#x153; Â&#x192; Â&#x17E;Â? Â&#x2039; Â&#x; Â Â&#x2DC; Â&#x2022; Â&#x17D; ÂĄ Â˘ Â Â&#x2039; Â?Â? Â Â? Â?Â ÂÂ&#x20AC; Â Â? Â? Â&#x20AC; Â? Â Â Â&#x17D; Â? Â˘Â? Â&#x17D; Â&#x201E; Â? Â&#x201A; Â&#x2021; Â&#x2013;Â? Â? Â&#x201A; Â&#x17E;Â? Â&#x2039; Â&#x2DC; Â&#x2014; Â&#x152; Â&#x2014;Â&#x2014;Â&#x2019; Â Â?Â&#x192; Â&#x201E; Â? Â&#x201E; Â? Â&#x20AC; Â? ÂŁÂ&#x17E; Â&#x2030; Â¤ Â? ÂĽ ÂŁ Â? ÂŚ Â?Â&#x;Â? ÂŚ Â&#x; Â? ÂŚÂ&#x152; Â&#x17D; Â&#x; Â§Â&#x2039; ÂŚ Â? Â? Â?Â&#x; Â? ÂŚ Â? Â Â§ Â? Â? Â&#x2019; Â&#x17D; Â&#x201E; Â? Â&#x; Â? ÂĽ Â&#x2030; Â? Â? Â? Â&#x2026; Â Â&#x2026;

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Based on the development plan, the Museum responds to offer multiple activities for all locals and visitors related to the local history and industry, it will adapt sustainable energy system for the building operation and the main structure will be the timber for sustainability. In terms of the design, the main material of the museum facade towards the market place will be clear glasses to communicate outdoor market place and to attract more people. The outdoor Museum space design will focus on to increase visual and functional attractivity, the number of uses and economic growth. Especially, it includes several smaller shops for small retailers, this plan will encourage vibrant economic activities. Also, it will keep a clear view of a memorial place to emphasis local history with the oďŹ&#x20AC;ering high accessibility. The Construction (Design and Management) Regulations 2015

SECTION 3 DISCUSSION Implication: Client, Users and Wider Society As this museum project is the public building, the design is focused on accessibility and social gathering, tourists can be educated local information and experience new diverse green energy system easily. It will help to advertise the town and town industry but also the information about sustainable energy. Locals can receive practical education related to the local industry through lecture and workshop and also use the museum for any meeting and social activity, it will help job employment and local communication. Therefore, the client (Council) can expect local tourism and the growth of local social culture and economy.

The duties as a designer based on the CDM regulations 201511 include â&#x2014;&#x2020;to make sure considering the general principles and information for health and safety to prevent any foreseeable risks during the design phase (pre-construction) â&#x2014;&#x2020;to offer appropriate information in a health and safety file and figure out methods to reduce risks if these are not able to eliminate â&#x2014;&#x2020;to decide design, technical and organisational aspects to plan the working stages and items with time calculation or estimation for each stage of work until the completion during the pre-construction phase â&#x2014;&#x2020;to do monitoring of the construction phase and coordinate health and safety matters with informing to or sharing with the contractor and the client

In terms of the traditional procurement strategy, the client needs to contact individually with contractors and consultants, and also prepare separate documents. Therefore, it requires more time consumption and works for high-quality output with minimal cost14. During the construction phase, fences will stand around the site, market place, for the safety, pedestrians and market users are not able to access the construction site and might need to take a roundabout way. Also, noise and dust might be produced, especially during the ground excavation, time limits and water spray will be applied to minimise the inconvenience of shop owners, customers and pedestrians15.

The market place (site) will be closed except some pedestrian streets to minimise any risks during the construction. Lots of commercial shops and offices are sited close to the site, the frontage of each building entrance will be kept open and linked the pedestrian roads. During the ground excavation to make underground space and lower market place, enough spaces will be offered from surrounded buildings to the site to prevent collapse with some supports.

The reputation of architects and wider construction industry is strongly connected with reliability (trust), capability (skill) and responsibility. The high design quality and output come from these elements with the satisfaction of clients based on the communication and agreement without deception, include positive impacts to a society with the minimised risks, it makes higher reputation16.

OďŹ&#x192;ce Procedures The meeting with the client will be in an oďŹ&#x192;ce or between one and three of design team members will visit the council for the client meeting to manage and discuss the project, a virtual meeting will be also required to communicate with other consultants and the contractor. For the design development and general management of the project, there is a regular staďŹ&#x20AC; meeting every month12. All design changes or something project relevant updated information will be recorded in a document form and will be delivered to the client. Most of the works including drawings and models will be digital-based 2D/3D works such as CAD, BIM and Sketchup or will be photographed or scanned and shared to all members of a design team and other consultants for smooth communication and efficient collaboration. In terms of the drawing format for the clear communication, it will follow the British Standard with the information box (that includes the ďŹ rm's name, address, telephone number, project title, drawing title/purpose, drawing number, scale, date, name of the draftsperson and north point on plans13.

Reputation of Architects and Wider Construction Industry

The design brief and expectation of the client and society will be fully reflected in the museum project, architect and contractors will figure out solutions to minimise any risks and to communicate each other and also with the client and locals. The expected positive impact of the museum is the revival of the town in terms of the local society, culture and economy in broad in a broad sense, and it is to oďŹ&#x20AC;er a safe and good quality facility with the ďŹ lling of the high aesthetic satisfaction in details. Therefore, all design and construction process will be run under the control and monitoring by qualiďŹ ed architects, consultants and contractors without unfair contracts and deception, they will hold responsible for their works. Furthermore, the architect will consider sustainable energy system as well with the responsibility about environmental impacts.

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130

131

ARC3015 Theory Into Practice

Museum of Blyth industry & the place for contemplation

Contents

1) Museum + Contemplation space and movement of visitors The museum main entrance that facing the memorial park is located in where is the first basement from the street level. The threshold symbolises the start of the journey toward memory and the past. Therefore, the way to the main entrance has level changes, the threshold is positioned slightly lower than the market place. After walking into the entrance, visitors need to decide one of the ways between two different memories (past); one is an energy museum and another is a ship museum. The two museums circulation and space division are based on the analysis of the Blyth industrial history and the contemplation. These two industries are different fields but they did run together and impacted each other. I wanted to express that parallel architecturally using space circulation. Also, the way of thinking in contemplation is going deep in their minds. I tried to translate three-dimensionally the parallel and the hierarchy both into architecture. I draw two lines in parallel and linear for the two museum circulations first, I applied floor level changes to express the hierarchy. Also, the detailed space design is based on the purpose of the contemplation and exhibition layout. The contemplation is to find answers from the past and history for the better future in this project, I set the layout for the exhibition as follow the timeline (pastpresent- future). Visitor can easily follow the change of Blyth industry in history and smoothly come back to the present.

Human, Space and Atmosphere

Introduction Interaction between human and space: senses, experience and atmosphere 1) Human behaviour and space 2) Atmosphere (feeling) and space Museum of the Blyth Industry & the space for contemplation 1) Museum + Contemplation space and movement of visitors 2) Museum + Contemplation space and atmosphere (lighting) Conclusion Bibliography Illustrations

Human, Space and Atmosphere

Rituals HYELIM LEE 170352066

Rituals HYELIM LEE 170352066 [Fig.4] Cristobal Palma, Capilla del Retiro (2012) <https://www.archilovers.com/ projects/68227/gallery?497460.> [accessed 17 February 2020].

[Fig.5] The museum main entrace section - Level change

Keel Row Shopping centre

My project is a museum of Blyth industry in the market place (Blyth town centre and shopping centre). Blyth had undergone economic boom and depression both by local industries such as coal mining, shipbuilding and shipping and also the changes of local industries (ex. from coal mining to renewable energy production). However, still, the local economic condition has no big improvement. Therefore, I designed the museum to do the role of the improvement of the local economy and social facility as a last big target, in details, it is to offer the place

Site (Market place)

1) Human behaviour and space

2) Museum + Contemplation space and atmosphere (lighting)

Space cannot be said simply it is merely a place where a person is in or a separate object with human2. In a space, human interact constantly with space, experience and feel it as the existence there3. The reading space is strongly connected with a ‘doing’ (activity) 4. The human behaviour in space happens through somehow conscious, unconscious, instinctive and subjective reading and the comparing process from the experience and memory as follow the gentle inducement (arrangement) of the designed space. Furthermore, not only a space induces specific behaviour or movement, but also the way of use, especially the repetition of the act, impacts the designing space. Peter Blundell Jones said

I am planning to use light and darkness to create an atmosphere for the concentration of contemplation and exhibition. Generally, the energy museum spaces will be dark, exhibited objects will be spotlighted. However, the corridor that linked with the lobby and exhibition rooms will have a skylight. Soft skylight comes into the corridor of the second basement from a high ceiling. The concentration will be achieved by the atmosphere that delivers the calmness and sanctity of the contemplation and learning. In terms of coal mining, lighting was an important tool to find direction for safety. The skylight in the corridor will do a similar function to guide a way of the right direction as well.

±6ITIXMXMSR SJ XLI EGXMZMX] MW IWWIRXMEP XS IWXEFPMWL FSXL XLI ½X FIX[IIR WTEGIW and action…” - Peter Blundell Jones (2016)5

Other natural lighting’s positions will be designed based on the exhibition contents, especially, the future industry exhibition space will have a huge amount of sunlight. As a contrast to the coal mining exhibition zone, space will have a bright atmosphere in general. The lights will symbolise hope and a positive future and will deliver warmth and bright energy.

He also said

1) where local people can learn something and heal themselves from facing their local history and their memory and also, they can have the energy for the future, 2) where tourists can learn and understand Blyth history and industry.

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The ritual I focused on is contemplation, which is the act of deep thinking and observation inner side or other things and finds enlightenment or answer also, the museum exhibition visitor’s movement was considered. The key task was to blend the ritual of contemplation into the exhibition space architecturally based on the questions mentioned above.

In conclusion of the interaction between space and human behaviour, human feel and read a space and act in the space, the space impacts on human movement. Also, the pattern of the user’s movement can influence a space to fit with, for example, the designed spaces for the specific ritual of use help their repetition and raise efficiency.

[1] Margarete, %6',-8)'896%0 47=',303+= 8LI -R¾YIRGI SJ %VGLMXIGXYVI SR SYV 4W]GLI (2018) <https://medium.com/archilyse/1-the-influence-of-architecture-on-our-psychef183a6732708> [accessed 17 February 2020]. [2] Juhani Pallasmaa, 'Space, place and atmosphere. Emotion and peripherical perception in architectural experience', 0IFIRW[IPX %IWXLIXMGW ERH TLMPSWSTL] SJ I\TIVMIRGI .4, (2014), 230245 (p. 232). [3] Gernot Böhme, Atmospheric Architecture: The Aesthetics of Felt Spaces, ed. by A. -Chr. Engels-Schwarzpaul , trans. by A. -Chr. Engels-Schwarzpaul (London: Bloomsbury Academic, 2020), p. 402. [4] Peter Blundell Jones, %VGLMXIGXYVI ERH 6MXYEP ,S[ &YMPMHRKW 7LETI 7SGMIX], 1st edn (London: Bloomsbury, 2016). [5] Peter Blundell Jones, %VGLMXIGXYVI ERH 6MXYEP ,S[ &YMPMHRKW 7LETI 7SGMIX]. [6] Peter Blundell Jones, %VGLMXIGXYVI ERH 6MXYEP ,S[ &YMPMHRKW 7LETI 7SGMIX].

[Fig.1] Blyth market place site plan

Memorial park

Interaction between human and space: senses, experience and atmosphere

Introduction A human spends most of the time in space and is living in space. This essay starts from these questions 1) how do human feel and experience spaces? and 2) how does space impact human behaviour and emotion?. By extension, I met the questions 1) how should I design and arrange spaces to fit with a specific ritual? and 2) how should I use architectural elements such as material, lighting, door and stairs to encourage the ritual?.

2) Atmosphere (feeling) and space

[Fig.6] Collage- The start of the journey toward memory and the past

The parallel of two industries and the hierarchy of the thinking process (Contemplation) into architecture

Light has especially strong power to the senses of sight and skin. The good architectural example of the use of light can be found in religious buildings such as 8EHES %RHS´W 'LYVGL SJ PMKLX 4IXIV >YQXLSV´W &VYHIV /PEYW *MIPH ERH 9RHYVVEKE (IZqW %VUYMXIGXSW´W 'ETMPPE HIP 6IXMVS12. The feeling by light depends on type and strength of lighting and individual but light somehow makes us feel something in space such as warmth, calmness, vitality, or sanctity. The feeling or atmosphere is directly related to behaviour. As an example, in a church, the sacred and calm atmosphere I felt makes me behave politely, gently and nicely. Furthermore, not only behaviourally but also spiritually the atmosphere helps concentration.

±%R EXQSWTLIVMG TIVGITXMSR EPWS MRZSPZIW NYHKIQIRXW FI]SRH XLI ½ZI %VMWXSXIPMER WIRWIW WYGL EW WIRWEXMSRW SJ SVMIRXEXMSR KVEZMX] FEPERGI WXEFMPMX] QSXMSR HYVEXMSR GSRXMRYMX] WGEPI ERH MPPYQMREXMSR ² ¯ .YLERM 4EPPEWQEE7 The atmospheric experience of space is based on senses (such as sight, hearing and smell)8. An atmosphere cannot be the same to everyone and everywhere because physical sensory perception is very sensitive and subjective because it is influenced by emotion, memory and judgement of individuals and space involve various shape, sound, materiality, scale, colour, light and mood9. Therefore, an atmosphere is interpreted by sense and permeates into us, it becomes a positive or negative impression through the combination with internal subjective factors such as emotion and memory. Atmosphere is described

[Fig.7] Skylight - Calmness and sanctity

Conclusion

Bibliography

Illustrations

The interaction between architecture and human shapes each other, my project focuses on the interaction. The circulation of the museum will be designed by combining the exhibition space, where was planned like one path as following the time flow of the local industries’ change as considering the smooth movement, and the journey of the contemplation. Lights will be important to bring the concentration at the beginning of the exhibition space and contemplation. it will be also used as the meaning of hope towards a better future at the end of the exhibition. The overall museum design will interact with visitors physically and sensately.

[1] Gernot Böhme, Atmospheric Architecture: The Aesthetics of Felt Spaces, ed. by A. -Chr. Engels-Schwarzpaul , trans. by A. -Chr. Engels-Schwarzpaul (London: Bloomsbury Academic, 2020), p. 402.

[1] Author's own work

[2] Juhani Pallasmaa, 'An Architecture of the Seven Senses', in a+u Architecture and Urbanism: Questions of Perception, ed. by Steven Holl, Juhani Pallasmaa, Alberto Pérez-Gómez(Tokyo: a+u Publishing Co., Ltd., 1994), p. 40. [3] Juhani Pallasmaa, 'Space, place and atmosphere. Emotion and peripherical perception in architectural experience', 0IFIRW[IPX %IWXLIXMGW ERH TLMPSWSTL] SJ I\TIVMIRGI, .4, (2014), 230-245 (p. 232).

Based on the theories about the interaction between space, human behaviour and atmosphere in overall, the well-designed space as following the ritual of use can reinforce the further continuation of the ritual and space both, an atmosphere also can support the ritual spiritually and emotionally.

[4] Margarete, 1# ARCHITECTURAL PSYCHOLOGY: The Influence of Architecture on our Psyche (2018) <https://medium.com/archilyse/1-theinfluence-of-architecture-on-our-psyche-f183a6732708> [accessed 17 February 2020].

±© EW XLI EJJIGXMZI TS[IV SJ JIIPMRKW XLI WTEXMEP FIEVIV SJ QSSH ² ¯ 1EVXMR Bressani and Aaron Sprecher (2019)10

[5] Martin Bressani and Aaron Sprecher, 'Atmospheres', Journal of Architectural Eduation, 73.1, (2019), 2-4.

Light is often described that it influences hugely emotion and atmosphere. Peter Zumthor (one of them who know the effect of light) mentioned in his book Atmospheres

[2] Maykel Fernandez, Church of the light (2018) <http://www.cgarchitect. com/2018/10/church-of-the-light-tadao-ando> [accessed 17 February 2020]. [3] Emiladiels, &VYHIV /PEYW *MIPH 'LETIP R H LXXTW LMZIQMRIV GSQ ¾MGOVC hvmnd.cgi?search_type=Tags&photo_number=50&photo_type=75&nofor m=t&quicksearch=1&sort=Date+Posted%2C+new+first&textinput=peter +zumthor> [accessed 17 February 2020]. [4] Cristobal Palma, Capilla del Retiro (2012) <https://www.archilovers.com/ projects/68227/gallery?497460.> [accessed 17 February 2020]. [5] Author's own work [6] Author's own work [7] Author's own work [8] Author's own work

[6] Peter Blundell Jones, %VGLMXIGXYVI ERH 6MXYEP ,S[ &YMPMHRKW 7LETI 7SGMIX], 1st edn (London: Bloomsbury, 2016).

±8LMROMRK EFSYX HE]PMKLX ERH EVXM½GMEP PMKLX - LEZI XS EHQMX XLEX HE]PMKLX XLI PMKLX SR XLMRKW MW WS QSZMRK XS QI XLEX - JIIP MX EPQSWX EW E WTMVMXYEP UYEPMX] © - HSR´X YRHIVWXERH PMKLX -X KMZIW QI XLI JIIPMRK XLIVI´W WSQIXLMRK FI]SRH QI 7SQIXLMRK FI]SRH EPP YRHIVWXERHMRK ² ¯ 4IXIV >YQXLSV 11

[7] Peter Zumthor, %XQSWTLIVIW %VGLMXIGXYVEP IRZMVSRQIRXW WYVVSYRHMRK objects (Berlin: Birkhäuser Verlag AG, 2006).

[7] Juhani Pallasmaa, 'Space, place and atmosphere. Emotion and peripherical perception in architectural experience', 0IFIRW[IPX %IWXLIXMGW ERH TLMPSWSTL] SJ I\TIVMIRGI .4, (2014), 230245 (p. 231). [8] Juhani Pallasmaa, 'An Architecture of the Seven Senses', in a+u Architecture and 9VFERMWQ 5YIWXMSRW SJ 4IVGITXMSR ed. by Steven Holl, Juhani Pallasmaa, Alberto PérezGómez(Tokyo: a+u Publishing Co., Ltd., 1994), p. 40. [9] Gernot Böhme, Atmospheric Architecture:The Aesthetics of Felt Spaces. [10] Martin Bressani and Aaron Sprecher, 'Atmospheres', .SYVREP SJ %VGLMXIGXYVEP )HYEXMSR 73.1, (2019), 2-4. [11] Peter Zumthor, %XQSWTLIVIW %VGLMXIGXYVEP IRZMVSRQIRXW WYVVSYRHMRK SFNIGXW (Berlin: Birkhäuser Verlag AG, 2006).

[Fig.2] Maykel Fernandez, Church of the light (2018) <http://www.cgarchitect.com/2018/10/ church-of-the-light-tadao-ando> [accessed 17 February 2020].

[12] Thomas Schielke, 0MKLX 1EXXIVW 7EGVIH 7TEGIW (2014) <https://www.archdaily. com/490781/light-matters-sacred-spaces> [accessed 14 February 2020].

[Fig.8] Skylight - Warth, hope and bright energy

[8] Thomas Schielke, 0MKLX 1EXXIVW 7EGVIH 7TEGIW (2014) <https://www. archdaily.com/490781/light-matters-sacred-spaces> [accessed 14 February 2020].

[Fig.3] Emiladiels, Bruder /PEYW *MIPH 'LETIP (n.d.) <https://hiveminer.com/flickr_hvmnd. cgi?search_type=Tags&photo_number=50&photo_type=75&noform=t&quicksearch=1& sort=Date+Posted%2C+new+first&textinput=peter+zumthor> [accessed 17 February 2020].

132

133

ARC3060 Dissertation in Architectural Studies

CONTENTS

WHY

Acknowledgements

GLOSSARY

List of illustrations

Glossary INTRODUCTION

CHAPTER 1 Embodied energy of steel, concrete/cement and wood

1. Energy consumption during the material manufacturing 1.1 Steel 1.2 Concrete/ Cement 1.3 Wood 1.4 Comparison

WHY WOOD?

COMPARISON OF THE ENVIRONMENTAL IMPACTS FROM TRADITIONAL BUILDING MATERIALS (STEEL, CONCRETE/ CEMENT AND WOOD) AS THE RAPID DEVELOPMENT AND URBANISATION IN CHINA

CONCLUSION Bibliography

Abstract

WOOD?

CHAPTER 4 Why do architects use steel and concrete/cement more than wood in China?

COMPARISON OF THE ENVIRONMENTAL IMPACTS FROM TRADITIONAL BUILDING MATERIALS (STEEL, CONCRETE/ CEMENT AND WOOD) AS THE RAPID DEVELOPMENT AND URBANISATION IN CHINA

CHAPTER 2 Emissions from steel, concrete/cement and wood

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ACKNOWLEDGEMENTS

INTRODUCTION

HYELIM LEE SUPERVISOR MARTYN DADE-ROBERTSON NEWCASTLE UNIVERSITY ARCHITECTURE DISSERTATION 2020

ABSTRACT

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Architecture Dissertation Architecture BA Honours Degree Newcastle University 2020

2014

Printed in Newcastle, UK

2006

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COMPARISON OF THE ENVIRONMENTAL IMPACTS FROM TRADITIONAL BUILDING MATERIALS (STEEL, CONCRETE/ CEMENT AND WOOD) AS THE RAPID DEVELOPMENT AND URBANISATION IN CHINA

Design Hyelim Lee

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The next of the worldâ&#x20AC;&#x2122;s four big problems that will shape our lives in the coming decades is global climate change. Climate change is unstoppable, â&#x20AC;Ś climate change is being caused overwhelmingly by human activities, so all that we have to do in order to reduce climate change is to reduce those human activities. That means burning less fossil fuel, and getting more of our energy from renewable sources such as wind, solar, and nuclear.

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Figure 4 Annual growth rate and amount %DU SORW OHIW KDQG D[LV $QQXDO 0DWHULDO RI EXLOGLQJ PDWHULDO FRQVXPSWLRQ LQ &KLQD 8VH %LOOLRQ W /LQH SORW Âą ULJKW KDQG D[LV $QQXDO JURZWK UDWH

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China 24.1%

Mexico 1.6%

Iran 1.6%

U.S 14.9%

Canada 1.6% Indonesia 1.9% Brazil 2.6% Japan 3.0%

India 5.7%

EU-27 10.3%

Russian Federation 5.4%

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134

135

1500

3000 2500 2000

1000

1500 1000 500

500

2011

2012

)LJXUH 6WHHO SURGXFWLRQ IURP WR :RUOG 6WHHO $VVRFLDWLRQ

2013

2014

Lime 13%

Steel 25%

Gravel 8%

2016

2017

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Brick 12% Wood 3% Concrete 14%

Cement (non-concrete use) 24%

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2002

2004

2006

2008

Egypt India Indonesia

U.S Brazil China

2018

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Glass 0% Ceramic tiles 1%

Sand 0.4%

2015

2000

2010

2012

2014

Iran Japan South Korea

2015

2016

Russia Saudi Arabia Turkey

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CHAPTER 1

Embodied Energy: MJ/kg

350

Min - Max EE: MJ/kg

100

300 250

60 50

100

China Europe Union Japan Russia USA India Brazil Australia World

2002 2016 2000 2004 2006 2008 2010 2012 2014 Note: Final energy demand includes blast furnace and coke oven energy consumption. Bioenergy Imported heat

10 Plastics

Aluminium

Steel

Glass

Timber

Clay

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Raw Materials & Preparation

SiO2

Plate

Hot Rolled

4000

400

3000

300

2000

200

1000 0

1900

100

1920

1940

1960

1980

2000

2020

Basic Oxygen Furnace (BOF)

Rolling

Semi-finished Products

Furnace Reheat

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Billets

CHAPTER 1

Quarrying Raw Materials

Crushing Raw Materials

EMBODIED ENERGY OF STEEL, CONCRETE/CEMENT AND WOOD

1500 1000 Recovered/ Recycled paper products

500 0 1990

1995

2000

2005

2010

450 400 350 300 250 200 150 100 50 0

Seedling

Wood for construction

wood

Forest

Brazil

Russia

2% 12.7% 45.5% 34.6%

50% 34% 8% 5%

19% 6% 54% 16%

0.8% 0.2%

0% 5.2%

1% 2%

5% 0%

0.0831

0.0597

0.0458

0.0593

Panel

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2500 2000

500 0

Transportation Resin Production Product Manufacturing Harvesting Green Kiln Dried Glulam Timber Timber

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Plywood

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Gas

Clinker Cooler Gypsum

Gas

Rotary Kiln

Finish Grinding

Product Storage

Coal Fly Ash Slag or Pozzolans

Gas

Preheater PM

Packaging

Shipping

Requires Energy Input

Partidulate Emissions

Requires Heat Input

Gas

Gaseous Emissions

Optional Input

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0.2 0.0 Electricity

Thermal

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CHAPTER 1

Petroleum: 150L/ha

Forest Plantation Human: 30 person/ha

N fertilizer: 450kg/ha; P fertilizer: 330kg/ha; K fertilizer: 82.5kg/ha

The 1st year to the 6th year of forest

Forest Management

Herbicide: 20kg/ha for the first 3 years and 10kg/ha for the 4th and 5th yaer; Human: 30 person/ha

The 9th year of forest

Singling

The 13th year of forest

The 1st Thinning

The 18th year of forest

The 2nd Thinning

The 23th year of forest

The 3rd Thinning

The 28th year of forest

The 4th Thinning

The 33rd year of forest

The 5th Thinning

The 41st year of forest

Final harvest

Forest Management

Human for singling: 30 person/ha

2800 688 456

Gasoline for harvesting: 0.22kg/m3; Diesel oil for Gathering: 3.30kg/m3; Diesel oil for haulage: 1.5 kg/m3; The distance from forest to sawmill was considered to be 10km.

324 227 316 789

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USA

Region

Wood Harvesting (MJ/m3)

Pacific Northwest Inland Northwest Northeast Southeast

143 164 211 203

Northeast Southeast

Wood Manufacturing (MJ/m3)

References

3415 2911 2721 3175

ASMI (2008), CPM (2017)

169 150

978 924

Alcorn (2003)

Sweden

2683

Lawson (1996)

New Zealnad

113

1380

Australia

160

1700

Malaysia

170 170 170

2850 2850 2850

Brazil

170

2850

Russia

170

2850

Northeast Southeast

Mainland China

IPCC (2006) EIA (2017)

Puettmann et al. (2010)

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Steel

EE (MJ/kg)

Cement

Method

BOF

EAF

References

Wet Process

Concrete

Dry Process

Wood/Timber

General

Kiln dried

Air dried

BurchartKorol (2013)

CED

35.41

8.07

Hammond (2008)

LCA

35.3

9.5

5.9

3.3

0.95

8.5

Sabnis (2015)

0.95

8.5

24.4

4.6

Bribian (2011)

LCA

1.105

20.996

18.395

Das and Kandpal (1997)

29.20

14.40

Hu et al. (2006)

25.50

11.20

4.234

Sakamoto et al. (1999)

25.00

9.4

Norgate (2004)

22.00

Jayasinghe (2011)

5.85

Taffese (2019)

3.32

Makeiwood (2018)

1.5

Timber Queensland (2018)

LCA

24.336

42.01 -

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CHAPTER 1

EMBODIED ENERGY OF STEEL, CONCRETE/CEMENT AND WOOD

EMISSIONS FROM STEEL, CONCRETE/CEMENT AND WOOD PRODUCTION

Dry Mixing & Blending

N fertilizer: 450kg/ha; P fertilizer: 330kg/ha; K fertilizer: 82.5kg/ha

CHAPTER 1

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1500

Seedling Managementt

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1000

Seedling Managementt

Irrigation: Electricity; Pesticide: 15kg/ha; N fertilizer: 135kg/ha; K and P fertilizer: 45kg/ha; Herbicide: 375mL/ha

Forest Management

Canada

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Petroleum: 45L/ha

Site Preparation

The 1st year of forest

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EMBODIED ENERGY OF STEEL, CONCRETE/CEMENT AND WOOD

Grinding Raw Materials

Malaysia

19% 6% 3% 71%

Furniture

Wood for Panels

Harvested Trees

Consumption Human: 1 person/ ha; Petroleum: 150L/ha; Pesticide: 300kg/ha

Sowing

The 2nd year of seedling

Landfill

Manufacture

19 16 3 61

Mainland China

Construction products

Wood for furniture

Forestry

Proportion used (%)

Fuel oil Other (Primarily biomass)

Practice Site Preparation

The 1st year of seedling

Seedling Cultivation

Pole

Year

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Global Fossil Energy Production (EJ/yr)

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500

5000

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Hot Rolling Mills

Welded Tube

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Coal

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Light Gauge/ Decking

2-5%

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Continuous Casting

Blooms

2 Crushing

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15-25%

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Sections

4 Preheating Quarries

2-10%

3-10%

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Global Cement Production (Mt/yr)

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Atmosphere

Material

Paper & packaging Wood pulp

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AI2O3

Gypsum and admixtures

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Coke Ovens

Rods and Bars

3000

CHAPTER 1

Net electricity Natural gas

Basic Oxygen Steelmaking

Blast Furnace Coal

7 Cooling and storing 6 Clinker production in the rotary kiln 5 Precalcining

13-14%

10-20%

Ironmaking

Roundwood Fuelwood Industrial roundwood Sawnwood Wood-based panels

3500

8 Blending

77-83%

Cement

Concrete

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Fuel Source

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EMBODIED ENERGY OF STEEL, CONCRETE/CEMENT AND WOOD

CaCO3 Clinker

6 39 23 31 63 58 23 22 26

Limestone

Scrap Metal

10 9 Cement grinding

60-75%

(%)

50 66 26 22 55 50 8 1 430

Sinter Plant

Storing in the cement silo

Aggregates

(Mt)

94 61 77 67 37 42 75 78 74

Nuclear

100 68.5 15 10.9 3.2 2.4

(%)

772 103 85 47 33 37 25 4 1229

Iron Ore

EAF Steel MJ/FU % 8066 5521 1209 882 260 194

0.95 2 1.39 1.11 0.84 0.77 0.69 7.75 2.08

4000

EMBODIED ENERGY OF STEEL, CONCRETE/CEMENT AND WOOD

EAF route

(Mt)

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Oil Coal

Electricity Gas

BF-BOF route

Country/ Region

90-97%

EMBODIED ENERGY OF STEEL, CONCRETE/CEMENT AND WOOD

Energy Intensity

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150

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200

100 51.9 12.5 9.5 7.0 7.0 1.6 10.5

35413 18372 4421 3353 2465 2486 581 3735

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INTRODUCTION

Final Energy Demand (EJ)

EMBODIED ENERGY OF STEEL, CONCRETE/ CEMENT AND WOOD

BOF Steel MJ/FU %

General (1 : 2 : 4 as used in construction of building under three storeys Precast concrrete, cement : sand : aggregate 1 : 1 : 2 (high strength) 1 : 1.5 : 3 (used in floor slabs, columns and load-bearing structure) 1 : 2.5 : 5 1:3:6 1:4:8 Fibre-reinforced Wood-wool reinforced

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Total Coke Coke oven gas Lubricating oil Electricity Coke breeze Anthracite Refractory Iron scrap Quicklime Other

Concrete

4.6 (Â±2) 5.9 4.6 3.3 3.5 10.9 1.4 1.21 1.37 1.18 1.09 0.85

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INTRODUCTION

Impact Category

Cement

General Portland cement, wet kiln Portland cement, semi-wet kiln Portland cement, dry kiln Portland cement, semi-dry kiln Fibre cement Mortar (1 : 3 cement : sand mix) Mortar (1 : 4 cement : sand mix) Mortar (1 : 0.5 : 4.5 cement : lime : sand mix) Mortar (1 : 1 : 6 cement : lime : sand mix) Mortar (1 : 2 : 9 cement : lime : sand mix) Soil-cement

Production (Million cubic ttonnes) - Dotted lines

3500

Embodied energy (MJ/kg)

Materials

MJ/m3

4000

Production (Million cubic metres) - Solid lines

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4500

China

CHAPTER 2

Rest of World

Energy Intensity (GJ/t)

World

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Raw Coal Coke Diesel Oil Gasoline Other Petroleum products Fuel Oil Natural Gas Other Washed Coal Other Gas Cleaned Coal Coke Oven Kerosene Crude Oil Refinery Gas LPG

2.20% 2.31% 2.52% 6.43%

15.11% 62.95%

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&22 &DUERQ GLR[LGH SO2 6XOIXUH GLR[LGH 12[ 1LWURJHQ R[LGH &2 &DUERQ PRQR[LGH &+4 - Methane **H2 - Hydrogen 12 1LWURJHQ

Pollutants

CO2

SO2

NOx

CH4

Solid Waste

Emissions (kg/t)

9.06x10-1

9.78x10-3

5.39x10-3

1.20x10-3

8.84x10-2

4.67x10-1

Unit

Iron ore Basic Lime Internal fluxBlast Contionuous Hot External sinter production oxygen intermediate furnace casting plant rolling flux plant furnace plant products

Outputs Products Iron ore sinter kg/FU Pig iron kg/FU Quicklime kg/FU Crude steel kg/FU Cast steel kg/FU Rolled Steel kg/FU

1307.71 947.16 -

Co-products BF slage BOF slage

kg/FU kg/FU

Emissions CO2 SO2 NO2 CO Heavy metals Pb Cr Cd Cu Zn Ni Fe Dust HF HCI H2S HCN

g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU g/FU

377064 1014 773 25849 136.53 6.11 0.04 0.12 0.67 1.08 0.06 128.45 458.55 0.52 4.99 -

m3/FU

0.39

kg/FU

Waste Wastewater Refractory waste

1000.00 -

641.70 358.30 358.30

1307.71 947.16 83.07 1042.66 358.30 -

141.11

303.22 141.11

29500 6 4 4797 75.77 0.97 0.13 0.05 3.22 7.82 0.29 63.29 188.97 -

106791 4 21 19 0.05 0.00 0.00 0.05 0.09 -

1372375 1034 821 31633 275.51 7.16 0.19 0.17 4.41 9.88 0.42 253.26 751.55 0.52 4.99 0.11 0.88

0.39

1.12

0.75

1.42

4.27

5.77

1.92

8.26

83.07 -

1042.66 -

303.22 -

808452 10 18 963 62.61 0.05 0.02 0.49 0.90 0.07 61.08 87.91 0.11 0.88

50566 6 5 0.55 0.03 0.00 0.03 0.08 0.39 16.03 -

0.20 0.57

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125 100 Index (2000=100)

Global Annual Cement Production (Million tonnes)

Annual Crud Steel Production (Million tonnes) 2000

Gas Type

CO2 (%)

CO (%)

H2 (%)

N2 (%)

CH4 (%)

Coke oven gas Blast furnace gas Converter gas

2-3 14-22

5-7 24-30

55-60 1-2

4-10 57-59

24-27 0.3-0.8

5-7

60-90

0.5-2.0

10-20

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25 0 2000

2005

2010

2015

Note: Direct C02 emissions encompass energy and process emissions

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CHAPTER 2

136

137

Waste Waste water Refractroy waste

m3/FU kg/FU

EMISSIONS FROM STEEL, CONCRETE/CEMENT AND WOOD

Cement

Embodied Carbon (kg/C/kg) 0.226 0.248 0.226 0.196 0.202 0.575 0.058 0.048 0.053 0.044 0.039 0.03

General (1 : 2 : 4 as used in construction of buildings under three storeys) Precast concrete, cement : sand : ggregate 1 : 1 : 2 (high strength) 1 : 1.5 : 3 (used in floro slabs, columns and load-bearing structure) Concrete 1 : 2.5: 5 1: 3 : 6 (non-structural mass concrete) 1:4:8 Fibre-reinforced Wood-wool reinforced

0.035 0.059 0.057 0.043 0.030 0.026 0.022 0.123 -

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Global warming potential (GWP)

Acidification

Eutrophication

Human toxicity

386.44 kg CO2 eq

0.84 kg SO2 eq

0.159 kg PO43- eq

35.68 kg 1.4-DB eq

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Eutrophication

Acidification

Human toxicity

Global warming (GWP 100a) 16 14 12 10 8 6

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Gravel

Sand

Water

Transport Transport Transport Energy for the production of Cement Gravel Sand concrete

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EMISSIONS FROM STEEL, CONCRETE/CEMENT AND WOOD

Steel

CO2 emissions

BOF

EAF

BurchartKorol (2013)

IPCC

2.46 Mg CO2 eq/Mg

0.91 Mg CO2 eq/Mg

Hammond (2008)

LCA

0.749 kg CO2 eq/kg

0.117 kg CO2 eq/kg

Sabnis (2015)

References

1.77 kg CO2 eq/kg

Wet Process

Concrete

Dry Process

General

0.035 kg CO2 eq/kg

0.125 kg CO2 eq/kg

0.73 kg CO2 eq/kg

0.13 kg CO2 eq/kg

0.46 kg CO2 eq/kg

Bribian (2011)

LCA

0.137 kg CO2 eq/kg

0.3 kg CO2 eq/kg

0.267 kg CO2 eq/kg

2.12 Mg CO2 eq/Mg

1.18 Mg CO2 eq/Mg

1.97 Mg CO2 eq/Mg

0.59 Mg CO2 eq/Mg

Sakamoto et al. (1999)

2.15 Mg CO2 eq/Mg

0.56 Mg CO2 eq/Mg

Norgate (2004)

2.3 Mg CO2 eq/Mg

Taffese (2019)

Falk (2009)

LCA

0.649 kg CO2 eq/kg

0.22 kg CO2 eq/kg

0.7 kg CO2 eq/kg

0.730 kg CO2 eq/kg

0.265 kg CO2 eq/kg

0.033 kg CO2 eq/kg

0.05 kg CO2 eq/kg

0.03 kg CO2 eq/kg

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EMISSIONS FROM STEEL, CONCRETE/CEMENT AND WOOD

0 - 9200 mg/t

0 - 9200 kg/year

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Near-term net carbon emissions including carbon storage within material (kg C/t)

HWP

Wood Products m3

Harvested Wood m3

Coal kg

Petroleum kg

33 60

-457 -382

Construction products

1.72

180.11

2.88

88 154 220

Panels

1.80

281.16

1.21

Furniture

3.10

497.30

7.48

265 291 309

694 2,502 4,532

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Parameter

Carbon emissions (tC/ha)

0.74 kgC/L 0.823 kg C/kg 0.8863 kgC/kg 266.48 kg C/ha

0.790

Fertilizer

N Fertilizer P Fertilizer and K Fertilizer

0.39 kgC/kg 0.14 kgC/kg

0.251

Biocide

Pesticide Herbicide

5.18 kgC/kg 4.70 kgC/L

0.381

Human

0.72 kgC/person per day

0.151

Total

1.59

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5.93

16.91

8.40

287.56

14.75

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13 18 23 288 33 41 Total

0.64 1.02 2.92 3.39 6.81 18.3 33.08

0.17 0.388 1.16 1.23 2.17 4.87 9.99

Byproduct Volume Carbon (m3/ha) Storage (tC/ha) 0.46 0.74 2.11 2.44 4.90 13.17 23.82

0 0.01 0.02 0.02 0.04 0.11 0.20

Consumption

Carbon Emission

Coal Petroleum (t/ha) (kg/ha)

Coal Petroleum Total (t/ha) (tC/ha) (tC/ha)

0.12 0.18 0.53 0.61 1.23 3.3 5.96

0.09 0.14 0.40 0.46 0.93 2.49 4.50

1.84 2.94 88.42 9.77 19.62 52.7 95.28

&RPSDULVRQ RI &22 emissions ,Q WKH FRPSDULVRQ RI &22 emissions during the VWHHO FHPHQW FRQFUHWH DQG ZRRG SURGXFWLRQ WKH OHYHOV RI HPLVVLRQ DUH GLIIHUHQW GHSHQGLQJ RQ WKH UHVHDUFK EXW VWHHO HPLWV WKH ELJJHVW DPRXQW LW LV DOPRVW WLPHV KLJKHU WKDQ ZRRG ILJ The materials that emit the smaller amounts are JHQHUDOO\ ZRRG DQG FRQFUHWH +RZHYHU ZRRG VWRUH &22 ZRRG EULQJV EHWWHU SRVLWLYH LPSDFWV WKDQ FRQFUHWH GHVSLWH LW HPLWV VPDOOHU DPRXQW

0.0016 0.0025 0.01 0.01 0.02 0.04 0.08

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7KH GHSOHWLRQ RI QDWXUDO UHVRXUFHV LV RQH RI WKH ELJJHVW JOREDO SUREOHPV -DUHG 'LDPRQG PHQWLRQHG WKH GHSOHWLRQ SUREOHP RI QDWXUDO UHVRXUFHV The third big set of problems for the future of human societies around the world, besides nuclear weapons and global climate change, is the global depletion of essential natural resources... some resources (especially water and timber) have imposed limits on past societies and caused them to collapseâ&#x20AC;¦ -DUHG 'LDPRQG 8SKHDYDO +RZ 1DWLRQV &RSH ZLWK &ULVLV DQG &KDQJH

He also mentioned the damage to us by our unsustainable behaviour. Our world society is presently on a non-sustainable course, and any of our 12 problems of non-sustainability that we have just summarized would suffice to limit our lifestyle within the next several decades. They are like time bombs with fuses of less than 50 years.

500

1000

Forest area (Mha) 1500 2000 2500 3000

3500

4000

problems might bring another environmental SUREOHP 7KHUHIRUH WKH LQVWLWXWLRQDO VXSSRUW IRU IRUHVW FRQVHUYDWLRQ QHHGV WR VROYH WKH GHIRUHVWDWLRQ %UD]LO LV D JRRG H[DPSOH

1990 2000

- 8.3 Mha/yr

2010

- 5.2 Mha/yr

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1990 2000

0.6 Mha/yr

2010

0 Mha/yr

1990 - 8.8 Mha/yr

2000

- 5.2 Mha/yr

2010

Unaccounted Primary natural forest

Modified natural forest Planted forest

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Drivers for degradation

South America

Africa

Asia

Drivers for deforestation

South Africa America

Asia

100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Agriculture - commercial Agriculture - Subsistence Infrastructure Urban expansion Mining

Primary smelting

Countries

Processing

Recycling activities

Waste collection Solid waste incineration

Clinkers

Slags and other waste

Slags, dust and other waste

Dust from corrosion and wear

Use

40 30

Discarded products

Haz. waste treatment

Deposits

90% 75% 60% 45% 30% 15%

Landfills

Flue gas cleaning products, clinkers and other residues

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2014

2015

2016

2017

2018

USA

Raw steel production (million metric tonnes) Basic oxygen furnaces (%) Electric arc furnaces (%)

88,2 37.4 62.6

78.8 37.3 62.7

78.5 33.0 67.0

81.6 31.6 68.4

86.6 32 68

China

Raw steel production (million metric tonnes) Basic oxygen furnaces (%) Electric arc furnaces (%)

82.3 93.9 6.1

803.8 93.9 6.1

807.6 93.7 6.3

870.9 90.7 9.3

928.3 87 13

World

Raw steel production (million metric tonnes) Basic oxygen furnaces (%) Electric arc furnaces (%)

1669 73.2 25.6

1620 73.1 24.9

1627 74.1 25.3

1730 72.3 27.2

1808 70.4 29.2

Embodied energy (MJ/kg)

Embodied carbon (kgC/kg)

35.3 9.5 24.4 24.6 36.4 8.8 13.1

0.749 0.117 0.482 0.466 0.730 0.114 0.185

CHAPTER 3

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2. Recyclability/ Waste

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CHAPTER 3

Annual deforestation 30

Timber logging Fuelwood collection Livestock grazing Wildfire

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0.09 0.14 0.40 0.47 0.94 2.53 4.58

CHAPTER 2

â&#x20AC;&#x153;

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Construction Products Products Forest Carbon Age Volume (m3/ha) Storage (tC/ha)

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Wood Carbon in Wood Waste kg Waste kgC 11.93

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Hu et al. (2006)

Makeiwood (2018)

0.248 kg 0.196 kg CO2 eq/kg CO2 eq/kg

0.819 kg CO2 eq/kg

0 - 1211 kg/year 0 - 1546 kg/year

0 - 4.0

Net carbon emissions (kgC/t)

Material

Air dried

Das and Kandpal (1997)

1.526 kg CO2 eq/kg

tonnes/year

0 - 69 mg/t 0 - 1564 mg/t

CHAPTER 2

Patroleum Gasoline Diesel Electricity

Wood/Timber

Kiln dried

267 793

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Cement

Method

534 1060

Energy

CHAPTER 3

526

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4 2

Modern Dry Pocess kg CO2 / tonne PCC

526

Fuel CO2 Total CO2

Framing lumber Medium-densitiy fiberboard (Virgin fiber) Brick Glass Recycled steel (100% from scrap) Concrete Concretee Recyceld aluminum (100% recycled content) Steel (virgin) Plastic Aluminum (virgin)

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kg/tonne clinker

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CHAPTER 2

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0.54 7.43

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mg/Nm3

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Percentage

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51.4 7.7 5.5 4.8 1.0

0.0000276 - 0.627 g/year

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Usage of recycled concrete

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29.6 70.4

469 71 50 44 10

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PCDD/F

26%

2013

Heavy metals Pb Cr Cd Cu Zn Ni Dust HF

269 644

10.1 9.6 8.5 2.5 1.4 0.9 11.2

14%

EAF steel

50 - 75%

269007 7 1 2717

55.8 44.2

246 236 209 61 33 19 282

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25 - 50%

g/FU g/FU g/FU g/FU

1372 10886

334 - 4670 up to 11125 0.62 - 522 460 - 11500 1.5456 million 2.17 - 267 0.21 - 23.0 0.046 - 46

2010

Emissions CO2 SO2 NO2 CO

100

0.33 - 4.67 up to 11.12 0.00062 - 0.5221 0.46 - 4.6 approx. 672g/tcement 0.0023 - 0.138 0.021 - 2.3 g/t 0.046 - 46 g/t

1 - 60 0.009 - 1.0 0.02 - 20.0 0.000012 - 0.27 ng I - TEQ/Nm3

0 - 25%

192.14

913

145 - 2040 up to 4837 0.27 - 227 200 - 2000

2005

1042.66

kg/FU

kgCO2eq/FU

100

NOx (as NO2) SO2 Dust CO CO2 TOC/VOC HF HCL

Others

kg/FU

Co-products EAF slag

2459

Energy supply Transport Industry w/o cement Cement industry Heating/ Cooling Agriculture Waste Other

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Aggregate for new concrete

Outputs Products Crude steel

kgCO2eq/FU

Greenhouse gases include: Direct GHG emissions Indirect GHG emissions from: Coke Coke oven gas Electricity Anthracite Coke breeze Natural gas Refractory Ironscrap Quicklime Other

tonnes/year

2000

1201.21 44.70 59.44 2.21 2.23 416.89 4.71

Unit

kg/tonne clinker

Others

kg/FU kg/FU kg/FU kg/FU kg/FU kWh/FU m3/FU

BOF steel

mg/Nm3

Recyceld

External flux

Impact Category

Pollutant

Backfill/roadbase

Unit

Inputs Materials Iron scrap Quicklime Refractory Electrode Alloys Electricity Natural gas

29% 12%

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Reported emissions from European cement kilns

3%0% 11%

Disposed to landfill

Inputs & Outputs

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000 Square km

0.22 0.21 0.65 0.93 0.00 0.00 0.00 0.00 0.08 0.23

1994

Scrap recycling

0.05 0.02 0.16 0.00 0.00 0.00 0.00 0.00 0.00 0.02

Others

Rolling

0.02 0.01 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00

Percentage Distribution

BOF

Demolitions of old structures

BF 0.33 0.03 0.11 0.00 0.95 0.41 0.16 0.00 0.92 0.30

Waste from site tests or leftover

0.02 0.21 0.00 0.00 0.01 0.00 0.00 0.46 0.00 0.10

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0.07 0.47 0.00 0.03 0.02 0.00 0.00 0.54 0.00 0.15

World

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0.12 0.02 0.07 0.00 0.02 0.59 0.84 0.00 0.00 0.17

Developing regions

Coking

0.16 0.04 0.01 0.00 0.00 0.00 0.00 0.00 0.00 0.03

Waste concrete recycling rate in past projects

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Reclaimed Portland cement concrete aggregate represents less than 5% of the total of aggregate required by the construction market.

â&#x20AC;&#x153;

Raw material

0.15 0.10 0.05 0.15 0.15 0.10 0.10 0.15 0.05 1.00

â&#x20AC;&#x153;

Weights

Climate Change Acidification Eutrophication Photochemical Ozone Human Toxicity Aquatic ecological toxicity Fossil energy Depletion Mineral exhaustion Solid waste Total

â&#x20AC;&#x153;

Environmental impacts

.HOD\HK HW DO

CHAPTER 3

138

139

Global warming potential, GWP

1t crushed concrete Module D

kg CO2 eq

New Construction

Other sources

kg (PO4)3-

Formation potential of tropospheric ozone, POCP

kg Ethene

0.0119

Abiotic depletion potential (ADP-elements) for non-fossil resources

kg Sb eq

-3.67E-07

Abiotic depletion potential (ADP-fossil fuels) for fossil resources

MJ, net calorific value

-73.7

Total use of renewable primary energy resources (Primary energy and primary energy resources used as raw materials

MJ, net calorific value

-2.01

Total use of non-renewable primary energy resources (Primary energy and primary energy resources used as raw materials)

MJ, net calorific value

-70.5

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1130

800 600

Road and base

8.5

80.6

200

438

494

400

Bituminous Concrete

Cement Concrete

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Ireland Italy

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Spain The Netherlands

20%

40%

60%

80%

100%

14%

Road construction, earthworks, other uses

86%

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CHAPTER 3

EU Waste Framework Directive

Prevention

Recycling

Re-used as Intact or Re-sized Products End of 1st Service Unit

Wood Products

Disposal Wood Fuel

Re-used as New Products Materials

End of Nth Service Unit

Burn for Energy

Energy

Burn to Dispose

End of Life

Stage 1

1950 - 1979 Year : 1968 Height : 88m Materiality : Concrete (structure) Architect(s) : Guangzhou Design Institute (Zhang, 2012 and The skyscraper centre, 2020)

Canada Germany Turkey

400

Italy

Malaysia Russia

300 200 100

Spain

Kazakhstan Mexico Ukraine Romania Brazil India South Africa Kenya Morocco Bangladesh

U.S.

Poland

Thailand

10,000

Netherlands

France

Portugal

20,000

30,000

40,000

50,000

60,000

Globbal Cement Production (Mt)

Global Urbanisation Rate

4000

55% 50%

3500 3000

45%

2500

40%

2000 1500

35%

1000

30%

500 0

Globbal Urbanisation Rate

Cement Production

2020

2010

2000

1990

1980

1970

1960

1950

1940

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Concrete

10 5 0

0.01 0.02 0,03 0.04 0.05 0.06 Strength normalised by density ((N/mm2)/(kg/m3))

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Glulam megaframe with CLT

CLT

10 CLT-light timber frame hybrid

Light timber frame

20 40 60 Timber Usage (kg/m3)

Shanghai Tower

Guangzhou Baiyun Hotel

CHAPTER 3

WHY DO ARCHITECTS USE STEEL AND CONCRETE/CEMENT MORE THAN WOOD IN CHINA?

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CHAPTER 4

Shanghai World Financial Centre Year : 1976 Height : 114m Architect(s) : Mo Bozhi (Zhang, 2013 and Song and Zhu, 2016)

Year : 2015 Height : 632m Materiality : Reinforced concrete (core), Concrete encased steel Architect(s) : Gensler Note : The tallest in China and Asia, the second tallest in the World (The skyscraper centre, 2020)

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Year : 2008 Height : 494m Materiality : Reinforced Concrete (core), Concrete encased steel Architect(s) : Kohn Pedersen Fox Note : The second tallest in Shanghai (The skyscraper centre, 2020)

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Clean wood wastes without being contaminated with harmful substances are allowed to be burned in normal power stations or private stoves; while contaminated wood such as treated wood, painted wood, or chipboards containing adhesives (e.g. formaldehyde glue), can only be used for energy generation in special stations equipped with appropriate combustion facilities.

Jin Mao Tower Year : 1999 Height : 421m Materiality : Steel + Concrete (composite structure) Architect(s) : Adrian Smith (SOM) Note : The third tallest building in Shanghai (Zhang, 2013 and SOM, 2020)

Development Period Germination Period

SUSTAINABILITY OF STEEL, CONCRETE/CEMENT AND WOOD

CHAPTER 4 Modulus normalised by density ((N/mm2)/(kg/m3))

Japan

Number of Storeys

Apparent steel consumption (kg/capita)

Stage 3 Czech Republic

Year : 1996 Height : 384m Materiality : Reinforced concrete (core), Concrete encased steel Architect(s) : K. Y. Cheung Design Associates Note : The fourth tallest in Shenzhen (Zhang, 2013 and The skyscraper centre, 2020)

1980 - 1999

Preparation Period

CHAPTER 4

Stage 2

China

500

Shun Hing Square Park Hotel Shanghai Year : 1934 Height : 83.8m Materiality : Steel (frame structure) Architect(s) : LĂĄszlĂł Hudec Note : The tallest building in Asia until 1958 (Zhang, 2013 and Brun, 2018)

1900 - 1949

SUSTAINABILITY OF STEEL, CONCRETE/CEMENT AND WOOD

600

Year : 1929 Height : 77m Materiality : Reinforced concrete (structure) Architect(s) : Palmer and Turner Note : First high-rise building in China (Zhang, 2012)

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End-of-Life Scenarios for Wood

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Portugal

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Reclaimed Cement Concrete Aggregate

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2013 Netherlands

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United Kingdom

1200

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BIBLIOGRAPHY

22. (&5$ &ORVLQJ WKH ORRS :KDW W\SH RI FRQFUHWH re-use is the most sustainable option?.

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35. +DUULVVRQ $ 0 &RQVWLWXWLRQ DQG VSHFLÂżFDWLRQ RI 3RUWODQG &HPHQW Leaâ&#x20AC;&#x2122;s Chemistry of Cement and Concrete SS

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38. +RZH - %UDWNRYLFK 6 %RZ\HU - )UDQN 0 DQG )HUQKRO] . The current state of wood reuse and recycling in North America and recommendations for improvements 0LQQHDSROLV 01 'RYHWDLO 3DUWQHUV ,QF

29. )DYLHU $ DQG 'H ZROI & A sustainable future IRU WKH (XURSHDQ FHPHQW DQG FRQFUHWH LQGXV WU\ Technology assessment for full decarbonization of the industry by 2050 (7+ =XULFK

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CONTENTS

Acknowledgements Abstract Glossary INTRODUCTION CHAPTER 1 Embodied energy of steel, concrete/cement and wood CHAPTER 2 Emissions from steel, concrete/cement and wood CHAPTER 3 Sustainability of steel, concrete/cement and wood CHAPTER 4 Why do architects use steel and concrete/cement more than wood in China? CONCLUSION

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LIST OF IILLUSTRATIONS

Architecture Dissertation Architecture BA Honours Degree Newcastle University 2020

16 26 42 56 76 85

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Illustrated Cultural Bibliography

Architectural Study Trip Vantaa Laurin Kappeli (St laurence) by Avanto in Helsinki

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The Church of the Good Shepherd by Juha Leiviska and Yrjo Armas in Helsinki

Lusto - The Finnish Forest Museum by Rainer Mahlamaki in Punkaharju

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Maritime Centre Vellamo by Lahdelma & Mahlamaki Architects in Kotka

Temppeliaukion Church by Tuomo Suomalainen and Timo Suomalainen in Helsinki

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List of illustrations Academic (2020). Japanese garden. Academic Dictionaries and Encyclopedias. [online] Available at: https://enacademic. com/dic.nsf/enwiki/400642 [Accessed 12 Jun. 2020].

Scandinavia Standard. (2019). A Brief History of Scandinavian Architecture. [online] Available at: http://www. scandinaviastandard.com/a-brief-history-of-scandinavianarchitecture/ [Accessed 13 Dec. 2019].

Ala.fi. (2019). ALA – Architecture firm based in Helsinki. [online] Available at: http://ala.fi/ [Accessed 13 Dec. 2019]. Alice Pasqual, Unsplash (2019), <https://unsplash.com/photos/v1OW17UcR-Q> [accessed 26 December 2019]. Angelopoulou, Sofia, Lekka, Designboom (2018) <https://www.designboom.com/architecture/ala-architects-oodicentral-library-helsinki-12-03-2018/> [11 November 2019]. Archinfo (2018) <http://archinfo.fi/en/2018/11/seminar-on-libraries-and-workshops-run-by-librarians/> [accessed 2 December 2019].

Port of Blyth (2020). https://twitter.com/portofblyth/status/1268547521451831296/photo/1. [online] Twitter. Available at: https://twitter.com/PortofBlyth/status/1268547521451831296/photo/1 [Accessed 8 Jun. 2020]. Uusheimo, Tuomas, ‘Dynamic and Energy-Efficient: Oodi Central Library in Helsinki’, Detail, 3 September 2019. Sculpture Nature (2018). November’s Picks. [online] Sculpture Nature. Available at: https://www.sculpturenature.com/ en/novembers-picks-2/ [Accessed 12 Jun. 2020]. Tare, A. (2019). Zen Gardens. [online] Pik Ark. Available at: https://pikark.com/zen_gardens/ [Accessed 12 Jun. 2020].

ArchDaily. (2019). Gallery of Helsinki Central Library Winning Proposal / ALA Architects - 8. [online] Available at: https:// www.archdaily.com/390181/helsinki-central-library-winning-proposal-ala-architects/51bfebd7b3fc4b1795000033helsinki-central-library-winning-proposal-ala-architects-photo?next_project=no [Accessed 13 Dec. 2019]. Archello. (2019). Oodi Helsinki Central Library | ALA Architects, Arper SPA, ARUP | Archello. [online] Available at: https:// archello.com/project/oodi-helsinki-central library?fbclid=IwAR39Z_12G-Q7ENSUpJbXeMh2hpxzdA9vmPSjxEuP_ Le6ytoOzlim9VDcEA8 [Accessed 13 Dec. 2019]. Architecture Competition Results. (2019). 018_01 - Architecture Competition Results. [online] Available at: http:// thecompetitionsblog.com/results/018_01/?fbclid=IwAR3P2PLyND1eEsWrZwmHG9yoWUVdn-ZdF7VOQAO_LMsL8OV33EHPzqLhTg [Accessed 13 Dec. 2019]. Creative Commons Zero-CC0, tea ceremony, kyoto, maccha, green tea, porcelain, tea, relaxation, human hand, human body part, hand (2019), <https://www.pxfuel.com/en/free-photo-qpvzd> [accessed 28 December 2019]. Croviking, Flicker (2018) <https://www.flickr.com/photos/croviking/46157559572/in/photolist-2djMzkS-2djMymCRgqzUw-Rgqziw-2dpfHei-PD8Qwp-2dpfGFV-PD8QP8-amY4Ux-2bZAv9T-2c2X2Lc-2dqNWcn-PBDJVM-2cgKcos-PD8PYR2aCFzYS-2dmhEoy-2c1AzBK-2aEzu9W-2dnsJaL-fSEStc-2aCFATh-2djMxF9-2aEsKi7-2cna6M> [accessed 9 December 2019]. Gemma Hudson-NEC, Blyth in Northumberland recalled in 15 old photographs (2016), <https:// www.chroniclelive.co.uk/ news/gallery/blyth-northumberland-recalled-15-old-11242682> [accessed 28 December 2019]. Griffiths, A. (2019). Helsinki central library topped with "book heaven". [online] Dezeen. Available at: https://www. dezeen.com/2019/01/10/helsinki-central-library-oodi-ala-architects/#/ [Accessed 13 Dec. 2019]. Helmet-kirjasto, ‘Kaupunkiverstaalla voit kayttaa mm. ompelukonetta, saumuria, 3D-tulostinta, vinyylileikkuria, suurkuvatulostinta, kolvia, jyrsimia, laserleikkureita, tietokoneita, tai UV-tulostinta. Laitteiden kaytto on maksutonta, mutta joidenkin laitteiden osalta peritaan materiaalimaksu’ [Twitter post] (@HelMet_Kirjasto, 5 December 2018). Joshua Rawson-Harris, Everything comes to an end… (2019), <https://unsplash.com/photos/ wKGrlLW0CJ8> [accessed 29 December 2019]. Metalocus.es. (2019). Helsinki Central Library OODI by ALA Architects | The Strength of Architecture | From 1998. [online] Available at: https://www.metalocus.es/en/news/helsinki-central-library-oodi-ala-architects [Accessed 13 Dec. 2019]. Mortimer, Natalie, Australian design review (2018) <https://www.australiandesignreview.com/architecture/finnishlibrary-promises-transform-way-think-public-spaces-libraries/> [accessed 8 December 2019]. Oodi. (2019). Facilities - Oodi. [online] Available at: https://www.oodihelsinki.fi/en/services-and-facilities/facilities/ [Accessed 13 Dec. 2019] Pacific Northwest National Laboratory (2015) <https://phys.org/news/2015-05-frequency-tropical-clouds-importantsimulations.html> [accessed 2 December 2019].

Zhuanlan (2020). 第85讲，一分钟了解艺术圈术语：新塑型主义. [online] 知乎专栏. Available at: https://zhuanlan.zhihu.com/ p/110711276 [Accessed 12 Jun. 2020].

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Bibliography AFASIAARCHZINE.COM. (2019). ALA Architects. [online] Available at: https://afasiaarchzine.com/2013/06/ala-architects/ [Accessed 13 Dec. 2019]. Ala.fi. (2019). Helsinki Central Library Oodi – ALA. [online] Available at: http://ala.fi/work/helsinki-central-library/ [Accessed 13 Dec. 2019]. Angelopoulou, Sofia, Lekka, Designboom (2018) <https://www.designboom.com/architecture/ala-architects-oodicentral-library-helsinki-12-03-2018/> [11 November 2019]. Archello (2019) <https://archello.com/project/oodi-helsinki-central-library#stories> [accessed 9 December 2019]. Archdaily (2018) <https://www.archdaily.com/907675/oodi-helsinki-central-library-ala-architects> [Accessed 11 November 2019]. ArchDaily. (2019). Gallery of Helsinki Central Library Winning Proposal / ALA Architects - 8. [online] Available at: https:// www.archdaily.com/390181/helsinki-central-library-winning-proposal-ala-architects/51bfebd7b3fc4b1795000033helsinki-central-library-winning-proposal-ala-architects-photo?next_project=no [Accessed 13 Dec. 2019]. Architectour.net. (2019). Architectour.net - Oodi Helsingin keskustakirjasto [ Helsinki Central Library ]. [online] Available at: https://www.architectour.net/opere/opera.php?id_opera=6940&nome_opera=Oodi%20Helsingin%20 keskustakirjasto&architetto=ALA%20Architects [Accessed 13 Dec. 2019]. Griffiths, Alyn, ‘Helsinki central Library Oodi topped with translucent”book heaven”’, Dezeen, 10 January 2019. Honka. (2017). Scandinavian architecture for natural living - Honka. [online] Available at: https://honka.com/en/blog/2017/03/20/scandinavian-architecture-for-naturalliving/ [Accessed 13 Dec. 2019]. King, M. (2013). Market Town Benchmarking Measuring the performance of town centres Blyth 2013 Report. [online] Available at: https://www.northumberland.gov.uk/NorthumberlandCountyCouncil/media/Northumberland-Knowledge/ NK%20place/Parishes%20and%20towns/Towns%20and%20town%20centres/Blyth-2013-AMT-Town-Benchmarking-Report. pdf [Accessed 12 Dec. 2019]. Mac, D. (2019). An ode to literature: Oodi Central Library by ALA Architects. [online] Detail.de. Available at: https://www. detail-online.com/blog-artikel/an-ode-to-literature-oodi-central-library-by-ala-architects-33637/ [Accessed 13 Dec. 2019]. Metalocus.es. (2019). Helsinki Central Library OODI by ALA Architects | The Strength of Architecture | From 1998. [online] Available at: https://www.metalocus.es/en/news/helsinki-central-library-oodi-ala-architects [Accessed 13 Dec. 2019]. Oodi. (2019). Facilities - Oodi. [online] Available at: https://www.oodihelsinki.fi/en/services-and-facilities/facilities/ [Accessed 13 Dec. 2019].

Appendix - Sketches (Graduation Project)

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ARC3001 Architectural Design

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