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ARC ALVIN TSANG 160733442 ORDINARY RESILIENCE

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Content ARC3013: Architectural Technology

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ARC3014: Professional Practice and Management

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ARC3015: Theory into Practice

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ARC3060: Dissertation in Architectural Studies

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ARC3013 - ARCHITECTURAL TECHNOLOGY INTEGRATING CONSTRUCTION 160733442

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1. PROJECT DECLARATION │ Site Location: St James, Newcastle upon Tyne, UK

Low Accessibility The site’s entry points are located at the corners of the site, while it’s core area and the metro station is lower than them in attitude. The pedestrain staircases (red) and heavily-planted and inaccessible slopes (brown) have hindered access from site’s entry point to my building and the metro station, failed to evacuate the large amount of people leaving the stadium after a football match. Moreover, the site’s large hollow area has limit access from one street to one another.

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Contextual Daylighting Requirements The main empty and buildable area of the site lies on the south bouuday, while the metro station, which is preserved and part of the design, is located on the north side. The site is located in a commercial area with relatively tall buildings. If my main building on the south side is erected to the contextual height, sunlight will be blocked and unable able to reach the entrance of the station.

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Noise and Pollutants Barrack Road located on the south side is a main road connecting the city to the national highways, which is occupied by lorries, buses and busy traffic. This will cause heavy noise and pollutants to the site. Opening has to be limited on mu building’s south side to minimise the negative effects on users. Yet, this will also block the prefered intake of southern daylight and heat energy. A balance between solar-gain and noisepollutant-control has to be carefully considered. Also, alternative daylighting solutions, such as the use of skylight, can be taken into account.

pub and courtyard Visitor reception A

Main Building

A B Parti site diagram

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Building footprint (offsetting from site boundary) Parti site section AA

Responding to contextual height

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Step-like massing allowing daylight ro reach the existing metro station

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Metro station Parti site section BB

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Ground floor plan

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Key section

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First floor plan

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Plan to section diagram

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Addictive and subtractive diagram (darker = more subtraction)

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Symmetry and Balance diagram

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2. TECNICAL SECTION + PART ELEVATION STUDY

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3. ADDITIONAL TECHNICAL COMPONENTS 3.2 Structural Strategy and Construction Sequencing The structural grid is derived from the core of the building — the void under the skylight, which is relatively regular in geometry.

Concrete columns are first places along the oval-shap void on plan. Horizontal CLT beams are arranged in the direction pointing to the centre of the void. They are extended to intersect with the exterior walls, then a column is placed at each intersection.

The step-like area of the building is suported by bigger but less columns. They are positioned a bit inwards from the exterior walls, allowing for a open-plan spatial arrangment on the east side of the building.

Structural grid (each diagram represents 2 storeys)

Perspective drawings showing the relationship of columns to the exterior walls

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Installation of facade panals The façade design involves overlapping of fibre-cement cladding boards. Conventionally, overlapping cladding is done by hand in-situ, and usually for relatively small area such as domestic roof. While the main building is a large-scale building with 9 storeys, it would be too time-consuming for construction workers to install the cladding boards one-by-one on the whole façade. The extra construction time means unwanted expense on the budget. Moreover, it would be too risky for the workers to carry out the cladding at a height of 36m. The application of prefabricated cladding panels can greatly reduce on-site construction time and risk, minimising the cost of the façade construction.

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ARC3014:  Professional Practice and Management

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Professional Practice and Management Report of Newcastle Music Academy

Student number: 160733442 14

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1. Project Information The title of my project is Newcastle Music Academy. The client is Newcastle University. The building type is a semi-public university building. Privately, it is for teaching, self-learning and administration, while publicly, it is for occasional open-house and guests’ performances.

The project involves a newly built main building, along with master-planning and vitalization of the existing site (figure 1).

Figure 1: Proposed site plan

Figure 2: View of the existing site

My site is in St James, Newcastle upon Tyne (figure 2). The unique part of my project is the landscaping which aims to maximize access to the main building and within its context. It was first observed that the existing slopes and staircases (figure 3) has hindered users’ access to the site and hence the proposed building. Moreover, the indirect pedestrian circulation has limited the evacuation of people after a football match at the adjacent stadium. Therefore, the height differences have been connected by more accessible and welcoming ramp and bridge (figure 4).

Figure 3: Existing staircases and ramp (red); inaccessible slopes (brown)

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Figure 4: Ramp, bridge and widened staircase for higher accessibility and more sense of welcoming

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I have taken a design approach in which the building’s massing was shaped passively by contextual factors and local requirements, instead of any personal preferences. The site area was first identified (figure 5.1) and trimmed by the existing metro station (figure 5.2).

The remaining area was then divided by a pedestrian cut-through, or the bridge (figure 5.3), followed by shrinkage and curving for more circulation space (figure 5.4). The main building was extruded to an appropriate height, while the courtyard-like space was negatively extruded to an accessible depth (figure 5.5). And lastly the massing is subtracted to a steplike silhouette to introduce daylight to the existing station (figure 5.6). The design approach aims to maximize spatial usage, while meeting the contextual requirements as the priority.

Figure 5: Massing developments based on contextual factors and requirements

The overall size of the building is 88131m3 in volume, and 20368m2 in area excluding the inner void. It provides lecture rooms, tutorial rooms, individual studios, open-plan social space and a semi-open theatre. They are approximately 6790m2, 4070m2, 5430m2, 2710m2 and 1200m2 respectively.

Figure 6: Sectional sketch indicating the general spatial arrangement

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2. Brief Proposal 2.1 Procurement Strategy To meet the client’s expectations of the cost, time and quality, a traditional procurement strategy will be adopted. First, the client sets up the brief and hires the consultant - the architect, to design the project and prepare a tender document. This document will include drawings, work schedules and bill of quantities for the contractor. Next, the client invites contractors, or construction companies in other words, to submit drafted construction tenders. Based on a competition of price and quality, a winning contractor will be chosen by the client (Designing Buildings Ltd, 2020). They will sign up a lump sum contract before any manufacturing or constructions to refine the price and workflow (Designing Buildings Ltd, 2020).

The consultant and contractor will conduct regular site visits to ensure that the site elements are correctly preserved or removed according to the design proposal. This is compulsory before RIBA Stage 5 because any extra removal of site elements is irreversible and will lower the project quality. On the other hand, as the façade involves a special cladding-panel prefabrication (see session 2.3), a second-stage contractor will be invited for specialised hand-manufacturing. It will closely cooperate with the consultant in the production of experimental full-scale cladding panels for testing during RIBA Stage 4 (RIBA, 2013). In this stage, the consultant acts as the man-in-the-middle between the two contractors, ensuring the experimental panels can be successfully installed to the secondary structure produced by the first-stage contractor. The cost of the experiments will be recorded and added to the lump sum contract between the client and the second-stage contractor.

Figure 7: Procurement strategy diagram

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2.2 Other Consultants Drainage Engineers — Drainage engineers are specialised in designing water drainage based on environmental impacts, construction materials, soil science and local laws governing drainage system construction (Study.com, 2020). Therefore, they are responsible in designing the drainage strategy of the new ramp and arched bridge to ensure safety and practicality. They will determine the amount and locations of ditches on the uneven ramp and bridge, as well as the organisation of underground drainage pipes connecting to these ditches. They are also responsible to inform the architects the surfacing solution and materials to encourage water drainage on the uneven bridge and ramp, in order to avoid pedestrian and cyclists’ accidents.

Structural Engineers — Structural engineers are knowledgeable about the calculation of loads, the decision on structural system, and the way to fit structure to architecture (Structural Engineers Association of Ohio,2020). Therefore, they will be responsible to inform the architects the required amount, the layout and the size of columns and beams, regarding the desired spatial arrangement and the aesthetics of the main building. On the other hand, there will be a new visitor reception constructed on the existing metro station.

Structural engineers will be responsible to decide the amount, the positions and the type of structural implantation below the new constructions to ensure safety, buildability and stability.

2.3 Keeping to Budget The most significant approach to keep the project within budget is the reduction of construction time by material prefabrication. The façade design involves overlapping of fibre-cement cladding boards. Conventionally, overlapping cladding is done by hand in-situ, and usually for relatively small area such as domestic roof. While my building is a large-scale building with 9 storeys, it would be too timeconsuming for construction workers to install the cladding boards one-by-one on the whole façade. The extra construction time means unwanted expense on the budget.

Moreover, it would be too risky for the workers to carry out the cladding at a height of 36m, meaning a low buildability and increased potential insurance cost in case of accidents.

Figure 8: Installation of prefabricated panel

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The application of prefabricated cladding panels can greatly reduce on-site construction time and risk, minimising the cost of the façade construction.

2.4 Planning According to Session 5.1 - Surveillance in “Designing to Community Safety and Supplementary Planning Document” by Newcastle City Council, a safer environment should be created by providing natural surveillance. This can be achieved by more daylighting, as well as reduction of visional obstacles and areas of concealments (Newcastle City Council, 2009). My project has response to this planning requirement by providing sufficient open and daylighted space where there is no vision obstacle. For example, the inaccessible and heavily planted slope on the northeast corner of the site has been transformed into an unobstructed spiral ramp (see Session 1). Surrounded by the ramp is an uncovered courtyard. This design will provide a welcoming, daylighted and anti-crime environment, enhancing the safety level of the area which satisfy the above local planning priority.

2.5 CDM Regulations According to “Managing health and safety in Construction” of CDM Regulation, a project must be carried out in a way that secures safety and health by law. As the proposed project involves construction above St James metro station, this may potentially weaken and unstable the existing concrete structure below, putting the safety of workers and users in threat. The designer should be responsible to design, install and maintain buttress, temporary support or temporary structure so as to withstand any foreseeable loads which may be imposed on it (Healthy and Safety Executive, 2015).

2.6 Office Procedures A series of prcedures will be straighly conducted in the office in order to deliver the project smoothly from concept to completion . A small-medium sized work station will be set up in Newcastle upon Tyne, which allows easy access to the site and the team can always meet the local client. RIBA Plan of Work will be followed as a principle workflow. The office will be led by a project director who keeps the team up-to-date with the client’s requirements, schedules the workflow and ensures deadlines are met on-time. Around him or her will be project architects who cooperate with other local consultants to develope the project. They are also responsible for site visits, drawing and model presentations, and the communication with contractors. CAD files and other documents will be securely stored in both physical and cloud drive. They will be coded according to the AEC (UK) Cad Standard (unknown, 2005), and individually checked by the project director to ensure a uniform format before tendering. The team will have a separate bank account for the project.

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3. Implications of Proposal 3.1 Clients, Users and Wider Society For the client and the users, the introduction of daylight through the void to the bottom of the building would provide a strong sense of vividness within the whole interior, creating a suitable atmosphere for educational activities. The soft and diffused sunlight through the skylight would gently illuminate and heaten up the main circulation space. This aims to deliver a positive energy to every student or teacher before stepping into the classroom. On the Figure 9: Axonometric cut-away drawing of the void other hand, the perfomance theatre on the ground floor is placed in the centre of the building under the circular void. The soft and unobstructed daylight to the stage would suggest perfomers a feeling of confidence, while creates a cozy indoor sitting landscape for other users when there is no perfomance. The overall design aims to deliver an elegant and sociable environment to the client and users, encouraging joy in the education of music.

For the public and the wider soicety, the landscape transformation (see session 1 and 2) would enhace the openness and accessibility of the whole site as well as to the adjacent places. This seeks to ease the busyness of the commercial area full of office buildings, restaurants and traffic. Moreover, the pub and public space, together with easier site access, can draw more people to the seldomly used metro station, encouraging the use of green public transport for a more sustainable envronment.

3.2 Reputation of Architects and Wider Construction Industry Considering the two-stage procurement strategy adopted, the two contractors are allocated the special manufacture of façade cladding and the rest of the construction respectively.

The consultant, or the architect, is knowledgeable about the technical construction. In this project, the architect serve as the man-in-the-middle which inconventionally bring the two contractors together and encourage cooperation in the complicated construction. This procurement strategic approach can potentially suggest some break-through in the role and reputation of architects when it comes to cooperation of two or more parties in archiving a coomon goal which requires professional architectural knowledge.

In this project, the traditionally by-hand and in-situ overlapping cladding is converted into off-site prefabrication, like the rationale of rainscreen cladding, to cater the incresed building scale. For the wider construction industry, this may encourage new factoryprefabrication approach in grouping small, elegant and conventonally assemble-by-hand elements together to shorten building time, lower budgets and to apply to larger buildings.

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References Study.com. (2020). Drainage Engineer: Education And Career Roadmap. [online] Available at: <https://study.com/articles/Drainage_Engineer_Education_and_Career_Roadmap.html> [Accessed 22 March 2020].

Seaoo.org. (2020). Structural Engineers Association Of Ohio - What Does A Structural Engineer Do?. [online] Available at: <https://seaoo.org/What_Does_a_Structural_Engineer_Do_> [Accessed 22 March 2020].

Designing Buildings Ltd. (2020). Traditional Contract For Construction. [online] Available at: <https://www.designingbuildings.co.uk/wiki/Traditional_contract_for_construction> [Accessed 23 March 2020].

Designing Buildings Ltd. (2020). Lump Sum Contract. [online] Available at: <https://www.designingbuildings.co.uk/wiki/Lump_sum_contract> [Accessed 23 March 2020].

RIBA (2013). RIBA Plan of Work 2013 Overview. [pdf]. London: RIBA. Available at <http://www.ribaplanofwork.com/Download.as.px> [Accessed 23 March 2020].

Newcastle City Council (2009). Designing To Community Safety And Supplementary Planning Document. [online] Available at: <https://www.newcastle.gov.uk/sites/default/files/201901/SPDDesigningforCommunitySafetyAdopted.pdf> [Accessed 24 March 2020].

Heath and Safety Executive (2015). Managing Health And Safety In Construction. [online] Available at: <https://www.hse.gov.uk/pubns/priced/l153.pdf> [Accessed 24 March 2020].

Unknown (2005). AEC (UK) Cad Standard For Model File Naming. [online] Available at: <https://aecuk.files.wordpress.com/2009/05/aecukmodelfilenaminghandbook-v2-4.pdf> [Accessed 25 March 2020].

List of Figures *All figures by author

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ARC3015:â&#x20AC;&#x201A; Theory into Practice

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Analysis of 3D diagrams by Bjarke Ingles Group and influences on my project representation Alvin Tsang (160733442) Ordinary Resilience

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CONTENT

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Introduction

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Primer

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3D diagrams by Bjarke Ingles Group

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Inspirations on year-three design project

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Bibliography and list of figures

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INTRODUCTION My studio â&#x20AC;&#x201D; Ordinary Resilience has a design philosophy deeply derived from the epistemological concepts of artists such as Marcel Duchamp, Rachel Whiteread. We are aiming to develop series of university buildings that are robustly connected to the context and history of our own city, yet contemporary in architecture with a sense of permanence. Our working methods include comprehensive research on city, artworks and buildings, followed by transformation and manipulation of precedential concepts and knowledge in our own projects. We represent and communicate our thinking through a variety of technique, including material exploration, lino and block printing, sketching, technical-drawing, modelling etc.

In terms of application and communication of theories in architecture practice, Bjarke Ingles Group, a Copenhagen-based firm founded in 2005, has inspired me a lot. Focusing on their axonometric and perspective diagrams, their design and representation methodology will be analysed in this essay. With my analysis, I will explain how and why axonometric and perspective diagrams are used to communicate certain aspects of my project. Some limitations of this representation style will also be taken into account.

Our studio work first began with Primer, a three-week city exploration completed by an exhibition. We have observed the city of Newcastle upon Tyne in large, medium and small scales, focusing on the forms, the roofscapes, the textures, the patterns etc. Infused with inspirations from precedential artwork, each of us has created three pieces of either sculptural and printed city interpretation. My Primer study was deeply inspired by artists such as Cy Twombly and Rachel Whitehead, and has influenced and guided my thinking throughout the year-three project. The large-and medium-scale city interpretation will be first mentioned to give a sense of the concepts imvolved in my project developement.

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Primer — large scale For our large-scale city interpretation, I have taken my interest in the relationship between natural landscape and urban footprint. It was observed that the natural, untouched shape of Ouseburn River tends to determine the perimeter of Jesmond Dene Park, which is partly natural and partly artificial. Looking at a wider scale, the urban planning in Jesmond, which is totally artificial, seems to follow the park’s perimeter (figure 3). To express this gradual influence of the natural on the artificial, the park’s perimeter was offset from the river to the wider city fabric on a figure ground plan. This was done digitally (figure 4) and represented physically by spray painting on an A1 MDF board (figure 5).

Figure 1: Cy Twombly’s repetitive fluid lines (chalk on black canvas)

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The representation of my large-scale city interpretation was especially inspired by the manipulation of repetitive and fluid lines in Cy Twombly’s drawing. Lines are almost of the simplest form of visual communication, or a fundamental effort to communicate as suggested by artist Pat Steir (Blanc, 2013). Each of them exercises an expressive power to tell readers the emotion of the person who draw the line at a specific time. However, since lines we create are sometimes under the pressure of representation, they might not truly and completely deliver the emotions or meanings that are in our mind. On the other hand, in the field of architecture, lines are often drawn with rulers or digitally as “standard” as possible for everyone to understand. This may also limit the power of lines to carry messages from one brain to another.

Figure 2: Sketch of bridge “façades” in Newcastle upon Tyne

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Figure 3: Plan of Ouseburn River, Jesmond Dene Park and buildings

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Figure 4: Digital print of large-scale city interpretation

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The artist reserach has encouraged me to reconsider the presence and role of lines while representing my large-scale city interpretation. The methods that we used during Primer to create prints, such as lino or block printing, has produced lines and shapes in a rigid, non-directlyfree-hand approach. My prints were also drawn digitally before laser cutting for spray painting. This might potentially hinder the emotional expression of lines and shape. However, the rigid lines in architectural representation can be always recomposed in an emotional and vibrant composition. From a CAD drawing which communicates a place accurately and “honestly”, I have offset the park perimeter, which related to the river’s shape, in an unreal yet vivid juxtaposition. This seeks to express how the natural riverscape emanates the artificial urban footprint.

Regarding our year-three project, Primer large-scale interpretation has provoked my interest in seeing how dominant site factors and forces can emanate the building footprint and massing. The form of the building is purely shaped by site conditions such as the topography and contextual buildings, as well as the daylighting, circulation, noisecontrol requirements.

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Figure 5: Spray-painted print of large-scale city interpretation

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Primer — medium scale For the medium-scale city interpretation, I was interested to explore the existence of negative space in Old George Yard, Newcastle in relation to the positivity. This was inspired by precedential artwork “Ghost House” by British artist Rachel Whitehead. It is a plaster cast of the four living room walls inside of an abandoned Victorian townhouse. The sculpture obtained was the negative space, or known as the ghost of the threshold, on which the details and even the materiality of doors and windows were concretely recorded by the cast.

My city interpretation sculpture was based on the concept of building a negative space positively. Old George Yard is the courtyard of a pub bounded by buildings. The two tunnel-like entrances circulate the urban room, while the surrounding buildings’ façade invisibly mark the boundary of this negative space. To represent this spatial relation, the “boxing” façade and ground of Old George Yard was extracted and built at 1:50 scale. A thin layer of paper is used to represent the façade because the boundary in the sculpture was abstract, which should not have any thickness. To represent the materiality of the threshold, a layer of plaster is painted on the paper to represent the facades’ texture, and cement was mixed with acrylic paint to render the stone tiles on the floor.

Figure 6: Cast of ghost in threshold by Rachel Whitehead

Primer medium scale interpretation has sparked my interest in the interplay of positivity and negativity in architecture. It has encouraged me to apply the concept of “ghost” when designing the massing of my building. Instead of erecting a building upwards positively, one of my buildings was negatively extrude downwards.

Figure 7: Negative space of Old George Yard bounded by façade

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Figure 8 and 9: Sculpture of medium-scale city interpretation

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3D diagrams by Bjarke Ingles Group In the communication of design concepts derived from Primer, I have found the 3D diagrammatic representation by Bjarke Ingles Group a relevant precedent. It includes both axonometric and perspective illustrative diagrams, which the architects used to explain their thinking process and visually deliver their designs to readers. They will be analysed respectively based on their characteristics and the architect’s applications.

1. Perspective diagram Considering the rationale of perspective drawings, the application of vanishing points cleverly projects an illusion of depth onto a 2D plane, or on a piece of paper. This drawing technique was first invented in 1415 by Florentine architect Fillipo Brunelleshi in his painting of Baptistery in Florence. Later in the same decade, Masaccio, the first great painter of the early Renaissance period, has demonstrated full command of linear perspective system. He has made use of perspective to create volume and an illusion of distance on 2D canvas (Op-Art.co.uk., n.d.). Nowadays, perspective drawings are widely seen in architectural representation. It is a drawing system that can be applied on sketching, technical drawing, realistic rendering and even on montage. Compared to 2D drawings like plans and sections, perspective drawings provide more sense of distance and scale of the drawn object as it is seen by the eye (Wikipedia, 2020).

Figure 10: Early perspective drawing by Masaccio – The Tribute Money c.1426-27 Fresco, The Brancacci Chapel, Florence

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Figure 11: Architect’s representation of building massing in relation to contextual site

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It is observed that Bjarke Ingles Group’s perspective diagrams are usually a combination of perspective drawing and technical linework.

I believe this is a very successful way to communicate an urban environment thanks to the depth created by the usage of vanish points. The perspective drawing in the background plays a role in providing readers sense of the scale and dimension at the first glance.

The add-on technical lines then draws users’ attention to the subject to be introduced in each diagram. With these advantages, perspective diagrams always used by Bjarke Ingles Group when communicating the relationship of buildings’ form and massing to their urban contexts (figure 11).

It is also observed that perspective diagrams are used to by the architects in the communication of building programme and internal spatial arrangments (figure 12). They are usually illustrated with the help of colours. They advantage of using perspective digrams in this occassion is that they allow readers to read the design from the most dimensions on a 2D representation. Users can read the design from three views at the same time, including the top view and two elevations.

However, it is believed that the biggest limitation of perspective diagrams is the low level of detail. Drawn objects seem to be smaller when it is closer to the vanish points. In other words, the further away an object is, the lower the level of detail that can be communicated clearly, even if it is bigger in size than a closer object.

Figure 12: Architect’s representation of building programs and spatial arrangement

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2. Axonometric Diagram Like their perspective diagrams, their axonometric diagrams also give users an understanding of contextual massing at almost the first glance. The axonometric projection is a combination of two orthographic projection planes. Since each of the projected planes is parallel, the distortion due to vanishing points is avoided, meaning the level of details communicated on 2D is the same for two objects at different distance in reality.

It is perceived that according to the above advantage, axonometric drawing is used by Bjarke Ingle Group in certain occasions. Firstly, sites with significant changes in topography and irregular in landscape are usually communicated by axonometric projection. The undistorted orthographic view of site allows for an accurate understanding of the landscape, which is essential while communicating landscape transformation in their design. For example, when illustrating the massing and landscaping of Greenland National Gallery of Art built on a steep slope, the architect has used axonometric view to provide an accurate perception of the landscape without distraction (figure 13).

In terms of drawing technique, lines are used to outline the shape of the slope as well as the building. A pale mono-colour rendering of the slope surface creates shadow on the uneven terrain, providing extra understanding of minor details on the topography without catching unnecessary attention. The relatively irregular landscape transformation can be also understood clearly with the projected, undistorted parallel view.

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Figure 13: Architect’s representation of building massing and landscaping on uneven terrain using lines and rendering

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As axonometric view is a fusion of parallel projected planes in three dimensional, the architects were able to include features of conventional 2D drawings in the drawing. Contour lines, which are conventionally used to illustrate landscape and terrain on 2D plan view, is projected on to the slope surface (figure 14). This has effectively emphasized the change in height on the slope.

The second occasion that Bjarke Ingle Group applies axonometric diagrams is to communicate regular shape in a relatively irregular, freeform building. The parallel projection of the drawing can emphasize the regularity within the building, for example, the digitally calculated beams and columns, the horizontal storeys, the core and some building servicing such as air flow (figure 15).

The third occasion axonometric diagrams is when a design is relatively different in scale with its contextual building. If perspective was applied in this situation, the difference in size of the design and context buildings would create extra distortion in view. This will further emphasize the difference unnecessarily, causing delusion to the interpretation of readers.

However, it is believed the limitation of axonometric drawing is the direct representation of scale and dimension. Without a vanish point, the scale of the building might not be effectively communicated unless with the help of human figures.

Figure 14:â&#x20AC;&#x201A;Projection of 2D contour lines emphasizes the form of the landscape

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Figure 15: Emphasizing regularity in a free-form building

Figure 16: Skyscrapers are drew parallelly to avoid delusion in perspective

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BILBLIOGRAPHY Blanc, A. (2013). Drawing Outside the Lines. [online] Available at: https://risdmuseum.org/manual/271_drawing_outside_the_lines. [Accessed 15 February 2020].

Op-Art.co.uk. (n.d.). Op Art History Part I: A History of Perspective in Art. [online] Available at: http://www.op-art.co.uk/history/perspective/.

[Accessed 17 February 2020].

Wikipedia. (2020). Perspective (graphical). [online] Available at: https://en.wikipedia.org/wiki/Perspective_(graphical). [Accessed 17 February 2020].

LIST OF FIGURES Figure 1 CY Twombly, (n.d.), Untitled, 1970 [online]. Available at: https://collections.artsmia.org/art/1958/untitled-cy-twombly [Accessed 16 February 2020].

Figure 6 Tate Britain, (2017), Chicken Shed [online]. Available at: https://www.tate.org.uk/whats-on/tate-britain/exhibition/rachel-whiteread/curatorstour-rachel-whiteread [Accessed 16 February 2020].

Figure 10 Op-Art.co.uk, (n.d.), Masaccio – The Tribute Money c.1426-27 Fresco, The Brancacci Chapel, Florence [online]. Available at: http://www.op-art. co.uk/history/perspective/ [Accessed 17 February 2020].

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ARC3060:â&#x20AC;&#x201A; Dissertation in Architectural Studies

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Evaluation of Flood-Proof Building Typologies and Potential Movements in their Technology Dissertation Project Report (5200 words)

Alvin Tsang (160733442)

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ACKNOWLEDGEMENT It has been a decade-spanning cliché that the increasing human production of greenhouse gases produces a positive climate forcing, or warming effect, which melts the glaciers resulting a rise in sea level. And more recently, it was proven by scientific experiments that tsunami events tend to occur more frequently and broadly in the future, due to more melting and falling of glaciers (Meares, 2009).

Flooding events seem to be foreseeable time bombs in many coastal and riverine areas.

It is observed that the five typologies are applied specifically under variable circumstances, such as flood characteristics, site situations and building usage. The difference in flood control approach has contributed to a diversity in architectural forms and structural strategies, and thus, the ability in coping with flooding events and addressing users’ needs. This has sparked my interest in comparing the typologies from an architectural perspective.

Fortunately, artificial flood control solutions have been adopted broadly and maturely, with scale ranging from a family dwelling to a national system of dams. Governments have been working closely with planners in large-scale flood-control and masterplanning infrastructure. One of the earliest approaches dates to the 28th century BC, when ancient Egyptian empire built Sadd el-Kafara, the world’s first giant dam (Yang, Haynes, Winzenread, and Okada, 1999).

In this dissertation project report, the five flood-proof building strategies will first be introduced with examples and illustrations to contextualise my analysis. Secondly, the typologies will be compared in detail under flood characteristics, site locations, accessibility, resilience, maintenance and building usages. Finally in light of the analytical results, potential movements in their technology will be explored.

Architects and engineers are also playing an important role in adapting coastal and riverine cities to flooding. Thanks to their effort, floodproof buildings have been protecting users globally from the risk of flood events, and their approaches are widely seen as successful and highly beneficial. According to the book Aquatecture published by RIBA (Barker and Coults, 2016, pp.198-217), there are currently five main flood-proof building typologies — elevated buildings, dry-proof buildings, wet-proof buildings, floating architecture and amphibious homes.

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ARC3060: Dissertation in Architectural Studies

CHAPTERS 1

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Introduction to Flood-Proof Architecture 1.1 Elevated building 1.2 Dry-proof building 1.3 Wet-proof building 1.4 Floating architecture 1.5 Amphibious architecture

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Evaluation of the Five Typologies

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2.1

In response to the rising sea level

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2.1.1 Case study on Venetian buildings 2.1.2 Case study on Maasbommel’s amphibious homes 2.1.3 Case study on the UK’s fisrt amphibious homes

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2.2 Aceessibility and Social Impacts 2.2.1 2.2.2 3

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Case study on REM-island Conceptual transformation of REM-island

29 30 33

Potential Movements

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3.1 3.2

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Hybriding typologies Multi-unit

Conclusion

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Chapter 1 Introduction to Flood-Proof Architecture

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1.1

Elevated Building

An elevated building can protect their users from flood risk because the whole building is raised above the predicted water level. It is typically elevated and supported by structural posts, which vary from bamboo to reinforce concrete. This creats hollow space under the building, allowing for evacuation of water and floating debris, while keeping the living storeys above free from flood water.

Figure 1: Reconstructed Stone and Bronze Age lake-dwellings in Pfahlbau Museum, Germany

Because of its constant vertical position, an elevated building will be defined as fixed-in-place architecture for the evaluation in Chapter 2. It has an approach of flood avoidance, which avoid the building in contact with water. Reconstructed prehistoric lake-dwellings in Germany’s Pfahlbau Museum, fishermen’s dwellings in Hong Kong Tai O, and MVRDV’s Silodam in Amsterdam will be used as examples to demonstrate the flood-control rationale and architectural variety of this typology.

Neolithic Stone and Bronze Age lake-dwellings Although their original built location — whether on water or on ground, remains controversial (Menotti, 2001, pp.319-328), the Neolithic Stone and Bronze Age lacustrine dwellings share a dominant characteristic — their wooden posts extend which lift the living storey up from the ground (figure 2).

Extended posts

Figure 2: Axonometric drawing of primary and secondary structure of prehistoric lake-dwelling

An exposure of 111 prehistoric pile-settlements in the Alpine region since the 19th century has called for archaeologists’ attention and interest in reconstruction (Wikipedia, 2019). Pfahlbau Museum, an open museum located in Unteruhldingen, Lake Constance, Germany, has housed a series of reconstructed Stone and Bronze Age pile-dwellings, which well-recall the flood-proofing strategy of prehistoric elevated buildings (figure 1). According to the museum, primitive men built their dwellings on piles so as to adapt themselves to the lake-level fluctuations on the shore of Lake Constance, which measures two to three meters yearly (Pfahlbau Museum’s Webpage (n.d.)).

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Fishermen’s dwellings in Tao O Fishing Town, Hong Kong The flood-control technique of elevated architecture is also found on the fishermens’ dwellings in Tai O Fishing Town, Hong Kong (figure 3). Different from the former example which is elevated by extended posts, the fishermen’s dwelling are supported by pile-platforms on wetland. They are elevated above the predicted high-tide level to avoid contact with water and the risk of flooding.

This construction strategy has been adopted since the 19th century (Joshi, 2017).

To built a pile-platform, the wooden stilts are customised in-length to maintain the a horizon on the uneven terrain. They are buried into the wet mud and stablised by concrete mass on the surface. Beams, sometimes trusses, are involved to strengthen the platform’s structure (figure 4). The dwelling, either made of metal sheets or concrete, is then erected in-situ over a deck spanning on the platform.

Figure 3: Fishermens’ homes in Hong Kong Tao O Fishing Town

Sitting on the sloppy river banks, the fishermen’s dwellings are accessible from both dry ground and water, which caters the operation of the local seafood industry — collected seafood is first uploaded from the river, processed domestically, and finally sold to customers at a retail store or a restaurant clinging to the dwelling at the other end. Not only protecting the dwelling from water, the pile-platforms also create opportunities for the fishermen to upload collected seafood at different water levels (figure 5).

Figure 4: Axonometric drawing of pile-platform below a fisherman’s dwelling

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During low tide, the land and piled plateform are exposed. The fisherman first parks his boat on the wet mud and brings his collected seafood onto the terrace via a ladder.

4

During high tide, the shore and part of the ladder are submerged.

The fisherman stops his boat by the ladder on water and uploads his collected seafood.

Figure 5: Axonometric drawings of the fishermanâ&#x20AC;&#x2122;s dwelling in low tide (left) and high tide (right)

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Silodam MVRDV’s Silodam in Amsterdam (figure 6), in contrast to the two previous examples, is a larger-scale, more mixed-used contemporary elevated building, which houses dwellings, offices, workshops, public facilities and common areas. According to the architects, Silodam looks like a sort of ship moored at the end of a dock extending into the water of the Ij inlet (Costanzo, 2006, pp.112). This visual effect is accomplished by lifting the building approximately one meter above water on a juxtaposition of piles (figure 7 and 8).

Some might have the perception that Silodam would be partly submerged during the high tide. Yet, Amsterdam’s water level is indeed carefully controlled by the Zuiderzee (Veen, 1954, pp.214), a range of dams spanning about 100 km on the Dutch northwest border (Wikipedia, 2019). Since the tide from North Sea is artificially stopped from entering Amsterdam, Silodam is able to stand on deep water all year round, even though it is lifted just over the water level.

Figure 6: Exterior view of Silodam

To facilitate water access, an empty space is created by subtracting a volume at the bottom of the building. What in that space are structural piles and two boat-parking docks, with length more than 30m each. The docks, elevated by piles too, are linked to the building’s interior by individual staircases (figure 9).

Figure 8: Elevation diagram of Silodam’s piles (highlighted in thick line)

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Figure 7: Elevating piles and boat-parking docks

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Accessible staircase

Boat-parking dock

6

Figure 9: Elevation diagram of boat-parking docks and accessible staircases (highlighted in thick line)

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1.2

Dry-proof Building

A dry-proof building (figure 11) can withstand flooding because it is either kept out of contact with, or physically resistant to flood water. It is usually transformed from an existing non-flood-proof building (Barker and Coults, 2016, pp.204-205). For the analysis in Chapter 2, it is defined as fixed-in-place architecture because of its fixed horizon. It has an approach of flood resistance which structurally prevents flood water from entering the building.

To keep the building out of contact with flood water, external barriers, known as flood guards, are usually involved to stop water from reaching the property at a distance. Resistant doors allows access and blocks water while flooding (figure 12). In Dordrecht, the Netherlands, a system of flood guards was developed innovatively to protect an existing neighbourhood from the increaing flooding due to city expansions. Instead of the traditional fixed barrier, MSc-student Milan Hinborgh has applied a floating stop log, a water-guarding gate which is hidden in the ground normally and buoyed by water during a flood event (Voorendt, n.d.). The amphibious approach has preserved the aesthetic cityscape and existing circulation of the streets, while keeping the threat of flooding in arm’s length.

Conventional

Amphibious flood gate in static position

To make the building itself resistant to flood water, waterproof facade (Figure 11d*), resistant openings (Figure 11a*), sealed servicing junctions (Figure 11c*), as well as non-return valves in drainage are usually applied. They together form a waterresistant “envelope” which aims to avoid entering of water. This “envelope” has to be strong enough structually to withstand the hydrostatic pressure of flood water and impact damage from debris (Barker and Coults, 2016, pp.204-205).

Amphibious flood gate during flooding

Figure 10: A comparison of conventional and amphibious flood guards

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Figure 11: A dry-proof building Figure 11a: Flood-resistant doors and barrier Figure 11b: External flood guard with door Figure 11c: Sealing of servicing junctions Figure 11d: Waterproofing the facade with resistent membrane

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1.3 Wet-proof Building In contrast to a dry-proof building which blocks water, a wet-proof building (Figure 14*) allows for water entering, but quickly recovers to reduce damage. It is also defined as fixed-in-place archiecture in this dissertation, because of its fixed vertical position. It has an approach of flood resilience which recovers from flooding effectively.

Its structural integrity is preserved by preventing the build-up of internal hydrostatic pressure during flooding. Apart from its structural regidity, a series of water-proofing measures also plays an important role in this typology. In terms of drainage, water has to be discharge effectively via floor drains (Figure 15*) with non-return valves (Figure 16*). For the building’s fabric and finishing, solid wall and floor construction, such as plaster or lime rendering, prevent moisture being trapped within cavities. Easy replacement of low-level partitions is allowed when damaged by flood water. In terms of servicing, electrics and appliances are raised above the predicted flood level for protection (Barker and Coults, 2016, pp.206-207). For the furnitures on lower levels, they are preferably made of waterproof materials such as magnesium oxide; while non-waterproof furniture can be bought to upper storeys during flooding.

The typology’s water-proofing technique on materials are frequently applied to existing buildings as a way of refurbishment and water control. Examples can be widely seen in Venice, Italy, where low-level constructions are affected by flood water. Corrosion of bricks by marine water is usually restored by a coating of resin or plaster, which prevents further penetration of saltwater (ARTH 470z at the University of Mary Washington, n.d.) that will potentially upset the buildings’ structural integrity.

Figure 12: A wet-proof building during flooding

Figure 13: Floor drain

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Figure 14: Non-return valve

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Ullswater Yacht Club Centre (unbuilt) Ullswater Yacht Club Centre, is a hybrid between wet-proof and elevated building typologies. It is newly designed beside a lake in the north-west of England, where flooding risk has to be taken into account. That’s why changing rooms and storage, which are relatively less important, are located on the waterproof ground floor; while the more imporatnt club hall and offices, is elevated on the first floor (Figure 17). When it floods, the heavy mansory construction will withstand the hydrostatic pressure and impact from boats and debris, guarding stop log will protect the elevator from flood water. The building recovers by effective drainage through the changing rooms’ floor drains with non-return valves (Figure 18*) (Barker and Coults, 2016, pp.208209).

More Important: Less important:

10

Club Hall

Offices Changing Rooms and Storage

Core

Figure 15: Section diagram of Ullswater Yacht Club Centre’s programmic arrangement

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1.4

Floating Architecture

A piece of floating architecture consists of one or two lightweight storeys sitting on a buoyant caisson (figure 16). Its total weight must be toleranced by the buoyancy of the water according to Achimedeâ&#x20AC;&#x2122;s principle (Encyclopaedia Britannica, n.d.). Early floating architecture involved the use of natural materials such as bamboo and wood to minimise the weight for more buoyancy. Modern floating architecture are usually made of timber, fibre glass, steel and aluminium. The most recent examples are built with a combination of concrete pontoon and timber-frame (Barker and Coults, 2016, pp.210). Floating buildings are defined as water-suspended architecture for the later evaluation in Chapter 2. Unlike fixed-in-place architecture with fixed horizon, floating architecture has flexible horizon which changes according to the water level.

Roof

Living Storeys A boat house typically has one or two light-weight living storeys. It is usually where the dwelling is connected to the dry ground. Amenity space is usually found on the ground floor (Barker and Coults, 2016, pp.210).

Pontoon-basement The buoyant pontoon usually houses the basement which is below water surface. The taller the building is, the greater water depth of the hull is required for sufficient buoyancy.

Sometimes the hull play a role in heat exchange, where water is used to regulate the indoor temperature (Barker and Coults, 2016, pp.210).

Figure 16: Exploded axonometric drawing of a boat house

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The Ark (unbuilt) The Ark, an concept floating hotel, has a distinctive form of a giant “O” letter floating on the water (figure 17). It has a buoyant caisson at the bottom which houses 4 storeys below water surface (figure 18). Remistudio architects claimed that the building has its own energy system which generates electrity, supplying itself, green transport and nearby houses. The heat storage in the basement hull collects both solar enegy and and heat from the water, which helps to regulate the indoor temperature. Meanwhile, oxygen is also produced efficiently by indoor plantation (Baker, 2015, pp.26). These cutting-edge features has given a glimpse of the sustainability in this typology.

Figure 17: Architect’s visualisation of the Ark

Although the project is unbuilt, it has explored some possible movements in the floating architectural technology. For example, it seems to me that the line between a building and a boat can be blured. A ferry houses a whole building in its capacity.

The craftmanship of water-transport can potentially inspire on water-suspended architecture.

Pontoon-basement

12

Figure 18: Section diagram of the Ark

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1.5 Amphibious Architecture An amphibious building (figure 19) sits on dry land normally and floats when there is a sudden rise in water level. Similar to the floating architecture, it consists of a living unit sitting above a buoyant base. But apart from that, mooring poles are used to ensure vertical movements during floating, while preventing horizontal offset (Anderson, 2014). It is also defined as water-suspended architecture in this dissertation because its horizon can move vertically to adapt to different water levels.

upper storeys

Dr. Elizabeth C English, founder and director of the Buoyant Foundation Project, has claimed that amphibious dwellings was first developed and occupied in the late 20th century in rural Louisiana (n.d.). She has been running the Buoyant Foundation Project, which coverts existing piled elevated buildings into amphibious architecture to enhance their flood tolerance, mainly in floodprone regions like Vietnam and Louisiana (n.d.). To convert a house, the living unit is first lifted up, mooring poles are then inserted into the ground.buoyant pontoons and new reinforcement underneath the dwellings (figure 20).

The Buoyant Foundation Project has been transforming existing buildings into more flood-protective amphibious architecture. On the other hand, newly-built amphibious buildings have also shown the potential of this typology in protecting users from flood risk.

The first British amphibious house, completed by Baca Architects in 2015, has demonstrated a new architectural approach in this typology. Instead of the pontoons of the BFPâ&#x20AC;&#x2122;s amphibious house uses, Baca Architects has designed a buoyant basement hull hidden in an underground container (figure 21). When it floods, water fills the container incrementally and lift the house upwards smoothly along four external mooring posts (Barker and Coults, 2016, pp.214-215).

Pontoonbasement

Mooring posts

Figure 19: Axonometric diagram of amphibious house

by Baca Architects

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Piles which elevate the existing dwelling to avoid contact with flood water

Figure 20: Buoyant Foundation Project which turns existing elevated dwellings (top) into amphibious architecture (bottom)

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Figure 21: Baca Architectâ&#x20AC;&#x2122;s amphibious house in static position (top) and buoyed by water during flooding (bottom)

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Chapter 2 Evaluation of the Five Typologies

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2.1

In Response to the Rising Sea Level

The more and more greenhouse gases released to the atmosphere has resulted in an ongoing warming effect, causing more melting of glaciers and thermal expansion of ocean water. This is expected to further rise the sea level (Barkham, Macguire and Jones, 1992, pp.11).

It is evidential that flood-proof buildings which are fixed-in-place are more likely to be weeded out by the ongoing sea-level rise. As they are standing on a constant vertical position, the rising sea level can eventually exceed their maximum tolerance to flood water. Oppositely, water-suspended architecture, including floating and amphibious buildings, tends to be more successful in accommodating coastal residents to the changing sea level with their adaptive horizon.

This idea will be supported by three case studies on old Venetian buildings, Maasbommel’s amphibious homes and Baca Architects’ amphibious house respectively.

2.1.1

Case study on Venetian buildings

This case study analyses the failure of old Venetian elevated architecture in surviving the new sea level. It aims to deliver my perception that fixed-in-place buildings might not a long-term solution to the future sea-level fluctuations.

Venice is said to be a floating city. This is because a wooden-pile foundation has been supporting the whole city on the 118 sandy islands of the lagoon, since the 5th century A.D (figure 22). 10 million of tree trunks were buried 10 feet down into the layer of firm clay to keep the ground level above water (Science Channel, 2014). To build a house, the Venetians first drove wooden piles into the firm clay. A wooden platform was then built on top. Finally, the building was constructed above the platform (Ancient Origins, 2014). The canals, the bridges, the piers and the streets were also built on wooden piles.

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Figure 22: Wooden-pile foundation in Venice

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Key 1 Past water level 2 Elevated horizon 3 Wooden piles 4 Underground drainage

2 1

4 Sand 3

Firm clay

0

Their construction on piles shares a similar approach as the elevated architecture mentioned in Chapter 1.1, which avoids contact with water. The horizon of the whole city were elevated above the past predicted water level.

Canals and underground drainage were constructed for the evacuation of water during tidal movemenmts.

5m

Figure 23a: Sectional drawing showing the flood-control strategy of Venetian Buildings

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3

Key 1 Raised water level 2 Flooded ground floor 3 Unflooded upper floors 4 Blocked underground drainage

2 1

4

The sea level has been rising continuously meaning more water is entering the lagoon from the Adriatic Sea. During high water known as acqua alta, the water depth can exceed the fixed horizon of the city, resulting in flooding (The Venice Insider. 2016).

Sand

Firm clay

0

20 60

5m

Figure 23b: Sectional drawing showing the failure of Venetian Buildings in addressing the raised water level

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Despite their failure to avoid or resist water, Venetian buildings are now functioning similarly as wet-proof (resilient) buildings (introduced in Chapter 1.3). During flooding, the occupants carry their furniture from the flooded to the unflooded levels. The flooded ground floor recovers when water is discharged via floor drains.

The flood resilience of those historical buildings is also improved by material and structural restoration, such as replacement of corroded bricks (Imboden, n.d.).

Of course, the sea-level rise due to climate change is not the one-and-only reason behind Venice’s flooding phenomenon. There are other aspects to be considered too. For example, the weight of the city has been pushing the piles deeper into the lagoon’s seabed, causing an effect of “sinking” (LivItaly Tours. 2017). The lack of sewage disposal in canals and drainages has also heightened the magnitude and the risk of flooding (Venipedia, 2020).

Figure 24: Flooding along a canal in Venice

While Venetian buildings were intentionally elevated on piles above the past predicted water level, their fixed horizon has limited the ability in coping with the new sea level. The drawback of fixed-in-place architecture has been implied, underpinning the trend that it’s inflexibility is not a long-term approach to the uncertain future sea’s fluctuations.

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2.1.2

Case study on Maasbommel’s amphibious homes, the Netherlands

This study seeks to explore the pros and cons of water-suspended architecture compared to conventional fixed-in-place architecture, in terms of flood-control and residents’ willingness to live in. Water-suspended architecture includes both the floating and amphibious typologies. Unlike Venetian piled architecture which is fixed-in-place, Massbommel’s amphibious homes seems to respond to the river-level fluctuations with a more forward-looking approach.

Flood control

Figure 25:Maasbommel’s amphibious homes

Maasbommel’s amphibious homes adapt to the change in water level with their flexible horizon. They are located at the foot of a dyke, where the land meets the water. When it is at normal water level (figure 35a), which is NAP +2.6 metres (NAP is national water level indicator), the dwellings rest on dry ground and can be accessed from ground. When it is at high water level (figure 35b) , which is more than NAP +5.1 metres , they float free to protect their properties and users from the risk of flood water (Nillesen and Singelenberg, pp.57).

Accessibility

Figure 26: Flexible bridge

Figure 33 shows that there seems to be a flexible bridge connecting the dry ground and the outdoor deck of a dwelling. During tolorated high water, its flexible two ends are expected to move up and down, which can adapt to the dwelling’s vertical position when buoyed. For every two dwellings there is a deck. Each deck is floating independently, but only vertical movements are allowed by the two mooring posts.

The decks extend to form an circulating aisle behind the dwellings. During tolerated high water, this amphibious aisle and the flexible bridge can potentially provide safe access to the properties (figure 34).

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Amphibious decks

Floodable zone

Circulation aisle

Flexible bridge

Unflooded dry ground

Figure 27: Top view of eight amphibious homes (site n.t.s.)

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Mooring poles Car park

Ground access Elevating Posts: An infusion of elevated building’s technology

Access from floating decks which connected to the dry ground by flexible bridge

Car park

Figure 28: Maasbommel’s amphibious home during low tide (top) and high tide (bottom)

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Timber-frame construction

Concrete pontoon and cellar

Timber-frame construction

Concrete pontoon and cellar

Two mooring poles

Buoyant concrete pontoons are attached two-by-two for stability in floating. As they are basements and there is a height restrcition of 1.5 metres in the basement, the concrete caissons are mainly used as storage space.

Above each pontoon is the dwelling, which is a constructed with a relatively light-weight timber frame structure aiming to maximise the buoyancy.

Between the two dwellings are two mooring poles going through the buoyant caisson to the riverbed.

They prevent the dwellings from coming adrift while floating. They are tall enough to cope with a maximum 4.5 metres of water rise (Nillesen and Singelenberg, pp.5761).

Figure 29: Sectional diagram of the buoyant concrete caisson

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2.1.3 Case study on the UK’s fisrt amphibious home The first amphibious house in the UK, completed by Baca Architects in 2015, has shown some contemporary features of amphibious architecture. The site, located on a small island on the River Thames, south Buckinghamshire, is both a designated Flood Zone and Conservation Area (Baca Architects, n.d.). The 15 houses, mostly built in the early 20th centuries, typically raised by wooden piles 1m above ground level to protect them from flooding events. The original house must be raised further 1.4m on the ground floor to cope with 1-in-100 extreme flooding. However, as island is a conservation area , the replacement building could not be significantly taller, nor significantly increased in the building footprint (Barker, 2016). Since the roof level was fixed, insufficient space will be left in the middle when the ground floor is risen.

Figure 30: The UK’s fist amphibious house

The architect has came up with an idea of burying the house partly in a nonimpermeable basement container. When it floods, water fills up the container and gently lift the house upwards. This design successfully make the house look like it is a conventional house from the exterior, which can be easily access from ground level via a flexible bridge.

To conclude Chapter 2.1, water-suspended architecture is believed to address the rising sea level with a more long-term approach, comparing to fixed-inplace architecture. Although it is unfair to compare the two approaches without considering other factors such as site locations and building scale, the concept of adaptive horizon seems to be more suitable to cope with the uncertainty in future sea-level fluctuations, or even the tsunami events. Oppositely, the inflexible horizon of fixed-in-place architecture might be eventually exceeded by the rising sea level, making it not an ideal flood-control methodology in the long run.

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Flexible access

Aluminium piled sheet

Flexible access

Underground container

Concrete piles

Concrete layer Sealed servicing Figure 31: Sectional drawings

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2.2 Accessibility and Social Impacts Some would be under an impression that a higher flooding tolerance of fixed-inplace architecture can be achieved by a further-heightened horizon. Yes, elevating a building extra can successfully ward the risk of flooding off, because contact with water is strictly avoided. However, the increased isolation between the building’s storeys and the site’s ground level may hinder accessibility and limit social interactions.

In contrast, while protecting users from flood risk to a similar extent, watersuspended architecture seems to provide more wellcoming access and create less social isolation comparing to fixed-in-place elevated buildings. A floating or an amphibious building has its groung level, or entrance point, aligned to the site’s ground level; during flooding, the building is buoyed but still closely connected to the ground by flexible access.

My perception will be demonstrated starting with a case study on REM-island, an elevated building on the shore of Houthhaven, Amsterdam, completed by Concrete in 2011. My personal thoughts on its limited accessibility and negative social impacts will first be explained. In chater 2.2.2, given the same site conditions, the building will be conceptually built with amphibious construction. The improved accessibility and social impacts will highlight the edge of water-suspended architecture over conventional fixed elevated buildings, in terms of accessibility and social impacts.

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2.2.1

Case study on REM-island, Amsterdam

Rem-island (figure 30) houses an office on the first deck and a restaurant on decks two and three. The whole building is elevated 12 meters above water on columns, providing a great view of the cityscape from the terrace. Located 15 metres offshore, the building is first accessed via a footbridge spanning from the dry ground to the steel frame structure below the building (Baker, 2015, pp.42). To access the functional storeys above, visitors can either take the staircases or the elevator.

Elevating the building 12 metres on columns has easily kept the risk of flooding in arms’ length. However, this has created an isolation between the site level and the building, which expected to limit access and have negative social impacts.

Limited access

Figure 32: REM-island, Houthhaven, Amsterdam

Although the UK’s Building Regulations are not applicable in the Netherlands, they would be useful to seen as a fair reference for this analysis. According to objective 1.4 in Approved Document M, “a building should be designed, within the overall constrains of space, so that the difference in level between the entrance storey and the site entry point is minimised (The Ministry of Housing, Communities and Local Government, 2010).” It seems that REM-island has failed to meet this requirement because of its extra elevated horizon (figure 31). Elevating the building 12 metres above its footprint has significantly widen the distance between the entrance storey and the site entry point, resulting in unnecessary walking distance on steps. It will also consume extra time and energy to take the elevator just to access the entrance storey from the site level. More seriously, the elevated horizon can put users in high threats in case of fire accidents. When there is a fire accident, the only elevator of the building is out of service. Wheelchair-users and elderly will have difficulties to escape from the elevated levels. Moreover, the isolation between the entrance storey and site level means more time for the firefighters to reach the fire, which causes extra danger to users.

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Social impacts The isolation between the entrance storey and the site entry level has made REMisland less connected to its users and the context. Although a better view of the shore can be seen from a higher attitude, elevating the building too much has reduced the natural surveillance of its closest surroundings. This has also prevented surveillance of the building from the site in a close distance, giving users a sense of unwelcoming.

Despite its location on water, the 12-metre-tall isolation have ruthlessly untied the intereactions with water. This restaurant-office-building could provide more connections between the users and the watery scenery of Houthhaven.

Figure 33: Elevation drawing of REM-island (site n.t.s.)

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Indirect surveillance and entrance giving a sense of unwelcoming

Site entry point

32

Functional storeys

unnecessary travel for users and emergency services

Figure 34: A summary of personal impression on REM-islandâ&#x20AC;&#x2122;s accessibilty and social impacts (site n.t.s.)

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2.2.2 Amphibious convertion of REM-island In this session, REM-island is conceptually converted into amphibious architecture to explore the possibility of water-suspended architecture to provide more welcoming access and have more positive social impacts. For a fair evaluation, the site conditions and their flood-level tolerance will be kept the same.

The REM-island is an elevated building supported by a steel-framed platform (figure 32). The platform consists of six inclined columns, which are rigidly stablised by beams and trusses. The building was not elevated for flood-control purposes when it was first built in 1964. It was indeed a pirate radio built outside territorial waters in order to avoid the Dutch legislation (Lisa, n.d.). However, it is still classified as fixed-in-place architecture due to its inflexible vertical position, which is elevated above water level. It is chosen for this comparison because its excessively-elevated structure well emphasises the potential limitations of fixed elevated buildings, in terms users’ access and social impacts mentioned in Chapter 2.2.1.

Figure 35: Existing elevated structure of REM-island

Converted amphibious REM-island (figure 33) has six columns as the original, acting as mooring posts. A pontoon-basement is placed under the building for buoyancy. It also enlarges the entrance deck for a welcoming access. The flood-level tolerance of the building is indeed the length of the mooring posts. So to keep the flood-control ability of the existing and converted buildings the same, the amphibious has to be able to reach the same height as the existing elevated building. That’s why extended mooring posts are invovled.

Figure 36: Amphibious convertion of REM-island

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The existing REM-island is accessed by a 15-metre-long footbridge which connectd to two staircases and an elevator.

34

The converted amphibious one is either buoyed on water surface or rests on dry ground. The pontoon-basement enlarges the decks, which shorten the distance from the shore. It is accessed from a flexible bridge

Figure 37: Comparison of REM-island before and after the amphibious convertion

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During flooding, the whole building is buoyed vertically along the six mooring posts. Even though the flexible bridge is submerged, the building can be accessed by boats because it is on the water surface.

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When it is at normal water level, the entrance storey is aligned with the site entry level, which provides an easier and more welcoming access. It can be connected by a flexible bridge to the dry ground.

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In extreme flooding, the building can no longer be accessed from the flooded ground. Yet, it is buoyed on water surface and can be access by watertransport.

Figure 38: Elevation drawings of amphibious converted REM-island in normal water level (left) and during flooding (right)

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Chapter 3 Potential Movement in Flood-proof Architecture

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3.1 Hybriding Typology While each of the five flood-proof typologies has its own potential to protect users from flood risk, it is possible blur the line between typologies to explore new possibilities in flood approach. Certain features of a typology can be infused into the others to enhance the flood-control performance and explore design possibilities.

Hybriding elevated buildings with amphibious architecture The potential of amphibious architecture in addressing the rising sea level and providing easy access has been highlighted in Chapter 2. Its adaptive horizon allows the typology manipulate the sea fluctuations in long-term approach, while providing easy access and encouraging interaction with the water level. However, this typology seems to be limited to relatively small-scale and domestic architecture only.

Other building types such as office-buildings might not be benefitted by the potential of amphibious architecture.

A possible explaination for this situation is the weight considerations. The upper storeys of an amphibious piece of architecture have to be light weight and limited to one to two storeys only to maximise the buoyancy. The taller the building is, the thicker the pontoon base has to be in order to provide enough buoyancy, which might limit the usage in shallow floodplains.

Figure 39: Sectional diagram of a ferry

However, the weight of the buildings is not constrained to the vertical. Once the buildingâ&#x20AC;&#x2122;s weight is distributed more horizontally, a more open and functional space can created. This concept can be interpreted by the structure of a ferry. Instead of erecting the storeys vertically like conventional buildings, a ferry achieve its high buoyancy by spanning the weight on its length and width (figure 37).

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Considering designing amphibious architecture, their mooring posts can be used as convential steel columns. They can be arranged in a juxtaposition on a structure grid to provide more dynamic spatial arrangement. In terms of the structure, the mooring posts are primary structure. Unlike in a traditional building, they don not carry the weight of the building, since the weight of the storeys is supported by the buoyancy on water. The secondary structure will consist of a steel-framed structure sitting on a buoyant pontoon, which provide opportunities for the attachment of facade and middle storeys.

This combination of amphibious and elevated architecture can potentially be adopted by coastal and riverine steel-framed buildings. They can be even built on deep water, having their horizon floating freely according to tidal movements.

Figure 40: Exploration sketches of hybriding amphibious and elevated architecture

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3.2

Multi-unit

It is observed that conventinal flaoting or amphibious architecture is mostly individual dwellings, where connection between each other seems quite rare. It is possible to juxtapose multiple units of amphibious or floating architecture sideby-side, and connect their interior to form a larger-scale, more mix-used piece of architecture.

Compared to hybrid typology in the previous session, multi-unit is more suitable for domestic use as they give more sense of privacy. Although they are brought are next to each other, their mooring posts and interior walls can be the boundaries between units. By opening up walls between units, common area, void or circulation alloway can be be created within a multi-unit amphibious building.

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Figure 41: Exploration model of an amphibious unit

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Figure 42: Axonometric drawing of multi-amphibious-units

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CONCLUSION The rising sea level has been a concrete result of the climate change.

It is the responsibility of every architect to minimise the risk of flooding to users.

Each of the the five flood-proof building typologies, whether it is water-suspended or fixed-in-place, has their specific approach towards flood-control. From the evaluations, it is evident that water-suspended architecture tends to be more advanced in accommodate resisdents safely in floodplains, in terms of addressing the sea-level rise in the longer run, better accessibilty and more positive social impacts.

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BILBLIOGRAPHY Meares, R. (2009). Global Warming May Bring Tsunami and Quakes: Scientists.¬¬ [online] Available at: https://www.reuters.com/article/us-climate-geology/global-warming-may-bringtsunami-and-quakes-scientists-idUSTRE58F62I20090916 [Accessed 13 October 2019].¬Yang, H., Haynes, M., Winzenread, S. and Okada, K. (1999). The History of Dams. [online] Available at: https://watershed.ucdavis.edu/shed/lund/dams/Dam_History_Page/History.htm [Accessed 21 October 2019].

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Menotti, F. (2001). The Pfahlbauproblem and the History of Lake‐Dwelling Research in the Alps. Oxford Journal of Archaeology, 20 (4), 319-328.

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Pfahlbau Museum’s Webpage (n.d.). The 16 questions most frequently asked by our visitors. [online] Available at: https://www.pfahlbauten.com/lake-dwelling-museum/questions-lakedwelling-museum.html. [Accessed 20 November 2019].

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Venice: An online exhibit produced in ARTH 470z at the University of Mary Washington (n.d.). Brick. [online] Available at: http://venice.umwblogs.org/exhibit/the-conservation-ofvenetian-building-materials/brick/. [Accessed 4 December 2019].

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Baker, L. (2015). Built on Water: Floating Architecture + Design. Berlin: Braun Publishing. pp.26 and 42.

Anderson, H. (2014). Amphibious Architecture: Living with a Rising Bay. Ph.D.. California: California Polytechnic State University.

English, E. (n.d.). Amphibious Architecture: Where Flood Risk Reduction meets Climate Change Adaption. [online] Available at: https://www.munichre-foundation.org/de/dms/MRS/ Documents/Microinsurance/2016_IMC/Presentations/PS6-IMC2016-Presentation-English/ PS6%20IMC2016%20Presentation%20English.pdf [Accessed 9 December 2019].

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The Venice Insider. (2016). The Love-hate Relationship of Venice with Water. [online] Available at: https://www.theveniceinsider.com/love-hate-relationship-venice-water/.

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The Ministry of Housing, Communities and Local Government (2010). Building Regulation 2010: Access to and Use of Buildings, Approved Document M, Volume 2- Buildings other than Dwellings. Newcastle upon Tyne: NBS, pp.16 Loor, M. (2016). Amphibious housing in Maasbommel, the Netherlands (2015). [online] Available at: https://climate-adapt.eea.europa.eu/metadata/case-studies/amphibious-housingin-maasbommel-the-netherlands. [Accessed 21 January 2020].

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LIST OF FIGURES Figure 1 Kio, A. (2010). Pfahlbaumuseum Unteruhldingen [online]. Available at: https://sc.wikipedia.org/wiki/ File:Pfahlbaumuseum_Unteruhldingen_amk.jpg#/media/File:Pfahlbaumuseum_Unteruhldingen_amk. jpg [Accessed 20 November 2019].

Figure 2 (by author) Figure 3 Klook (n.d.). Explore the picturesque ‘Venice of the East’ [online]. Available at: https://www.klook. com/en-US/activity/104-tai-o-sea-kayaking-hong-kong/ [Accessed 20 November 2019].

Figure 4 (by author) Figure 5 (by author) Figure 6 and 7 MVRDV (n.d.). Silodam [online]. Available at: https://www.mvrdv.nl/projects/163/ silodam?photo=2265 [Accessed 21 November 2019].

Figure 8 (by author) Figure 9 (by author) Figure 10 (by author) Figure 11, 11a, 11b, 12, 13 Barker, R. & Coutts, R. (2016). Aquatecture. Newcastle upon Tyne: RIBA Publishing, PP. 205-207 45 84

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Figure 11c Thorne & Derrick, (2014). Lessons Learnt Bulletins [online]. Available at: https://www. powerandcables.com/tag/duct-seals/ [Accessed 21 November 2019].

Figure 11d Freiberger, P. (2013). Applying Waterproofing Material to the Outside of a Tunnel [online].

Available at: https://commons.wikimedia.org/wiki/File:Applying_waterproofing_material_to_ the_outside_of_a_tunnel.jpg#/media/File:Applying_waterproofing_material_to_the_outside_ of_a_tunnel.jpg [Accessed 21 November 2019].

Figure 14 Karmat, (2013), Horizontally Assembled Inline Anti Flood 50mm Backwater Check Valve Backflow Prevention [ONLINE]. Available at: https://www.amazon.co.uk/HorizontallyAssembled-Backwater-Backflow-Prevention/dp/B00QU3WBAI [Accessed 21 November 2019].

Figure 15 (by author) Figure 16 Sketchup model originally from: Vagn, R. (2019). Floating House [online]. Available at: https://3dwarehouse.sketchup.com/ model/bc65ed4b-8c79-40e4-b3f0-189fddba4f4b/Floating-House?hl=en [Accessed 5 December 2019].

Figure 17 Remistudio (n.d.). Ark Hotel [online]. Available at: https://www.remistudio.ru/#!blank/uiyxd [Accessed 5 December 2019].

Figure 18 (by author) Figure 19 (by author)

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Figure 20 English, E., Friedland, C. & Orooji F. (2019). Combined Flood and Wind Mitigation for Hurricane Damage Prevention: Case for Amphibious Construction. [online] Available at: https://ascelibrary.org/doi/pdf/10.1061/%28ASCE%29ST.1943-541X.0001750 [Accessed 9 December 2019].

English, E (2014). Buoyant Foundation Project Assembly Animation. [online] Available at: https://www.youtube.com/watch?time_continue=8&v=WdTCU8_A7wk&feature=emb_logo [Accessed 9 December 2019].

Figure 21 Roger, S. (n.d.). The UKâ&#x20AC;&#x2122;s First Amphibious House [online]. Available at: https://weburbanist. com/2014/10/20/amphibious-architecture-12-flood-proof-home-designs/ [Accessed 9 December 2019].

Figure 22 (by author) Figure 23a and 23b (by author) Figure 24 Steinhardt, S. (2020), Know Your Tide [online]. Available at: https://www.fodors.com/ wp-content/uploads/2019/09/01_VeniceAcquaAlta__KnowYourTide_flooded-fondamenta1200x800.jpg [Accessed 13 January 2020].

Figure 25 Minemma, P. (2011), Floating Homes on the Meuse River [online]. Available at: http:// tyglobalist.org/in-the-magazine/theme/living-on-water/ [Accessed 15 January 2020].

Figure 26 Nillesen, A. and Singelenberg J. (2011). Amphibious Housing in the Netherlands. Rotterdam: NAi Publishers, pp.60.

Figure 27 (by author) 47 86

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Figure 28 (by author) Figure 29 (by author) Figure 30 Wang, L. (2016). Amphibious House by Baca Architects [online]. Available at: https:// inhabitat.com/uks-first-amphibious-house-floats-itself-to-escape-flooding/amphibious-houseby-baca-architects-6/ [Accessed 10 January 2020] Figure 31 (by author) Figure 32 Apus, A, (2011), REM Island as an Amsterdam restaurant [ONLINE]. Available at: https:// en.wikipedia.org/wiki/REM_Island#/media/File:REM-eiland-Haparandadam.jpg [Accessed 16 January 2020].

Figure 33 (by author) Figure 34 (by author) Figure 35 (by author) Figure 36 (by author) Figure 37 (by author) Figure 38 (by author) 48 ARC3060:â&#x20AC;&#x201A; Dissertation in Architectural Studies

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Figure 39 Gardener, A. (n.d.). Midship Section of a Car Ferry [online]. Available at: https://www.sailorsclub.net/forum1/13-naval-architecture-and-ship-construction/4517-midship-section-of-carferry-and-lng-ship [Accessed 21 January 2020].

Figure 40 (by author) Figure 41 (by author) Figure 42 (by author)

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