DSA Year Book 2011-2012 by Dublin School of Architecture

DUBLIN SCHOOL OF ARCHITECTURE 11 | 12

2011 / 2012 Dublin School of Architecture

Editors: David Mulligan - Editor in Chief Petie Barry Shane Fitzpatrick Paul Kelly Iseult Kirwan Thomas Maguire Victoria Mannion Micheal Swords

Dublin School of Architecture Dublin Institute of Technology Bolton Street Dublin 1, Ireland Tel: +353 1 4023690 ww.dublinschoolofarchitecture.com www.dit.ie/architecture/urban-design/

Cover Image: Shane Morgan ISBN: 978-0-9568502-4-9 ÂŠ Dublin School of Architecture Press. All rights reserved. All information presented in this publication is deemed to be the copyright of the creator or the Dublin School of Architecture, unless stated otherwise.

Contents Department of Architecture and Urban Design Introduction Year 01 Year 02 Year 03 Year 04 Year 05 Extra

04 06 20 36 50 80 114

Department of Architectural Technology Introduction Year 01 Year 02 Year 03 Year 04 Extra

138 140 156 172 204 230

Department of Architecture and Urban Design

INTRODUCTION

department of architecture and urban design

Statement on Architecture Orna Hanley, Acting Head of Dublin School of Architecture As society undergoes a period of adjustment, institutions and organisations across all sectors are challenged to respond and position themselves for a future of altered priorities. Recent economic developments are overlaid on a gradual and persistent change within the profession which has been underway for some decades. The present and continuing mission for the Dublin School of Architecture, therefore, is to adapt to these changes by combining an established tradition of architectural education with a level of innovation and dynamism, thereby priming the School, both philosophically and strategically, to move forward. In this context, the academic year 2011-2012 will be recorded as a turning point for the School. Along with many challenges and changes, a number of extremely encouraging developments have taken place over the year which provide very positive opportunities for the Dublin School of Architecture and which will serve to deepen and strengthen its relationship with the built environment sector into the future. The Dublin School of Architecture aims to provide a collaborative learning environment which encourages and supports independent and imaginative thinkers. The relocation of the Dublin School of Architecture to the Linenhall building facilitates this aim and for the first time in the School’s history, has brought all staff and students of Architecture and Architectural Technology together. This move also marks a coming together of the School of Architecture and the School of Construction, thereby creating exciting and timely opportunities for a new School as part of the planned College restructuring. The first phase of this development was completed at the beginning of 2012, with accommodation for additional studios and school administration being completed over the summer period. Plans for the redevelopment of the ground floor and courtyard area with a new exhibition space and café are underway and works are scheduled to be completed during summer 2013. Developing the vocational and professional identities of students through fostering informed debate and discussion of issues relevant to the practice and realisation of architecture and the built environment is a central tenet of the School. This is reflected in developments and refinements made to existing programmes along with the initiation of a new strand of programmes within the School. Following on the success of last year’s Namalab project, the final year Architectural students engaged with the Bord na Móna sponsored Boglands project, exploring the themes of ethics and aesthetics in environmental sustainability. The final year Architectural Technology students built on the excellent research of previous years and in association with Dublin City Council, investigated the Cuilin House Development. A new programme, the Post Graduate Certificate in Digital Analysis and Energy Retrofit, instigated by Cormac Allen, Head of Department in Architectural Technology, was also successfully developed with

the work from the first cohort of students in the programme drawing significant interest and constructive comment from both academics and the wider profession. The Professional Diploma in Architectural Practice, led by Stephen Best as Programme Chair, also completed its first cycle in 2012 and has now achieved full accreditation. Deriving from its particular relationship with and understanding of the built environment the School aims to engage with its role and responsibility as a centre for related social and cultural research. In this context, it will utilize its franchise, where possible, to contribute to the development and preservation of core values and philosophies relating to the challenges facing society. These values are embedded within the students and staff of the School and are passed from generation to generation. This year saw the retirement of a number of very valued and warmly regarded members of the Dublin School of Architecture, each with connections to the School over a period of several decades. As Head of School for over twenty years, Professor James Horan steered the School through many different phases of development. He was an inspirational figure-head, an extremely effective strategist and a significant contributor to the wider development of architectural education policy, both nationally and internationally. As a lecturer in Architectural Design and Graphics Studio, Ditte Kummer O’Connor was responsible for introducing many architectural students to the importance of developing their own sense of visual expression and instilling in them skills which they carried long into their education and later careers. She was also the initiator and editor of the first School publication. Bernadette Solon held many positions of responsibility within the School and was instrumental in developing the professional studies strand as a core element in the curriculum. Thanks and appreciation are extended to Jim, Ditte and Bernadette. I would like to thank all who worked so hard to create this incredible body of work; colleagues, students and staff, buoyed by the, sometimes unseen, support of their families and friends. I would also acknowledge the essential support provided by the administrative, technical, building maintenance and security staff throughout the year with particular thanks to Aileen Mullane, the School Administrator and Paul Moore, Class Aide. The Dublin School of Architecture faces many challenges and opportunities. We are dedicated to the objectives of promoting excellence in design, craft and construction and to the development of the individual talents and abilities of our students and staff. We are committed to serve the needs of the profession, the wider architectural construction and engineering sector and to make a positive and relevant contribution to society through our active engagement with issues pertinent to the built environment.

department of architecture and urban design

Students: Deepka Abbi Zunairah Ansari Jamie Bayly Michael Behan Amy Branagan Holly Carton Vincent Cheung Shane Cleary Sean Conlonsmith Mark Corcoran Seamus Deeny Luke Dempsey Alex Devereux Michelle Diver Emmett Doyle James Drury Philip Duffy Jean Ebejer Eoin Fitzgerald Aoife Flynn Raluca Gaftoi Heather Gavin Bryan Geoghegan David Gondry Nathan Griffin Louise Hynes Ruairi Kelly Joseph Keohane Changhwan Kim Matthew Ledingham Conor Lynch John Macken Sorcha Maguire Conor McBride Roisin McDonald Louise McEvoy Manus McGill Kevin McSherry Poilina Mullan Selene Murphy Patrickstephen Newell Nhan Nguyen Viktoriya Novakivska Stephen O’Brien Glen O’Dea William O’Donnell Susan O’Leary Darryl O’Neill Mark Prendergast Michael Sexton Jack Smith Conor Spencer Michael Sykes Fariba Talebikalkhoran Matthew Thornton Karen Tighe Cristian Wittig

Man in the Landscape Brian Ward & Francis Noel Duffy The first year course explores architecture in the Irish landscape. In 2011/12 all the design projects were set within the 18th century landscape gardens of Emo Court in Co Laois, bringing to the fore the fine line between the artificial and the natural in any discussions about landscape. In the first semester the projects progressed from an installation designed to hold a body in space to a small shelter which could accommodate the body’s necessary functions of cooking, eating, resting and washing. The installation project involved the surveying and modelling of external spaces around the house designed by James Gandon for the Earls of Portarlington or around architectural elements in the formal gardens such as urns or gates. Each student, working in partnership with an architectural technologist, designed a site-specific piece of furniture which took advantage of the views, sunlight and shelter afforded by the space they surveyed. Review week was spent drawing and analysing Gandon’s work in Dublin and that of his mentor, William Chambers. Sketch plans and sections were introduced as a method of capturing the spaces which the students were studying. The semester ended with the design of an over-night shelter for a nature lover at the water’s edge of the ornamental pond in Emo Court. The shelter was to have one door, one window and one roof-light. Model-making was used as a vehicle through which the quality of light in the shelter could be measured and designed. - Brian Ward Semester two begins with the culmination of the Exemplary House study, where the students explore a seminal house in a landscape. The project involves theoretical research, building analysis, graphic representation and model variations of the house. This process places the students in a position where they appreciate, understand and reflect on the complexities of a domestic building. This process prepares the student for the Living Landscape project - design of a dwelling and workspace in the landscape. The project is located in the Demesne of Emo Court, where staff members set themes including a feminist couple, a forester, artists and a philosophy. The student is asked to consider their project on three scales – site strategy, building plan and a tangible object. They are required to investigate the landscape through its historical human fabric on a social and physical level. Within the programme of the project there is a matrix of objectives the student will procure, these include apart from the house, a site strategy to accommodate a sustainable existence, cognisance of the existing human relationships with the land, design of a specific space that requires a structural solution and the design and construction of an object that encompasses the client brief and their architectural intentions. Finally the student is introduced to thinking processes, that being logical and intuitive. The former shows the student how to perceive space and record it. The latter is explored to further design possibilities of their work through intuitive exercises. - Francis Noel Duffy

Staff: Sinead Bourke Gavin Buggy Francis Duffy Emma Geoghegan Patrick Harrington

John Lauder Tom Maher Gerry O’Brien Magdi Rashied Brian Ward Ethna Walls

The Body in Emo Susan Oâ&#x20AC;&#x2122;Leary

The Body in Emo Roisin Mc Donald

department of architecture and urban design

Emo Court, Co Laois Darryl Oâ&#x20AC;&#x2122;Leary

Shelter Michelle Diver

department of architecture and urban design

Brick Solarium Raluca Gaftoi

Shelter Michelle Diver

Shelter Raluca Gaftoi

department of architecture and urban design

Exemplary House Christian Wittig

Town & Country Raluca Gaftoi Louise Hynes Poillina Mullan Conor Lynch

department of architecture and urban design

Living Landscape John Macken

department of architecture and urban design

Living Landscape Matthew Thornton

department of architecture and urban design

Living Landscape Deepka Abbi

department of architecture and urban design

Yearmaster’s Statement Partick Flynn & Jennifer Boyer The second year architecture course is based on the study of the Irish town. This year, the students explored Monasterevin, a planned town which has expanded from the original configuration. A strong emphasis was placed on exploring the existing patterns of town structure, daily rituals, use and key node points. Each project explores methods of finding a path into the design process while at the same time proposing/addressing sustainable town development at a variety of scales. The projects are structured around four major projects. Project 1 - A Space for Making, where the space is defined by the tools of the occupants and the actions they require), Project 2 – Communal (Small Town Living Typologies); where the household unit is carefully scaled to its context Project 3 - Interface/Exchange, investigates action and reactions to group strategies for new and existing civic spaces and public realm strategies Project 4 - The Building Unit examines how the building unit informs the making of the building as a whole. Each project explores methods of finding a path into the design process. The year began with an introductory study of the town informed by interviews with the local authority architects, planners, and local historians and community groups. The students recorded and analysed the town in groups with studies that asked questions such as why people use cars for short journeys and why people desire the sub-urban house type over more urban living. This allowed for an informed response from the students in their proposals both for the overall town pattern and the design of their individual architectural proposals. During the initial two weeks of intensive study on Monasterevin, the students critically concluded that providing an overall master plan for the town would be less successful than providing a series of small scale interventions, thus allowing for the flexibility in resolving Students: Jaroslaw Adamczuk Ilze Antonova Marie-Claire Bligh Conor Bourke Nevan Buckley John Calter Cora Carbajomelon Alice Clarke George Cooney Hannah Crehan Niamh Denny Aidan Devlin Amandine Diciaccio William Durkan Sophie Elnimr Claire Fitzpatrick Graham Flaherty Jamie Flynn Davidwilliam Graham Evalena Hemmingsson

Nigel Holmes Wayne Holmes Ryan Hughes Rebecca Kelly Shaunagh Keogan Aaron Kirk Oksana Korotkova Carl Laffan Ronan Lonergan Rebecca Mangan Gillian McAllen Stephen McGettigan Thomas McPhillips Thomas Moore Suzanne Mullally Ciara Murnane Andrew Murphy Claudia Murray Etain Neary Katie Nicholson Daire Nolan

the town’s needs during the rise and fall of inevitable future economic cycles. The first semester consisted of two projects 1 and 2. The first project explored how form can be made by the particular needs of a brief. The ‘man-shed’ was focused around designing a communal space for ‘making’. The machines used had particular dimensions and use requirements and the students began by drawing these first. The second project took the analysis of the house types in Monasterevin and re-interpreted them to design residential types that would reinforce the existing town morphology. The combination of house types explored both the needs of the town and the stages of life of the residents. Each residential component was paired with a retail space which was to be considered within the brief holistically, thus re-imagining the relationships which exist between private/public, day/night, front/back, and so on. The second semester explored the civic realm. Each brief dealt with the conflict between the need for a public face and a private space. The third project built on the town study and explored the idea of linking the existing routes through the town by making a series of interventions which would reinforce the existing town pattern/centre. The students worked in groups at the start of the project to define their area of study in the town and to examine the relationship between the proposed and existing town fabric. The final project of the year was based around the study of one material. This understanding of one material informed a unique method for making architecture that responded to the scale of the individual unit and that of the building as a whole. Thus the study of one town can provide the research material and lessons in how to immerse oneself in the design process. Donnacha O’Connell Shelly-Ann O’Dea Orla O’Donnell Silvia Paiva Kate Rushe Ciaran Sheridan David Smith Andrew Sterritt Colin Sweeney Ailbhe Walsh James Ward Matthew Webb Katie Wolahan Jack Worrall

Staff: Amanda Bone Jennifer Boyer Noel Brady Philip Comerford Francis Duffy Patrick Flynn Mike Haslam Gerry O’Brien Orla O’Callaghan Janek Ozmin Magdi Rashied Martin Spillane

Civic Building Carl Laffan 22

department of architecture and urban design

Outdoor Stage Alice Clarke

Library Ciaran Sheridan

department of architecture and urban design

Manshed Colin Sweeney

Housing Conor Bourke

Stage Ilze Antonova

Stage Jamie Flynn 26

department of architecture and urban design

Farmersâ&#x20AC;&#x2122; Market Jim Ward

Warehouse Rebecca Kelly

Perspective section

Performance Centre Silvia Paiva 28

department of architecture and urban design

Stage Kate Rushe

Bookshop & Residence Jarek Adamczuk

department of architecture and urban design

Matthew Webb

Niamh Denny

Residence & Bookshop Orla Oâ&#x20AC;&#x2122;Donnell

Living in Monasterevin Graham Flaherty

department of architecture and urban design

Gym Ilze Antonova

Performance Space Ryan Hughes

department of architecture and urban design

Theatre Stephen McGettigan

department of architecture and urban design

Yearmaster’s Statement Noel J. Brady & Ryan Kennihan The studio in the first semester of Year 3 is configured around architectural research into primary sources – buildings. The central design project of the studio is founded on research into a specific building type as a way of developing conceptual, spatial, structural, material, and technical aspects of an architectural and urban project. The studio moves the role of precedent from a peripheral referent to central foundation for new work. The primary design project was for a new city hall and public space which began with a period of intensive research into the distinct building type of the medieval town hall - its spaces, construction methods and forms as well as the historical, technological, economic and social environment within which it evolved. The medieval city hall, the house of early European democracy, is an intriguing and powerful building typology unique to only three regions in the world – the Northern cities of the Hanseatic League and the cities of Northern and Central Italy. The typology is an extremely rich source for architectural study, replete with architectural ideas at every level – from their urbanistic function on the market square, to their political role as a symbol for nascent democracy pinned between Church and populace, to their construction and spatial experience which hold a timeless logic and power unequalled since their construction. These buildings were formative to the central market square of their cities and often contained trading and goods storage facilities as well as performing an administrative function. The common feature of all of these buildings was a large and often luxurious room for the political and ceremonial affairs of the city. These rooms housed any number of functions and were the cradle of a nascent concept of democracy as we know it. This study is focused on character and space and so is primarily concerned with these ‘City Rooms’ – the multifunctional hall and the market square. -Ryan Kennihan The new Architectural Design Studio is located in the second semester of Year 3. The studio is centred on the Architectural Design Dissertation. This is a new departure from the usual studio programme. While there is a design vehicle, the way in which this is explored provides an opportunity for the student to interrogate their own work. Firstly students are invited to revisit work completed in previous years and are brought through a review process where ideas and themes are extracted, refined and presented. Through an urban based project the students are then tasked to investigate an area, select a site and compatible brief (theme and programme) and carry out a design exercise that will expand on their ideas or approaches. Each stage of the process is engineered to accentuate parts of the process, such as the use of case studies to identify appropriate performance and programme criteria. Instead of looking at the design process as one of production it emphasises the role of iterative development. This year our work in the studio is centred on the Dublin Cultural Corridor, a Dublin City Council Project

which is to be launched this year. From Trinity College to the War Memorial at Islandbridge the zone contains most of the city’s major cultural artefacts. It also contains a rich tapestry of urban invention. The student’s role is to unearth opportunities in relation to the context, to take ownership of their work and reflect upon the work. At the end of the studio the work is to be presented as an Architectural Design Dissertation; an illustrated narrative on the process. -Noel J. Brady

Students: Grayson Bailey Mark Bailey-Smith Kristen Bender Christine Boese Kate Buck Eanna Byrne Laura Carroll Ailbhe Cunningham Aoife Cunningham Brendan Daly Deirdre Doyle Declan Duffy Orla Faughnan Max Fedorov Niall Fitzgerald James Hanlon John Hanrahan Peter Hogan Ronan Keane David Keegan Sophie Kelliher Daire Kelly Emilie Kopp Oksana Lastovetsky David Lawless Sophia Lubbe Mark McCormack Julie Molloy Ciaran Molumby Davina Moody

Fiona Muldowney Dean Murphy Eoin Murphy Cormac Murray Hugh Neary Susie Newman Vincent O’Byrne Eoin O’Donnell Christopher O’Keeffe Finnian O’Neill Alison O’Reilly Sebastian Pertl Stephen Richardson Donal Ryan Conor Sheehan Madison Sorrick Brendan Spierin Amanda Wesely Cillian Wright Staff: Stephen Best Noel Brady Collette Burns Johanna Cleary Donal Hickey Ryan Kennihan Stephen Larkin Brian O’Brien Gerry O’Brien Magdi Rashied

Palazzo Dei Priori

38 Corso Vanucci Elevation 1:100

Piazza IV Novembre Section 1:500

A smaller door on top of the stairs leads to the current Council Hall. Edicts were announced to the city from this spall protruding pulpit.

Site Map 1:1000 N

The portal leads into the Sala dei Notari, formerly the Town Council Hall, which was allocated to the notaries guild in 1582. Their former headquarters, the Palazzetto dei Notari, opposite Palazzo dei Priori in Corso Vannucci, had had to be partially demolished to enlarge the left side of Via Calderini.

Site Map 1:1000

The stairs in Piazza IV Novembre lead to a Gothic portal surmounted by the city's symbols, the griffin and lion. These are reproductions - the originals are kept in theGalleria Nazionale. Given their size, early date and the fact that they are in bronze, the statues were probable cast in Venice in 1274.

The asymmetrical and irregular facade of the building is the result of the various stages in which it was built. The perimeter of the roof was originally crenellated, symbolising the power of the free city. When Perugia fell to the papal armies the crenellations were demolished in 1610. The upper part of the tower had been destroyed in 1569. The crenellations we see on the roof did not reappear until 1860, with the unification of Italy.

A third extension was carried out between 1429 and 1443 with the addition of three more triple-windows and the section containing the Collegio del Cambio, the "money exchange" that was the financial center of Perugia. A final extension to the rear was built on in the 16th century.

After 1353 a second extension was added on the Corso, with six triple-windows, the large doorway and the originally fortified tower that surmounts the access to Via dei Priori.

Designs for the Palazzo dei Priori date back as far as the 1270s. A first part consisting of 3 triple-windows towards the square and 10 along Corso Vannucci was built between 1293 and 1297. A first extension of the building took place between 1333 and 1337, with the addition of two more triple-windows towards the piazza, as well as the stairs and balcony. The lower steps were built in 1902).

Palazzo Dei Priori

Designs for the Palazzo dei Priori date back as far as the 1270s. A first part, consisting of three triple-windows towards the square and ten along Corso Vannucci was built between 1293 and 1297. The first extension of the building took place between 1333 and 1337, with the addition of two more triple-windows towards the piazza, as well as the stairs and balcony. The lower steps were built in 1902. After 1353 a second extension was added on the Corso, with six triple-windows, the large doorway and the originally fortified tower that surmounts the access to Via dei Priori. A third extension was carried out between 1429 and 1443 with the addition of three morePiazza Elevation 1:100 triple-windows and the section containing the Collegio del Cambio, the “money exchange” that was the financial center of Perugia. A final extension to the rear was built in the 16th century. The asymmetrical and irregular facade of the building is the result of the various stages in which it was built. The perimeter of the roof was originally crenellated, symbolising the Dei city. PrioriWhen Perugia fell power ofPalazzo the free to the papal armies the crenellations were Designs for the Palazzo dei Priori date back as far as the 1270s. A first part consisting of 3 triple-windows towards the square and 10 along Corso Vannucci was built between 1293 and demolished inextension 1610. The part1333ofandthe 1297. A first of the buildingupper took place between 1337, with the addition of two more triple-windows towards the piazza, as well as the stairs and balcony. The lower steps were built in 1902). tower had been destroyed in 1569. The After 1353 a second extension was added on the Corso, with six triple-windows, the large crenellations we see on the roof did not doorway and the originally fortified tower that surmounts the access to Via dei Priori. reappearA third until 1860, the unification extension was carriedwith out between 1429 and 1443 with the addition of three more triple-windows and the section containing the Collegio del Cambio, the "money exchange" that was the financial center of Perugia. A final to the rear was built on in the 16th of Italy. The stairs in Piazza IVextension Novembre century. lead to aTheGothic portal surmounted by ofthe asymmetrical and irregular facade of the building is the result the various stages in which it was built. The perimeter of the roof was originally crenellated, symbolising the power of the free city.the When Perugia fell to theand papal armies the crenellations city’s symbols, griffin lion. Thesewere demolished in 1610. The upper part of the tower had been destroyed in 1569. The crenellations we see on the roof did not reappear with the unificationare of Italy.kept are reproductions - until the1860,originals in the Galleria Nazionale. Given their The stairs in Piazza IV Novembre lead to a Gothic portal surmounted by the city's symbols, the date griffin andand lion. These are reproductions - the originals kept inin theGalleria Nazionale. size, earlyGiven the fact that theyareare their size, early date and the fact that they are in bronze, the statues were probable cast in Venice in 1274. bronze, the statues were probably cast in The portal leads into the Sala dei Notari, formerly the Town Council Hall, which was allocated Venice into the1274. The leads into thedei Notari, opposite notaries guild in 1582.portal Their former headquarters, the Palazzetto Palazzo dei Priori in Corso Vannucci, had had to be partially demolished to enlarge the left side of Via Calderini.formerly the Town Council Sala dei Notari, Hall, which was allocated to the notaries Punctuated by eight huge arches, the hall is completely covered by frescoes (late 1200) and allegorical scenes, as well as the coat of arms of the city's guild in depicting 1582.biblicalTheir former headquarters, various podestà up until 1499. the Palazzetto dei Notari, opposite Palazzo A smaller door on top of the stairs leads to the current Council Hall. Edicts were announced to dei Priori infromCorso Vannucci, had to be the city this spall protruding pulpit. partially demolished to enlarge the left side of Via Calderini. Punctuated by eight huge arches, the hall is Piazza IV Novembre Section 1:500 completely covered by frescoes (late 1200) depicting biblical and allegorical scenes, as well as the coat of arms of the city’s various podesta up until 1499. A smaller door on top of the stairs leads to the current Council Hall. Edicts were announced to the city from this small protruding pulpit.

Travelling Research

department of architecture and urban design

Palazzo Dei Priori Piazza Elevation 1:100 Designs for the Palazzo dei Priori date back as far as the 1270s. A first part consisting of 3 triple-windows towards the square and 10 along Corso Vannucci was built between 1293 and 1297. A first extension of the building took place between 1333 and 1337, with the addition of two more triple-windows towards the piazza, as well as the stairs and balcony. The lower steps were built in 1902). After 1353 a second extension was added on the Corso, with six triple-windows, the large doorway and the originally fortified tower that surmounts the access to Via dei Priori. A third extension was carried out between 1429 and 1443 with the addition of three more triple-windows and the section containing the Collegio del Cambio, the "money exchange" that was the financial center of Perugia. A final extension to the rear was built on in the 16th century. The asymmetrical and irregular facade of the building is the result of the various stages in which it was built. The perimeter of the roof was originally crenellated, symbolising the power of the free city. When Perugia fell to the papal armies the crenellations were demolished in 1610. The upper part of the tower had been destroyed in 1569. The crenellations we see on the roof did not reappear until 1860, with the unification of Italy.

Site Map 1:1000

Punctuated by eight huge arches, the hall is completely covered by frescoes (late 1200) depicting biblical and allegorical scenes, as well as the coat of arms of the city's various podestĂ up until 1499. A smaller door on top of the stairs leads to the current Council Hall. Edicts were announced to the city from this spall protruding pulpit.

Piazza IV Novembre Section 1:500

Corso Vanucci Elevation 1:100

Gallery Extension, RHK Oksana Lastovetsky This project originates from a wish to create more cohesion in the grounds of the Royal Hospital Kilmainham. The building houses a gallery, an art library, a cafe/bar and an auditorium. The wall of the formal gardens is incorporated into the complex. The complex itself becomes the wall, but a permeable one, that focuses on stitching the two parts of the grounds together (garden and field), rather than separating them. The building sits in relation to the topography, using its gentle slope to create soft ramps in the gallery spaces.

department of architecture and urban design

City Hall, Trastevere, Rome Davina Moody The planning of this city hall was influenced by the history of the Trastevere area and its people, principally the importance of ruins as a place of sanctuary for Jewish people during WWII. Old maps provided information on previous planning of the site. The module of the windows in surrounding buildings was used to establish the module of the concrete columns. The materials chosen were concrete, for its link to Ancient Rome, and timber for its warm, haptic qualities. Material is used to define use. Concrete is used for structural elements and is solid next to the street giving privacy to the buildings around it. Timber screens are non-structural and allow people to catch glimpses past into the adjoining space.

B 2 3

B 1 5

1. 2. 3. 4. 5.

Archive Registration Office Reception Social Welfare Health Centre 0

3 4

Section B-B

41 1. Planning Archive 2. Reception

City Hall, Trastevere, Rome Laura Carroll The dominant influence for this project in Trastevere, Rome, is the work of Pierre Luigi Nervi. The scheme consists of a services/circulation core flanked by public program on either side and binded by a pleated copper screen. This allows communication with the existing physical and social context, providing shelter and privacy for the public. The concrete structure is manipulated and distorted into curtain-like folds which reflect and reveal shifts in program within the space. The folding geometry enlivens the exterior and interior, evoking the depth and rhythm of a traditional arcaded nave in the city room, thus creating an architecture that is both reminiscent of and a development of the past.

department of architecture and urban design

Dublin City Hall Sebastian Pertl This project activates the small public square on Dame street beside City Hall. A thin office building closes the square, a small cantilever allows for light to enter to the smaller buildings behind. The main elements of the program, such as meeting rooms and council chambers, are located under the square. Light cannons pierce through, organising the spaces above. In section the building reverses the organisation of the old city hall, the council chambers are now located below the public realm.

City Hall, Trastevere, Rome Eoin Murphy

City Hall, Trastevere, Rome Peter Hogan

department of architecture and urban design

Dublin City Hall Deirdre Doyle

City Sq. Dame St. Tradition, movement and spatial ceremony are firmly fixed in the architecture of the city room at City Hall, Dublin. The city square is elevated to reflect its equal status to the room and, likemovement the room, it is a&sanctuary for the public. The concept Tradition, spatial ceremony are and layout for this project was derived from an examination of movement patterns identified around and in relation to Room, City Hall, Dublin. the existing City Hall. The section investigates the horizontal programmatic relationship between the city square and City equal status the of room theof room; Hall, while to the series plans and show like an analysis vertical it is a sanctuary movement from thefor streetthe to thepublic. city square and associated buildings.

dy of publics movement square

CIVIC OFFICES CIVIC OFFICES

concept about movement to the east elevation of the City Hall

City Hall, Trastevere, Rome Declan Duffy The project consisted of a City Hall, Council Offices and a Planning department for Trastevere, Rome. These different elements were divided into separate volumes and bound together by a concrete plinth. The plinth creates an internal street for the public, which each of the departments open up into. The space above, on the first floor creates a public space which looks out into some of the squares of Trastevere and allows for congregation outside the city hall. Two large courtyards are used to draw sunlight and fresh air into the ground floor. Along with separating the different departments, they give an individual identity to each piece of the programme.

department of architecture and urban design

Thomas Street Theatre Ciaran Molumby This project has embraced a complex programme to enrich the site at an urban scale for public access and enjoyment. Questions were raised regarding the use of this space throughout the day and the activities that might populate it. The decision was made to isolate the restaurant/cafe and the box office and allow them to be independent of the theatre. In addition, a museum with school of acting was included to reinforce the sense of community in the new square. The square became the glue holding the different pieces together. Each piece of the arrangement would have the ability to activate the square at any point during the day and therefore encourage both movement and rest.

City Hall, Trastevere Brendan Spierin

Main Space - a spaci

Elevation, Travastere, Rome

City Hall, Trastevere, Rome Kate Emily Buck The long ascent from the center of Travastere moves you towards the Town Hall. The high level of detail along their journey slows the visitor’s pace, giving their mind time to wander. This act slows their perception of time. As you come to the end of the street the building comes into view. The visitor’s pace increases and they no longer take in the surroundings as they near their destination. Due to the quicken ing of pace their body feels as though it is moving further, has travelled a longer distance.A large brick mass and four lighter elements stand watch over the street. The visitor passes through these light weight structures and moves up one of three flights of stairs towards the sheltered, raised Piazetta. This space marks the beginning of the entrance sequence for the main town hall space. The visitor is drawn towards their destination, their pace once more quickened.

structure, timber the doorta roof.The light flo Finally, exp anti you chambe room in it’stheenti Once do

Elevation, Travastere, Rome

Plan, Travastere, Rome

Long section - Travastere, Rome

Moving along the length of Main approach the brickSpace mass. Moving the along th You move through entra approach thethro b timber doors, smoothed The light floods in behind yo You move throu anti chamber. timber doors, sm Once the door Thehas lightclosed floodsy darkness, light enterin anti softly chamber. casting shadows.You pauseh Once the door The second door gives you darkness, light second threshold.As you m casting shadow enter the main space, it tak The second doo adjust to the new light quali thresho allows the second other senses to h justing. enter the main ne Firstly you adjust take in to thethe volum with light filtering from bo allowsinthe othe Secondly, you take in the m justing. walking andFirstly conversation.T you Spa take Main structure, the brickfilterin colum withtall light Moving alon roof. Secondly, youtht approach Finally, you experience the walking and You movecon th room in it’s entirety.

Plan, Travastere, Rome

darkness, li casting sha The second second thre enter the m adjust to the allows the o justing. Firstly you t with light filt Secondly, y walking and structure, th roof. Finally, you room in it’s

department of architecture and urban design

City Hall, Trastevere, Rome Eoin Oâ&#x20AC;&#x2122;Donnell

department of architecture and urban design

Students: Christine Bose Lauriane Cluzel Renaud Lille Du Laurent De La Barre Laura Homet Elena Kunz Sophia Lubbe Chloe Vaille Adedayo Adeyemi David Aitken Alan Attride Petie Barry Conor Boyle Manon Brissaud Andries Burger Andries Burke Ciaran Byrne Peter Carroll Tomas Connors Ben Conway Conor Copeland Shane De Faoite Sinead Delaney Jennifer Duffy Ailbhe Dunlea David Egan Shane Fitzpatrick Olwyn Greene James Grennan Alice Halligan Orla Hayes Nicholas Hegarty Simeon Kirkegaard Iseult Kirwan Thomas Maguire Victoria Mannion Ruth McElroy Martin McGloin Grace Mullen David Mulligan Amy Murphy Steven Murphy Gemma Nic Conchra Kevin Nolan John O’Callaghan Aidan O'Shea Shane Reid Anna Reidy Noel Roche Philip Ryan Thomas Saunders Michael Swords Richard Taaffe Samuel Teo Karl Tobin Patrick Tyrrell Tomas Verling Mark Walker

Yearmaster’s Statement Ethna Walls & Paul Kelly The theme of the first Semester was “Identity and Place”. This was explored through the analysis of two varying habitats, a manmade urban eco system and a natural ecosystem in a coastal location. Initial research was carried out observing and identifying man’s behavioural patterns and relationships in particular in their use of public space and identifying “sense of place”. Video footage was used for a greater phenomenological experience. Identity and genius loci was explored further through the analysis, master planning and development of public space, associated buildings and facilities for the newly regenerated town of Ballymun. Issues such as biodiversity, infrastructure, transport, energy, along with edges, permeability, legibility, etc. were addressed, along with the difficulty of providing community, social and environmental networks for a sustainable urban eco system. The symbiotic relationship between man and his environment was further strengthened by a group analysis and master plan for part of Skerries and Balbriggan, both contrasting coastal communities in North Co. Dublin. Issues such as natural eco systems, protected species, coastal erosion, rising tides, potential coastal energies, future of the fishing communities, etc. all lead to very individualised, environmentally driven concepts, which strengthen identity. The Semester was further enhanced by the involvement of students and staff from 3rd Year Architectural Technology. This liaison was particularly successful in Project 3, which was the further development of the design of a selected building from Project 1 or 2. The successful outcome of this project was a testament to the collaboration involved. - Ethna Walls The work of this semester is centred around the theme of “Building”, students are challenged to combine interests they are developing in their Theory, Environment and Tectonics strands with their Studio work. The intention is to examine architecture at the 1:1 scale, the relationship between the human form, architectural space and beyond to the urban level. The goal of the Advanced Design Studio (ADS) is to develop an attitude to the concept for a building that is applicable over the entire range of concerns of Architecture. The concept should be a touchstone that informs decisions at the urban scale and also at the scale of the human form. This practical application of a concept or theory serves to ensure a consistency of thinking over the development of a project analogous to the process in practice where a coherent idea is required to sustain a project’s development over a number of years. The Studio draws on the influences of Theory and Tectonics classes that make for a rounded approach to Architecture, students infuse their work with ideas that they are elaborating on in their written dissertations while investigating specific tectonic approaches. Staff: Stephen Best Dermot Boyd Noel Brady Johanna Cleary Peter Crowley Pierce Fahy Emma Geoghegan Donal Hickey Paul Kelly Ryan Kennihan Helen Lamb Brian O’Brien Lenzie O’Sullivan Janek Ozmin Brian Ward Marcin Wojcik Ethna Walls

To this end the students were set briefs at the ranged from the design of an object, chair or bench to “support” the human form, a high density housing scheme and the detailed design of an aspect of this housing project that was fundamental to the concept for the project. This approach to the full range of the concerns of Architecture develops the students’ philosophical standpoint against the backdrop of the implementation of ideas. Architecture can be described as physical form given to abstract ideas, the physical being a intrinsic to the understanding and experience of Architecture. To further these ideas students are encouraged to investigate materials, obtain samples and to seek to understand as far as possible the nature of the materials they propose working with. The work of the studio develops the students’ thinking enabling them to consider a starting point for a project from a wide range of sources both theoretical and practical. -Paul Kelly

Cork Street Housing Alice Halligan The concept for the scheme came about from the idea of an object within an enclosure. The scheme would enclose and act as the perimeter wall to a community garden. Within this garden sits a residentsâ&#x20AC;&#x2122; pavilion. The residential blocks are entered from within the courtyard creating a sense of community and activity within this space. The structure is a simple concrete frame structure. Each apartment unit helps to inhabit the structure with holes left to allow sky gardens to form and to let light through into the centre of the building.

department of architecture and urban design

Ballymun Masterplan Michael Swords

Cork Street Housing Orla Hayes

department of architecture and urban design

Balbriggan Fish Market Ben Conway The Balbriggan harbour masterplan aimed to reinvigorate the harbour area and strengthen its identity as a fishing port. It also aimed to connect several projects in key areas using a boardwalk. This would act as a new public space. This was to centre on a new harbour market, selling the local fishermenâ&#x20AC;&#x2122;s catch. The market aimed to strengthen the harbour edge by increasing its activity.

Cork Street Housing David Mulligan

department of architecture and urban design

Marine Research Centre Olwyn Greene

department of architecture and urban design

Cork Street Housing Noel Roche

Cork Street Housing Richard Taaffe

department department of of architecture architecture and and urban urban design design 04

Cork Street Housing Andries Burger

department of architecture and urban design

Balbriggan Harbour Wall Samuel Teo

department of architecture and urban design

Cork Street Housing Shane Fitzpatrick An open internally oriented block stands on the edge of the historic Weaverâ&#x20AC;&#x2122;s Square. Presenting a strong facade to the street, the courtyard facade dissolves, enabling each unit to form his neighbourâ&#x20AC;&#x2122;s private space. This implied community finds resonance with the established communities of the area, lately damaged by inconsiderate closed community developments. Permeability and openness balance with privacy through a hierarchical spatial arrangement.

department of architecture and urban design

Cork Street Housing Thomas Saunders The initial concept was influenced by the theories of Karl Marx, in particular to his views relating to the common man re-establishing a relationship with the soil and agriculture. I was also very interested in the Agricultural City Plan by Kisho Kurokawa in 1960. In this urban concept, natural growth of the agricultural city is provided by a grid of elevated streets. The living units multiply spontaneously without any hierarchy, gradually bringing the village into being. In my project an emphasis is placed on human interaction with the land and the intention is to create a strong connection with the natural environment in an urban situation. There was a high value placed on the public realm in this project.

Cork Street Housing Shane Reid

department of architecture and urban design

Cork Street Housing Iseult Kirwan

Cork Street Housing Karl Tobin

department of architecture and urban design

Cork Street Housing Petie Barry

Futilitorium Petie Barry

department of architecture and urban design

Ballymun Mediatheque Andries Burger

department of architecture and urban design

Cork Street Housing Phillip Ryan

Skerries Watersports Centre Conor Boyle A notable aspect of the road from the Main Street in Skerries to the end of the peninsula is that the road shields views of the beach that sweeps around to the south. This project attempts to unit the separate paths that traverse the isthmus and create a building at the intersection. This results in a lively, fluid building that is born from the movement and crossing of the path.

department of architecture and urban design

Ballymun Mediatheque Shane de Faoite The outer skin of the Mediatheque is inspired by London designer Gitta Gschwendtner’s Animal Wall. It is intended that some of Ballymun’s many bird and bat species may nest in the mediatheque’s outer skin, providing an ecologically friendly condition which in turn would provided a bird watching centre in the Dublin Suburbs.

This housing project sought to bring about a dialogue between the burgeoning expectations of density within Dublin city centre, as per the competition requirements, and the reality of the economic situation in which we find ourselves. The building gradually adapts to the economic recovery and the increase in density of Dublin. A series of lift shafts provide the framework for growth within the project. Each unit fits into the same structural grid and system, because of this they are freely adaptable and changeable, so over time the building adapts to the needs of the user. Three units are built around one lift core, and each has two floors. The second floor of each becomes a means of entering onto a communal garden space which runs the length of the plan, and for the most part, these spaces are double height.

Cork Street Housing Mark Walker

department of architecture and urban design

Cork Street Urban Living Thomas Maguire This housing scheme includes 180 1+2+3 bed units is a housing model based upon urban community. It has three distinct realms, taking advantage of the fall across the site, providing a lower level public space fronted by a vibrant cafe and market/ retail zone creating a public connection from Cork Street through the new space, a raised semipublic space accessed by steps from the Cork Street level which provide a threshold to the space. The third space, a private space for residents is located to the southern end of the site providing a garden sanctuary which the public cannot enter. The formal internal square is orientated to maximise its aspect to the southern sun, which the surrounding buildings are related to this idea in height, the lowest block facing south onto Chamber Street. The variation in facade allows for privacy and no overlooking to occur, as no window directly faces another opposite, being spaced so as a minimum of 300mm occurs between facing windows. Units are primarily dual aspect and all apartments have a private balcony space to avail of. By providing a diversity of units types

it allows for diversity within the building, accommodating single residents to familyliving. Each apartment allows for direct solar gain with tall opes, also encouraging natural ventilation.

department of architecture and urban design

Yearmaster’s Statement Dermot Boyd We are very interested in the strength of collaborative work in studio. The architectural studio as a physical space is a shared one. It is an environment where students and staff, work, exchange ideas and learn from each other. To compliment this, it seems only appropriate that it would be an intellectual space too. The students should share a common theme or area of investigation that allows them to intensively discuss, research, analyse and synthesise their architectural thinking together and not in isolation or competition.

Students: Bernard Brennan James Browne Jonathan Buckley Eoin Byrne Naomi Campbell Niamh Chambers Robert Chapman Kevin Coffey Eoghan Considine Jamie Conway Declan Crowley Aisling Flanagan Emma Forristal Donnchadha Gallagher Luke Gleeson Simon Harrington Edwyn Hickey Olivia Hillery Niall Howard Ruth Hynes Brian Jordan Clare Kilty Maria Larkin Bryan Ledger Paul Maher Courtney McDonnell Aengus Mitchell Shane Morgan Ronan Murray Grainne Nichuanachain David O’Brien Mary O’Brien Alen O’Farrell Niamh O’Flaherty Saran O’Rourke James O’Toole Anna Pierce Adrian Rooney Emmet Smith Alex Stupar Elaine Wynne

As with NAMAlab last year, if the students of fifth year are to adopt a historical, theoretical and historical idea, there seems a need to attach that abstract world of ideas to the needs of the real world. Following on from commentary by the external examiners last year, we became particularly interested in environmental issues and sustainability this year. In entitling the year, The Ethics and Aesthetics of Sustainability, it enabled us to examine the debate that surrounds the green agenda in architecture. At present, there is a distinct duality pedalled by both sides, that ethics and aesthetics are not compatible in sustainable architecture. For us, this conundrum must be extinguished and we wished to use the students’ design research to challenge this misconception. As architects, there is no doubt, we have an ethical responsibility to our fellow man and the earth that we must design and build in a more sustainable way. But in doing so, green architecture does not need to become an identifiable style. Too often with sustainable architecture, there is a shared formal language, a common materiality associated with applied technologies. There is a lack of aesthetic sensibility and ambition and it is this architectural shortfall that we wish to address this year in the Boglands project. As architects we have both an ethical and aesthetic role in shaping our environment. Sustainable architecture should be commonplace, the global norm, but in our view it should be primarily strategic rather than tactical in its response to the needs of man and nature. All architectural thinking must be supported by a strong political and technological agenda at the highest national and international level.

Staff: Stephen Best Dermot Boyd Johanna Cleary Laura Harty Mike Haslam Donal Hickey Ryan Kennihan Janek Ozmin Declan Scullion Dominic Stevens Marcin Wojcik

Algae Farm & Rest Stop Adrian Rooney The project consists of a huge landscaping project in the creation of a 1000 hectare algae farm. This farm would have the capability of producing just under 100,000 barrels of pure biodiesel oil per year. One main building provides the centre of the project, with an adminisration building containing the lab and administrative functions of the farm. The lab is required to constantly check the cultures to ensure they are not contaminated and then an area is required for growing replacement cultures. A large area is also required for processing the algae cultures and separating the biomass, oil and water which is returned to the system. The biomass is fed into an anaerobic digester which produces methane which can be sent to the proposed (and under the scheme would go ahead) gas fired power station on site. The gas exhausts from the power station are then piped into the algae ponds which over the course of the year will absorb the entire emissions from the plant and more.

department of architecture and urban design

Derryarkin Linen Mill Aishling Flanagan The Mill is located at the fastest flowing point of the Yellow River which is diverted down a 10m drop into the cutaway passing through a Francis Turbine at the base of the black structural tower. It is then pumped 55m skyward to a charred cedar-clad water caisson whose weight anchors the tower to the bedrock of the cutaway. In the weaving hall, this necessity is greatest and is represented structurally by the hydrophilic cedar-clad crowns which sit above the Jacquard looms catching and condensing steam at the apex and transferring it back through the structure to the humidifiers held within the Vierendeel truss in the floor plate.

Boglands Alen Oâ&#x20AC;&#x2122;Farrell

School for the Culinary Arts Derrygreenagh

School 1. Walled Garden 2. Entrance 3. Reception / Office 4. Exhibition Kitchen 5. Classroomsl 6. Glasshouses/Growing Area Workshops 7. Workshop 1 8. Workshop 2 9. Workshop 3 Accomodation 10. Accomodation 11. Dining Hall

Productive Landscape 12. Vegetable Gardens 13. Orchard 14. Water Collection Pond

Site Plan Scale 1:200

6 7

8 9 5

12 10 4

department of architecture and urban design

Naked Eye Observatory Anna Pierce This thesis is about a new type of architecture, an architecture that uses illusion and ambiguity, what would usually be considered to be deceptive and vague, to instead portray truth. Through the naked-eye observatory on the Derrygreenagh bog, I have explored and raised questions above what we know to be â&#x20AC;&#x2DC;factâ&#x20AC;&#x2122;. My aim was to show the world through an alternative lense, to probe questions about convention, questions about what is learned, what is accepted and then simply forgotten about. This thesis has been an exploration into architecture and illusion, that in all its blurriness and ambiguity is a more true representation of reality than reality itself.

The new building is carved out of the ground

Edenderry Town Centre Bernard Brennan The intervention is grounded in its site through a coherent dialogue with the topography, culture and history of the town The schema of horizontal space is restored on the ground and at first floor the form of the original plan is reinstated to create a suite of well proportioned rooms for markets, festivals and the civic requirements of the town. Together, the new and old form unified pair. Deep gardens in the plinth reveal a taller elevation which gives the building a more elegant proportion. Thick masonry walls carry the stonework to the new ground level. Patterns and rich materials of the epoch are employed in the new spaces.

department of architecture and urban design

Food Production Greenhouse Luke Gleeson The greenhouse takes equal infuence from contemporary industrial agricultural greenhouses and 19th century glasshouses. The basic principle of 19th century glasshouses was to enclose space in a transparent skin, and to hold on to and re-radiate as much heat as possible with a steriotomic, high heat capacity element which does not create a prevailing shade over the growing areas. In this greenhouse, the concrete building becomes the massive element. Thetransparent skin is created by a cable net tension roof to which an EFTE plastic membrane is attached.

Retreat Centre Clare Kilty Proposed is a non-acute centre to facilitate residents of the Irish Midlands suffering from mental health difficulties. Sited in Drumann Bog to the North of the lake, it is intended that it will contribute to Bord na Monaâ&#x20AC;&#x2122;s vision to â&#x20AC;&#x2DC;generate environmental and social value.â&#x20AC;&#x2122; The dominant material in this scheme is Irish blue Limestone which is articulated both internally and externally. It is intended that the scale of the spaces within the scheme are of a domestic scale so as to give the occupant a sense of timelessness and also to instill a sense of familiarity. The organisation of the building is around a series of yards with varying degrees of privacy.

department of architecture and urban design

Recycled polyethylene (HDPE) cladding system cut to frame

Internal timber panelling Roundwood timber truss system Node Joint

Aeroponic Tomato Farm Kevin Coffey This project investigates how to use optimisation to influence the design of a tomato farm in Ireland. The result is a collection of floating, rotating greenhouses utilising aeroponic growing technology. The scheme is made from discs that rotate and the greenhouses are spanning between the disc circumferences. This approach has the advantage of using fewer moving parts in the entire construction. Due to the circular nature of the discs, it is impossible to pack them together without interstitial space existing. It is here that the additional buildings - worker buildings, canteen, packaging, storage - can be sited.

Derryarkin Forrestry Centre David Oâ&#x20AC;&#x2122;Brien This project seeks to place the individual in the context of a voluntary community in Derryarkin Bog. The location of the buildings and their orientation is designed to create a sense of immersion in the boglands as an environment. It is located along the existing rail network, with the complex overlooking large areas of stripped bog towards Croghan Hill. The buildings themselves are designed to offer variety in the manner in which they can be inhabited. This project forms a community with a natural sense of democracy and interconnectedness. The role of the individual is respected, while framing that as a participatory role within the collective.

department of architecture and urban design

Boglands Cemetery Donnachada Gallagher The project deals with immanence and transcendence, their value and meaning in the conception of a contemporary architecture. The cemetery itself is a radial scheme that develops over time with three centralized chapels. The burial mounds pick up on the existing grain of the site carved out by Bord na Mona. This grain determines the initial layout of the cemetery grounds. However, it is intended that each generation would design a layout that becomes representative of their time to avoid a frustrating stagnancy.

Beekeeping Centre Emma Forristal The building proposed is a beekeeping and birdwatching centre. There are very few facilities for beekeepers in Ireland and Irish honey is a much sought after commodity. Honey from Irish suppliers only account for 5% of the 4 million lbs of what we consume. The bog is an ideal location for such a resource. Heather honey produced in the bog is of a thicker consistency and worth far more than normal honey. The bog is free of pesticides, something which is seen as a leading factor in the disappearance of bees.

department of architecture and urban design

Powerstation

Boiler Room perspective illustrating structural depth for servicing mechanically & passively

AESTHETICS OF ENVIRONMENTAL PERFORMANCE DESIGN DEVELOPMENT:

STAGE 05

AESTHETICS OF EN

Emmet Smith My proposal involves the cessation of quarrying on this site and the rehabilitation of the man made lake as a focal point for the restoration of biodiversity. At Lough Boora Park, ‘biodiversity corridors’ have been developed and encouraged on the less disturbed fringes and along the rail infrastructure of the bog. These corridors both connect the bog and divide it, creating boundaries between rehabilitating bog, wind farm and biomass/biofuel crop.

AESTHETICS OF ENVIRONMENTAL PERFORMANCE

A_A

B_B

02 08

B_B 12

A_A

AESTHET

Research Institute Eoghan Considine This building is to act as a brige into the landscape. In this bog landscape the public space is that of the road and the oligoptical space is that of the bog. The research institute acts as an ambiguous boundary that leads people onto its surface and into the oligoptical spaces below that inhabit the layers stripped away by machines on this site. It also draws people onto the the landscape. There are numerous routes across this building and onto the bog. There is no definite entrance to the building, the building must be explored to be properly understood. The landscape is allowed to bleed into the building.

department of architecture and urban design

Custom Elliptica

Concrete Roof lig 40x40mm timber

4 5 2

7 10 1

3 6

â&#x20AC;&#x2DC;Bauderâ&#x20AC;&#x2122; Green R 15

150mm Rigid Fo

Pre-cast Concret cast in situ concr

Triple Glazed Tim

GGBS - Ground Concrete, this m achieved on the s

Suspended Timb walking on this s of that on a harde

Concrete Strip Fo

1. Homecare Service 2. Administration 3. Staff Break Area 4. Counselling Service 5: Day Patient Therapy 6. Hydrotherapy 7. Living Room 8. Physiotherapy 9. Kitchen 10. Herb Garden 11. Canteen 12. Administration 13. Fundraising 14. Boardroom 15. Shalom Entrance

Palliative Care Centre Eoin Byrne The centre is located over two levels. The lower level contains the residential element and all associated services. This includes nurse stations, drugs rooms, storage and social spaces such as family rooms. This level is set into the hill, forming a protective, cave like atmosphere where the shared spaces look inwards, and the rooms turn out to the landscape. This is contrasted by the upper level, a pavilion like structure which sits atop the landscape that flows on to the roof of the lower level. This contains the more public elements of the brief, the administration and the day care centre.

Nacelle Factory James Oâ&#x20AC;&#x2122;Toole The building is based on a 12m x 12m grid. This is based on the dimensions required for the assembly of the components needed for 2MW nacelles. The require independent gantry rails to run efficiently and I am proposing that if Bord na Mona see this as their new energy type, they could build 2 nacelles per week. 3,400 would be needed to produce more than enough electricity for Ireland and so it could be sold to the European grid. The small spans also mean that there will be less deflection within the structure as the very nature of a raft foundation can cause a rise at one side as a result of a heavy loading at the other.

department of architecture and urban design

Algae Farm & Fuel Station James Browne The architectural proposal is for the re-use of the cutaway boglands at Rochfordbridge as an algae farm - a production facility for fuel, a system which coluld be implemented across the boglands of Ireland as they cease to provide viable means of creating energy. The location of the scheme borders the M6 Galway to Dublin motorway. Here, the oil bearing algae is grown in ponds, processed, refined, stored and sold as fuel to users of the motorway. The ambition for the project is to reduce dependence on imported fuel oil, and to immerse users in the productive background of the fuel they use.

Sawmill & Workshop Jonathon Buckley A furniture workshop has been designed allowing the production of well crafted, refined pieces of furniture built from the various tree species grown on the surrounding boglands. The workshop is built specifically for YaffeMay furniture maker. There are two methods of construction used in the making of the built form. One is an industrial method, which can be extended indefinitely, where the construction is the result of layering up timber members and bolting together, while the other method is a refined, crafted system of construction expressing the artefact as the place of a furniture maker. The project is the result of these two methods.

department of architecture and urban design

Textile Factory Maria Larkin This facility would take the Irish sheep wool and specially process it using the acidic water of the bog which aids the removal of unwanted matter, spin the wool into thread and produce textiles for use in high fashion industries. The product would be limited in production and there would be facilities for designers to come and specify there own textiles. Heather, tree bark and other plant matter will be used in the dyeing process within the facility. These are found growing in and near the bog giving the final product a unique character that is fundamentally tied to the area.

Charcoal Kiln Brian Jordan The Carrickgollogan Wood is a planted forest managed by Coillte. The wood has a rich history of lead and silver mining on the northern side of the forest. The waste material from thinning the forest would produce a raw material that would become a way of creating a product from a material not suitable for use in the production of Coillte panel products. A building for the production of charcoal from this waste material is proposed to sit in a clearing between the edge of the forest and a gorse field. The kiln would extract the essence from the timber in the form of charcoal and in turn extract the essence of the forest and the place. The kiln itself became the core of the project, for which all other elements were structured around. It sits into the slight incline over the site. The circulation is folded upon itself and becomes the side elevation of the kiln.

100

department of architecture and urban design

101

Plastic Recycling Centre Mary Oâ&#x20AC;&#x2122;Brien The purpose of this thesis is to seek a new solution for this post-industrial site that is different from the precedents in western and developed cities, because of the identifiable local conditions which are heavily dominated by Bord Na Monaâ&#x20AC;&#x2122;s purpose built infrastructure and different stages of development around the surrounding environs in Westmeath. It is desired that this new solution may be a good reference for other dilapidated sites that are now or will soon be going through a similar direction of change.

102

department of architecture and urban design

Bog Bathing Centre Courtney McDonnell The brief is a bathing facility located in an expanse of uncut bog. The scheme contains a heated communal mud bath, several natural pools of varied size and specification, internal treatment rooms, shower room, a peat sauna, and a changing facility. The baths are designed to be as natural as possible by using water directly from the bog filtered and occasionally heated. The materials are gathered from the site, oak timber, bog water, and the natural silt clay which creates fired tiles for the poolâ&#x20AC;&#x2122;s edges.

103

Aluminium Research Centre Ronan Murray This project builds upon a widely used technique of constructing a deep basement - sheet piling. The spatial effect of using this construction technology is retained. The horizontal experience of space is held within the serrated edge left by the technique. As you move vertically within the project, the floor plates are experienced. The waffle slabs become thicker as you descend - the requirements of the floors slabs acting as a brace to the external pressures increases. This project is the marriage of two techniques - horizontal bracing and vertical excavation. The experience of the current day building technology marks this project in time. Future experience will speak of this day.

104

department of architecture and urban design

Image of approach to BuIldIng

Tannery Elaine Wynne The building rests against the border of cutaway and non cutaway bog. People enter on the virgin bog level and look down upon the machine level from a clean environment above the roof scape. All the industry happens on the already machined cutaway bog. The main part of the building which had been a series of segregated rooms came together under one roof. The building became about a thick heavy concrete ground plane with the water tanks cut out and the walls reaching up and down to hold a light timber lattice roof. The roof was my way of giving back to the workers who have to work in a dirty unsavoury environment. The idea is that the roof is like a heaven overhead and the lightdrifting in is part

of that experience.

105

Juvenile Detention Centre Niamh Oâ&#x20AC;&#x2122;Flaherty Within the overall themes of ethics, aesthetics and sustainablitiy the project aims to provide a place for juveniles that is secure while allowing them to inhabit a building in which they are treated as humans and provided with the best opportunity to re-enter society without committing further crimes. The building itself evolved into a mat building with many courtyards allowing for natural ventilation. These juveniles need a place where social interaction is encouraged, where they learn to exist in a community and at the same time learn individual responsibility.

Perspection Section 1:100

106

department of architecture and urban design

Goldsmith Academy Olivia Hillery Goldsmithing has a long history and affiliation with the Irish boglands. The â&#x20AC;&#x153;Orâ&#x20AC;? exhibition at the National Museum of Ireland holds one of the largest and most important prehistoric gold collections in the world. The Goldsmith Academy will provide training facilities for apprentice goldsmiths and accommodation for the duration of their apprenticeship. It takes as a precedent the many monasteries of ancient Ireland founded on bog islands as well as the uniquely Irish wetland dwelling typology, the crannog. The Academy is built on an area of preserved peat among the ruins of past civilizations and, in time, will be surrounded by water.

107

Steel Mill Paul Maher The steel mill adapts the precedent of heavy industry by way of reintroducing production to a depleted landscape. Based on modern methods of steel production the project allows for the recycling and reuse of 100% scrap steel. This is achieved with the use of electric arc furnaces, which greatly reduce emissions and energy consumption in comparison to traditional blast furnaces. The project thus becomes a departure from the previously environmentally detrimental process. Instead it deals with the material consequences of the construction boom and the re-appropriation of the countryâ&#x20AC;&#x2122;s hubristic remnants into something more valuable to contemporary society. Reflecting the nature of peat production, the project transforms amorphous scrap into defined object, the billet or ingot.

108

department of architecture and urban design

Workers Bar Paul Maher The project deals with the cultural paradox that permeates the uncanny ruin; that it may portray both transience and permanence. The ruin in its incomplete state embodies both potential and decay. As an analogy for time, the ruin looks forward to the future in addition to backwards to the past. Similarly the project recognises the influence of place and time, forming a direct relationship with a transformed and transforming landscape.

109

Research Centre Ruth Hynes A new research and innovation centre has been proposed for this briquette factory, replacing the current function, but retaining a working funtion on the site. The strategy involves ther entire site, reworking current circulation patterns, and creating large scale wind energy prototyping onsite. new route follows the existing infrastructure for peat production; existing walkways and spaces given a habitable layer, while acknowedging the function gone. Overlapping planes redefine existng space within the building and structure to create technical workshops, experimental labs, prototype rooms, and publicly accessible seminar room, reading room, exhibition space and cafe.

110

department of architecture and urban design

Rowing Lake Simon Harrington The new rowing lake is formed between an existing train line and the topography of Croghan Hill. The large body of water provides a landscape for crossing the landscape by foot, bicycle or scull. A series of constructed walkways create a perimeter to the lake and define the necessary space needed for competitve rowing. A starting tower, alignerâ&#x20AC;&#x2122;s hut, judging tower and viewing platforms form a collection of pavilions along the perimeter. A boathouse terminates the lake and forms an entry and exit point from the trainline to the expansive landscape. Training facilities, accommodation and a bar create an ideal place for visiting teams and regattas.

4. 3.

111

Data Centre Shane Morgan To engage the yearâ&#x20AC;&#x2122;s theme of ethics, a dialogue was started to assess the impacts of future developments, spiralling population curves and rapidly shifting demographics and technology patterns. An investigation into speculative future cities led to an assessment of current societal trajectories. With the proliferation of cheap technological devices that can access vast quantities of information instantaneously, it was important to understand the correlation between the physical effects that this societal shift was creating. Through this study, the brief of the second project was refined. The data centre is a technically specific building, with little care for the need of the human. Itâ&#x20AC;&#x2122;s services, heating, lighting and spatial requirements are typically determined by the necessities of the machine.

112

department of architecture and urban design

113

114

department of architecture and urban design

Shelter Darragh Farrell & Samuel Teo The plan and orientation of the project is designed to be read as part of the entire courtyard and has several layers of interaction. In the first instance it looks to entice people down to the currently under-used space, it does this initially by virtue of its â&#x20AC;&#x153;newnessâ&#x20AC;? but more lastingly through the lure of a fully exposed seating area that is part of our scheme.

There is a celebration of structure that can be seen through model and section that was not planned but rather that emerged when our palette of materials were decided. The timber structure sits atop simple castin-situ concrete piers and is capped by an aluminium roof.

We wanted to create areas within the scheme for large groups and individuals as well as spaces for seating and standing. The orientation of the project is such that it relates to the surrounding trees, the existing shelter (more importantly the space between them which is already a viable seating area) and to the pond. The trees are an integral part of our scheme and we wanted to leave them as undisturbed as possible.

Safe Haven In Plywood Shane Fitzpatrick, Tom Maguire, Ailbhe Dunlea This project serves the busy studio as a respite, an enclosed safe place away from your desk. Eat your lunch, read a book, curl up in the foetal position, get away from the stress of the studio. The exterior functions as an extended part of the studio, the ribs may be used to pin up work negating any loss of wall space.

2.5

Studio Section 1:100

Studio Section 1:50

The simple construction lends itself to a quick build process, taking 6 hours to cut and erect by three architects and a drill. The modular design facilitates easy expansion and greater flexibility of use. Future expansion is expected to start simple; cushion for the seats and become more ambitious in scope; a stair bay leading to a mezzanine level. It will remain in the fourth year studio for future years to modify as they wish.

115

Darkness, Architecture, Photography: Behind the Masks and Illusions Mark Walker Nominee RIBA President’s Medal

The surrealist writer Andre Breton said in his manifesto, “at any given moment we have only a distinct notion of realities, the co-ordination of which is a question of will.” (Danchev, 2011; pg245) The camera acts much like this, it captures the moment, but only through the viewpoint of the lens and the man behind it. Its viewpoint restricts ours and focuses it on what he wishes to describe. Darkness acts in much the same manner. Both place a mask on the spectator, creating a “co-ordination” of realities. Debord furthers this by stating, that “the spectacle’s estrangement from the acting subject is expressed by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.” (Debord, 1994; pg 33) The photographers George Brassai and Julius Shulman created their own illusions and realities. Shulman described the addition of people, scenes and moments in his architectural photography as “an alluring way to lead the viewers gaze into the architecture and the ideal life that went with it.” (Rosa, 1994; pg94) This is an issue which is addressed by Guy Debord, who states, “The spectacle presents itself as a vast inaccessible reality that can never be questioned. Its sole message is: “what appears is good, what is good appears”.” (Debord, 2009; pg26) But this action of filling the scene was often to the disregard of his clients. Neutra in particular took umbrage with this. “Neutra’s concept of a house is an empty one. So when we photographed the Maslon House, he took out all the art and most of the furniture. Never before had I been so offended! Mrs. Maslon granted my request, and two weeks later I went back and photographed the house the way she lived in it.” (Rosa, 1994; pg 49) Shulman sets his piece against the night and darkness, much like the architecture itself does – a continuing trend from the gas street lights of Amsterdam and Paris, which sought to colonise

116

the night, and began the illumination of cities. The city planners created “endless avenues of light”, “as far as the eye can see” (Bluhm, Lippincott, 2000, pg182) The case study house, much like the Parisian streets, cast light out, pushing back the darkness. Vidler describes “such a house” (Vidler, 1992; pg19) as being “killed by its very emptiness and the superstitions that have built up in the region” (Vidler, 1992; pg 19) In contrast to this, Brassai, inhabits the night, aligning himself with it at a time where Paris was still feeling the effects of Hausmann’s plan. Hausmann sought to cast away the darkness of the night and bring more “light and air into the city”(Bluhm, Lippincott, 2000, pg156), employing new technology to do so. Wide, open streets “made it easier for gas lamps to be more efficiently linked to a network.” (Bluhm, Lippincott, 2000, pg156) This brought the two into conflict, Brassai going so far as to dedicate his first few photographs in ‘Paris at Night’ to the existence of darkness in Hausmann’s Paris. As Scott attests, “it is a climb designed to undo Haussmann, because it is a climb undertaken in the dark, an illicit climb... that reveals not a vision of modern urban rationality, but a spectral cityscape floating free in time.” (Scott, 2007; pg164) Both photographers use shadow and light, to form illusions of experience, atmosphere and moment to aid their arguments for a new architecture to revolutionise housing and total light (Shulmann), or a city of night where darkness, shadow and light create experience, erode form and provide respite and solitude for the weary urbanite (Brassai). Brassai’s use of shadows and darkness as a means of conveying solemnity, solitude and an inner freedom is an experience I feel is sorely lacking in modern society and city life. The case studies below are a few examples of this experience of darkness, and the architect’s ability to understand its spatial resonance. Case Studies As Tanizaki states in In Praise of Shadows, “Darkness illuminates for us a culture very different from our own; but at the same time it helps us to look deep into ourselves to our own inhabitation of the world” (Tanizaki, 2001, pg 2) It is this aspect of light and dark which Lewerentz uses to erode form and space and create an internal world of St. Petri Church. “The church embodied his idea of the transcendence of matter, of architecture, as the first step toward the presencing of thought.” (Wang, 2009; pg20) The church provides a place for solitude and reflection and the singular material choice allows for the walls to fade into the background and become a canvas for depths of shadow and light. “Lewerentz gains the greatest possibility of achieving a renewed reality within the material condition of the building” (Caruso, 2008; pg77) which becomes all the stronger and ever more surreal due to the small amount of radiant light which is emitted. The words of the surrealist, Andre Breton, come to mind when within St. Petri. He says, “At any given moment we have only a distinct notion of realities, the coordination of which is a question of will” (Danchev, 2011; pg245) As we pass through the space, and peer through the darkness, our attention is not only drawn to ourselves and within but briefly to the details of the building itself and the textures, the micro and macro never revealing themselves at once as you struggle to peer through the murky air. As Caruso puts it, “we are confronted with brooding walls and spaces whose darkness makes us strain to even

department of architecture and urban design

understand their extent.” (Caruso, 2008; pg78) This also allows less aware of darkness, we forget spatial reverberations and the illusion of the moment to be explored, as “picturesque moments subtle patterns created by light and shade. When this happens, can be identified. These moments create the conditions for everything is uniformly illuminated and object and form are incidental perception over time” (Wang, 2009; pg20) and the limited to simple relations”. (Ando, 1998; pg458) “daydreaming” as described by Bachelard begins to occur, as he urged us to “de-socialize our important memories, and attain to the plane of the daydreams that we used to have in the places identified with our solitude.” (Bachelard, 1994; pg9) We begin to inhabit St. Petri with ourselves. The Koshino house by Tado Ando, also provides similar respite. Two concrete boxes are located within a national park on a slope. Both seemingly separate volumes are connected via an underground corridor. Within this building, Ando creates a retreat for the individual, among the smooth concrete walls, beams of light fall and cast shadows. In his essay, A Wedge in Circumstance, Ando states, “I create enclosed spaces mainly by means of thick concrete walls. The primary significance of enclosure is the creation of a place for oneself, an individual zone within society.” (Ando, 1998; pg444) Ando sets up these spaces as a reaction to the symptoms of the “unhomely” which were to be found in modern architecture and city life. The open architecture fig. 15 of the modern (a symptom of the material construction of the The Stahl House, designed by Pierre Koenig, is the 22nd house new houses) creates a more society-oriented architecture. The designed within the Case Study House program. The house is a Koshino house allows the user to take off the mask which society “simple pavilion situated on a promontory out of view of adjacent expects them to wear and they can truly place themselves within houses in the Hollywood Hills”. (Smith, 2006; pg69) An image a space. Ando describes the use of the wall within this function from the house by Julius Shulman, as shown above, illustrates the as “I first create the wall that will establish the place for the openness of the house. At night it illuminates the surrounding individual and that can express the will to set up relations with area, as opposed to the architecture of the streets below, where the society”. (Ando, 1998; pg444) main illumination emanates from the street. Society’s boundaries aren’t as clearly defined within these spaces. The construction of Shinohara performs a similar act to Ando within the Tanikawa the house, and the material choice, allow for little discretion in House, albeit without the restriction of material. Designed for the admittance of light. He used only “stock steel components Shuntaro Tanikawa in 1972, the client was one of Japan’s “bestto frame 20 foot wide modules of glass” (Smith, 2006; pg69) known and most accomplished modern poets, having published and used the steel to “enclose space”. (Smith, 2006; pg69) This sixty volumes of poetry.” (Massip Bosch, 2011; pg132) The brief description alone provides an insight into the western notion as set out by the client – “Winter house or pioneer cabin (house), of space as full, whereas the Japanese see it as empty. Shinohara summer space or church for a pantheist (need not be a house)” describes it as so, “beauty stemming from the “non-existence of (Massip Bosch, 2011; pg132) – and the client himself, allowed space.” (Massip Bosch, 2011; pg244) This is no mere wordplay, for a certain freedom. It also afforded the architect the ability to since “space” here refers to that concept of space bred in the West, explore what he was “deeply concerned” with, “self-orientation which envisions a substantial entity as opposed to space as the and identity.” (Massip Bosch, 2011; pg132) Shinohara creates the simple void of cosmic emptiness.”(Massip Bosch, 2011; pg244) summer space by giving “architectural form to the “gap” which The simplicity of form and construction is also reflected in the opened up between the raw slope and the bare bones geometrical treatment of light, as “everything is uniformly illuminated.” simplicity of the timber frame structure.” He then places the (Ando, 1998; pg458) This construction becomes an extension of house beside this, physically attached to the space. But it is the the city, a city that we feel more and more alienated by. Walter summer space, rather than the house itself which has drawn my Benjamin took particular interest in this. “But the uncanny, attention and, similar to a description of Ando’s own spaces, that as Walter Benjamin noted, was also born out of the rise of the “In other words, it is an architecture reduced to the extremes of great cities, their disturbingly heterogeneous crowds and newly simplicity and an aesthetic so devoid of actuality and attributes scaled spaces demanding a point of reference that, while not that it approaches theories of Ma, or nothingness.” (Ando, 1998; refuting a certain instability, nevertheless served to dominate it pg444) In the summer space, low windows combined with the aesthetically.” (Vidler, 1994; pg4) As the new cities were built, and Japanese asymptote and tree cover around the house create a the mob became faceless, the placement of the individual within subtlety of light and darkness which imbue the space with a loss this society became key as it was easy to become overwhelmed. of form and sense of self. This then leads to a non-existence of The same materials that built these cities became commonplace space, as it reaches infinity in the depths of darkness. It is this in the home, as such, there was no home. The openness and that Ando claims is being lost “from modern Japanese culture”, clearness of form left the user feeling lost and without identity. “a sense of the depth and richness of darkness. As we grow The light became overwhelming, natural and artificial. But

117

darkness became a refuge as seen in the photography of Brassai. Within the architecture of the house, a return can be seen in Japanese architecture to the depths of shadows and darkness needed to provide a refuge for the individual. Ando continues this investigation into the individual, within a religious program, the Church of Light. “Here I prepared a box with thick enclosing walls of concrete- a ‘construction’ of darkness. I then cut a slot in one wall, allowing the penetration of light – under conditions of severe constraint.” (Ando, 1998; pg471) Built in the suburban environment of Ibraraki city, this Protestant church, like others, is simple. The theme of the church may be light, but it is only through “the profound darkness” that what little light is allowed to enter becomes radiant. The timber used to form the floor and the pews has a rough texture and would generally be “used for scaffolding.”(Furuyama, 2006; pg37) In the darkness and limited light, these take on an added dimension as their texture is enhanced catching what little light they can, and as you move through the space and touch them, and sense the silence within this normally busy setting (suburbia), you become more aware of your other senses. “This light, drawn through openings into the interior of his built structures enabled man who dwelt inside to understand his own being relative to his surroundings.” (Ando, 1998; pg471) This approach had been taken before by Le Corbusier within his Ronchamp Chapel, located in the east of France near Belfort. The previous chapel, which dated from the 4th Century, had been destroyed in World War 2. The chapel is quite simple, consisting of two entrances, a main altar and three chapels beneath towers. Although the building is small, it is powerful and complex. In a letter to his mother, he described it as “the most revolutionary work of architecture that has been accomplished in a long time.” (Sbriglio, 2011; pg87) The hill on which the site is located would allow Le Corbusier to “fashion” an architectural ensemble which became his own “personal acropolis at Ronchamp”. (Gans, 2000; pg95) The “Panathenaic procession” (Gans, 2000; pg95) which starts at the bottom of the hill and the beginning of time with an artificial hillock like a dolmen or burial mound, before reaching the propylaeum of the youth hostel and parish house. The chapel rises out of the hill “like a Greek Temple in three-quarter view.”

fig. 25

118

fig. 6

(Gans, 2000; pg95) In the same letter to his mother, this approach is outlined, as he demands she “take a trip up there, drive as far as the hill...then walk the remaining 100 meters” (Sbriglio, 2011; pg87) From the top, magnificent vistas spread out in all directions. Views of the horizons can be seen from all four façades, which makes it all the more surprising that the chapel ignores these, or at least is shown to ignore them in the photos commissioned by Le Corbusier, as the light becomes resplendent and radiant within. Analysis The three religious spaces discussed, unbeknownst to me at the beginning of the study, share a lineage of thought, as illustrated by the earlier architect’s acknowledgement of the later’s achievement. A connection is made by Plummer when he relates Ando’s church’s “use of light itself as a corroding agent” (Plummer, 2001; pg110) with the “burning fissures” (Plummer, 2001; pg110) of light within Ronchamp. This is further enhanced within Ando’s own writings, wherein he states that he has continuously revisited Ronchamp since his “first visit in 1965.” (Ando, 1998; pg473) He describes how the “visitor is assaulted by phantasmal lights entering through windows of diverse sizes fitted with coloured glass ... its brutal physical strength remains undiminished and continues to shock us”. (Ando, 1998; pg473) A brutality which is recognised within the work of Lewerentz at Klippan, who said of the monastery at La Tourette – “the one building that most closely approximates Klippan in its concentration, its passion and its austerity”.(Ahlin, 1987; pg21) All three show a very similar treatment of light, and an appreciation of darkness, each understanding its effect on us, and its interesting and symbiotic relationship with light. The relationship between light, darkness and ritual, becomes key to the illumination of St. Petri. The churchgoer first moves through the dark entrance space which doubles as the wedding chapel, but even after “the visitor proceeds through the dim entrance room into the main space, darkness still prevails” (Wang, 2008; pg24) The transition from light of day, to the dark narthex creates an “initial moment of blindness.”(Wang, 2008; pg28) This acts as a “rebirth, a catharsis that opens one up to a new awareness as one slowly begins to see.” (Wang, 2008; pg28) The circulation route is illuminated at all times of the day. Sadly, on mass days, the main entrance for the church, set into the western façade, is opened to the congregation and the shift from daylight to darkness can be quite jarring. “This direct entry into the sanctuary space is unfortunate because the visitor does not participate in the slow discovery of the building.”(Wang, 2008; pg28) The procession of the priest from the sacristy to the altar is illuminated via roof lights as depicted in fig.6 / fig.25. These illuminate the path of the priest as he prepares for mass. The seats for the congregation are then set within the darkness of the inner plan. The windows from this point and from the point of entrance appear as “large squares of light.” (Wang, 2008; pg24) Similarly, Le Corbusier and Ando both implement their own notions of the “rebirth” and “catharsis”(Wang, 2008; pg28), which can be seen in St. Petri. As you enter Ronchamp, there is a large metal door that greets you. This seemingly dim space is overshadowed by the

department of architecture and urban design

sweeping roof. As you move into the chapel itself, the brilliance of the light, the “burning fissures,” takes prominence within the darkness, allowing the space to be illuminated without the use of direct light. The wall gets thicker as it moves downwards, reaching its thickest at the ground. The opes are also narrowest on the exterior, gradually opening up through the thickness of the wall. Both these features come together to only allow diffuse light at ground level. Any direct light that enters into the building is through the thinner walls of the upper level and merely hits the opposite wall.

fig. 17

This treatment of darkness is very much like the Zen Temples of Japan, wherein as Plummer describes, “the darkness was choreographed to unfold through space and time.” As you enter, “a rite of passage” occurs, “one arrives at the semi-darkness of verandas, and then plunges into the total blackness of the inner halls.” (Plummer, 2003; pg108) Much like the two previous churches’ concerns with entrance and procession, Ando also implements his own moments of “rebirth” and entrance within the Church of Light. A progression of darkness can be seen as you move deeper into the chapel, as shown in Ando’s plan drawing (fig.17). This creates a “black translucid realm that helps us instead to withdraw into ourselves dimming the vision so

we might glimpse what is behind the eyes, leading us down to the blackness of our own depths, therein to achieve the deepest meditation”. (Plummer, 2003; pg110) A remarkable achievement considering its busy suburban location. All three churches are orientated with east to the rear of the altar. Spiritual spaces around the world share these themes of shadow and its use to create an “eternal twilight which evokes an aura of Sanctity.” It seems only the Japanese have adopted them in their houses. Within the house by Shinohara, we see first hand this appreciation for shadows and darkness. As Tanizaki states, “we prefer colours compounded of darkness.” (Tanizaki, 2001; pg48) The summer space of the Tanikawa house has two entrances, one from the house itself and another from the outside. However, the sequence of space and darkness does not revolve around the plan, but instead, the section. The space is quite dim at eye level as the low eaves deny light from entering and the dark earthen floor consumes any light that enters. The high pitch roof provides the space with darkness and shadow, only discovered when within the space. The space itself seems to breathe, “there is a constant, deep breathing of shadow and light; shadow inhales and illumination exhales light.” (Pallasmaa, 2005; pg47) This is a feature also found in the three churches, a trademark, according to Pallasmaa, of “great architectural space”(Pallasmaa, 2005; pg47), forming the basis of an architectural chiaroscuro. The forest of the outside also provides further shading of the summer space, allowing only diffused light to enter and creating “burning fissures”. Similar to the later works of Le Corbusier, “the crevices have been used to give an impression of mystical light rising out of a primordial darkness” (Plummer, 2003; pg112) that in this case is the earthen floor but also, they allow the occupant to return to a primitive state of being, the darkness creating “that profound nothingness which makes man sense his smallness before the mysteries of divine power” (Plummer, 2003; pg106) In contrast, the Stahl house provides no shadow for the imagination to grow, no calm for the soul, no “mystical light”, only an all-encompassing “illumination”. This is a symptom of the constant adoption of new over old without question that is seen in western society, as seen from the outside by Tanizaki, “the Westerner is determined always to better his lot. From candle to oil lamp, oil lamp to gaslight, gaslight to electric light – his quest for brighter light never ceases, he spares no pains to eradicate even the minutest shadow.” (Tanizaki, 2001; pg48) This even includes the image of the house, which in Shulman’s, is populated by the ideal 1950s women. Whereas most people in the houses below dwell in the shadows, this “ideal” (Rosa, 1994; pg 95) can create its own light and “eradicate” shadow, even beyond its walls. The Koshino house by Ando, like the Stahl house, links inside to outside, but performs this act in a much more selective manner, as can be seen when the plans are compared. A large window is placed in the living room space and the “interior is gradually assimilated into the beautiful landscape.” (Furuyama, 2006; pg27) By contrast, the openness of the Stahl house is virtually overbearing. As Ando describes it, it is “a world of exceeding transparency,” (Ando, 1998; pg470) the walls and windows of which lose “its significance as a mediator between two worlds.” (Pallasmaa, 2005; pg47) Thus the public realm becomes private

119

almost like their gas and flame predecessors.

fig. 36

and vice versa. The glass walls and minimal structure create “homogeneous light, bright to the exclusion of all else, devoid of darkness” (Ando,1998; pg470), Pallasmaa takes this argument even further, calling the “constantly high level of illumination”(Pallasmaa, 2005; pg49) “an efficient method of mental torture......that leaves no space for mental withdrawal or privacy; even the dark interiority of self is exposed and violated”(Pallasmaa, 2005; pg49) The artificial lights which are used within the Stahl house further the exposition and violation – no shading, and bordering on bare electric bulbs. These lights cast away darkness at a time when it is only natural for it to exist, and when artists would “study chiaroscuro, the use of light and shade to model form.” (Bluhm, Lippincott, 2000, pg70) Now instead of light and shade “to model form”(Bluhm, Lippincott, 2000, pg70), “object and form are limited to simple relations” (Ando, 1998, pg458) as everything has light cast upon it. Ando uses a similar lighting apparatus within his Church of Light – a quarter sphere which is placed upon the wall, halfway up. One would imagine that the light would face up so as to further diffuse it across the space, but instead it faces down, straight into the view of the user. But it is Lewerentz who provides the most adequate artificial lighting, if any is actually to be used. He places the obtrusive glaring light bulb within brass canisters, the many reflective surfaces diffusing the light (fig.36). This “warm, dim, flickering light” (Bluhm, Lippincott, 2000; pg70) allows for the loss of details in the shadows and “architectural space vanishes into vast reaches of darkness.” (Bluhm, Lippincott, 2000; pg70) These lights are distributed throughout the plan and mimic the effect which is created by the candles on the eastern wall. They act

120

The construction and detailing within these projects also plays a vital role in the light, shadows and darkness to be found within the spaces. In the three religious buildings and the Koshino house, we see an overall material idea that “subsumes detail and becomes an enveloping surface.” (Caruso, 2008; pg78) The choice of one material is taken to its extremes by Lewerentz in his St. Petri Church. Brick is used for all surfaces, wall, floors, and ceilings, to create a volume of brick. This is further enhanced by a series of rules which he placed upon himself: that he would “use it for all purposes: wall, floor, vault, roof light, alter, pulpit, seat”, that he “will only use standard full size brick” and that “no brick is to be cut”. (Wang, 2009; pg18) This leads to a unified internal volume, allowing light and shadow to play out on a blank canvas. The mass of the walls is further emphasised by the placement of the doors and windows, as they “are never framed into [them]. Closure is effected by applying an element across the opening to the face of the wall.” (Wang, 2009; pg18) This enhancement of mass further emphasises the darkness of the space and the cuts within these walls that allow the light within the space. This light then cuts and acts as “a corroding agent.”(Plummer, 2001; pg110) Ando too uses one material to create a unified volume, although not to the extent with which Lewerentz does. He describes the construction as “a box with thick enclosing walls of concrete – a ‘construction of darkness’. I then cut a slot in one wall, allowing the penetration of light.” (Ando, 1998; pg471) Much like St. Petri and Ronchamp, these massive walls are painted with darkness, but it is the treatment of the floor and pews which enhance the spatial qualities of the church. Due to budget limits, “rough wood planks”, which would “normally be used for scaffolding” (Furuyama, 2006; pg 37), were chosen, acting much like the brick texture which is to be found in Lewerentz’s church. The roughness of the timber catches the light and halts its incursion into the plan, casting more shadows, creating “the subtle nuances that light and darkness engender” (Ando, 1998; pg471) and “a richness and depth of darkness.” (Ando, 1998; pg471) Like the great temples of Kyoto, “dark woodwork absorbs excess light” (Plummer, 2001; pg102) and recesses of the timber grain “are made deepest where daylight cannot penetrate.” (Plummer, 2001; pg102) Le Corbusier’s church at Ronchamp also takes advantage of a material with an associated texture and heaviness. The building is an illusion, as the draping roof is actually constructed of “two thin concrete shells (6cm each) held two meters apart by internal concrete girders and pre cast beams.” (Gans, 2000; pg97) The “battered walls” (Gans, 2000; pg97) catch the light similar to St. Petri or Ando’s church and create their own “subtle nuances”(Ando, 1998; pg471), which Gans say are “evoking the sacred cave such as the one Le Corbusier drew for La SainteBaume.” (Gans, 2000; pg97) These ‘thick’ walls which Le Corbusier, Ando and Lewerentz use are not only to create a “construction of darkness” but also to provide a space for the individual. As put by Le Corbusier, “inside a little talk with oneself, outside 10,000 pilgrims before the altar” (Gans, 2000; pg96) This I would argue as the quintessential ability of any dwelling which deals with the line between society

department of architecture and urban design

and individual or a group thereof. The description Le Corbusier provides for his own church would be apt for any of the other two churches described above. It is this relationship between thickness and darkness which provides the means for one not to be thought of without the other. Le Corbusier’s seemingly thick roof and walls are “buried beneath the illusion of tent and cave,” (Gans, 2000; pg96) but are still believed to be thick given the nature of light within the space. This illusion of thickness and solitude can also be created without the thickness of wall, but within the depth of darkness which draws out the notions of thickness. This can be seen within the Tanikawa House. Plummer says that “in Shinohara’s early houses, as more generally in religious spaces around the world, shadows provide that eternal twilight which evokes an aura of sanctity.” (Plummer, 2001; pg106) This can be seen within the treatment of the summer space, but unlike the churches above, the effect cannot be seen in the shadow cast plans. Like traditional Japanese houses, the walls (Shoji) open themselves to allow an even light throughout. It is in section which Shinohara explores his attempts “to give back to man lost areas of his being, to recover the most primitives depths of inhabitation, the invisible roots of our psyche, which are now entirely obliterated by an over rational society.” (Plummer, 2001; pg106) “The bare bones” (Massip Bosch, 2011; pg132) timber frame structure rises up through the summer space. This creates a high roof within the space and light only emanates from the gap the structure provides between the low eaves and the ground. It is within this space, above our heads that darkness is introduced, “ a semi-darkness that glimmers in vaulted halls.” (Plummer, 2001; pg106) The low eaves allow minimal light during the day and only admit evening light, allowing the space or “void,” (Massip Bosch, 2011; pg269) as Shinohara refers to it, to be inhabitable during the hot Japanese summers. Shinohara clarifies his position by saying, “Space has never existed in Japan, only “void” and that “void was neither negative nor disparaging but rather a symbol of one of the most distinctive areas of Japanese tradition.”(Massip Bosch, 2011; pg269) Much like Shinohara’s attempts “to give back man lost areas of his being” (Plummer, 2001; pg106), Ando uses abstraction and simplification to perform the same act, stating that his aim is to “limit materials, simplify expression to the maximum, eliminate all non-essentials, and in process interweave in my spaces the totality of the human being.” (Ando, 1998; pg458) Within the Koshino house, Ando creates a protective structure of thick walls and similar to Shinohara, builds a refuge for the individual. Although the house contains windows to provide views, only one is situated in the living space. The main light distributors within this become the roof lights as “he gradually opened up the closed box” (Furuyama, 2006; pg 27). Given the high asymptote to be found within Japan, this leads to high amount of direct light entering the plan, but also due to its limited nature, a variety in the “subtle patterns” (Ando, 1998; pg458) of the shadow and shade are created. This can be seen within both images released by Ando. The window and skylight detail becomes integral to the reading of the walls within these spaces, as he hides the frame within the wall. Thus the window becomes an ope, allowing the wall’s thickness to be expressed, and further creating the illusion

of protection, darkness and depth. He uses this technique again within the Church of Light, as do Lewerentz and Le Corbusier. All three execute the act differently to create “the illusion of… [a] cave.” (Gans, 2000; pg96) Le Corbusier places his windows within the walls, the stained glass further reducing the impact of the outside world and forming an internal reflective space. He expresses the lead frame as something separate. Lewerentz negates this, and brutally attaches the window to the outside of the ope. This makes the space inside feel cavernous and primitive, the thickness of the wall truly expressed within the window. As Ando describes his own, “windows, let into walls so thick as to seem a rejection of the outside world, were small and severely constructed. Such windows shown with a brilliance, as if they were the very embodiment of light.”(Ando, 2008; pg470) What St. John referred to in the work of Lewerentz as a “search… for the shock of renewed truth”, is a shock which is also found within the spaces of Ando, Shinohara and Le Corbusier. This was a reference to the illusion and mask with which shadows and darkness afford us. A shock could similarly be found in the photographs of Brassai, who showed a surreal vision of Paris at Night and “a spectral cityscape floating free in time” (Scott, 2007; pg 164). The ordinary streets transformed, becoming the “other that is present in the self.”(Scott, 2007; pg174) Shadow and darkness create the illusion of new. St. Petri shrouded in darkness and shadow, much like Marco Polo’s Zora, have “the quality of remaining in your memory point by point.” (Calvino, 1997; pg 13) Pallasmaa asserts that, “deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy” (Pallasmaa, 2005; pg46) The darkness and shadow “blurs the visual foci in order to create the ideal conditions for what Walter Benjamin described as an incidental perception rather than a rapt attention of buildings.” (Wang, 2008; pg20) This effect that darkness has on our eyes, is much like that of the camera capturing the moment. Our viewpoint is restricted by the framing chosen by the cameraman. Through abstraction of form and space, darkness can construct the space and what little light enters becomes “the very embodiment of light.” (Ando, 2008; pg470) These architects have created atmospheres which can allow the individual to feel at home, protected and at peace. Spaces that allow man to dwell. Within these spaces the mind wanders, the imagination flourishes and the daydream comes into existence. “The values that belong to daydreaming mark humanity in its depths. Daydreaming even has a privilege of autovalorization. It derives direct pleasure from its own being.” (Bachelard, 1994; pg6) “In Zen Buddhist thought, space is said to come into being at the boundary where material things vanish.” (Ando, 2008; pg458) Within the darkness of the case studies described, “architectural space vanishes into vast reaches of darkness” (Bluhm, Lippincott, 2000; pg70), the materials disappear and are subsumed by the whole. This definition of space cannot be seen within the Stahl house as all is illuminated and as such, material things cannot vanish. This piece is in fact the very definition of material, as it is the commodity, the new form of architecture, which is to be sold by Shulman and Koenig to the public. Shulman’s images becoming

121

there is not even a sense of the intimacy that is described in how Koenig fastidiously put together the details, spending most of his time on site as the steel was welded together and making onsite revisions. As Ando states, “they celebrated the products of industrialized society and gave no hint of the individuals who had made them. There was nothing that conveyed of what those individuals had felt or thought.” (Ando, 1998; pg472) This is furthered by Shinohara, who was all too well aware of “the clear stamp of today’s highly industrial society.” (Massip Bosch, 2011; pg246) The work that was performed on site by Lewerentz in St. Petri is the complete antithesis of this “industrial society.” (Massip Bosch, 2011; pg246) He had “prepared drawings...to a highly specific degree of placing bricks in exact locations on elevations and sections.” (Wang, 2008; pg6) He still continuously visited the site, “at least once a week for a couple of days” (Wang, 2008; pg6) at which point, “design decisions were taken” (Wang, 2008; pg6). The modern architecture which Koenig and others produced, created “ a world of exceeding transparency – a world of homogeneous light, bright to the exclusion of all else, devoid of darkness” (Ando, 1998; pg470). fig. 47

a means of making “the houses seem more comfortable to the average American ‘consumer’”(Rosa, 1994, pg 88)

Conclusion

Within the 22nd Case Study House, wall is lost, and window becomes wall. The relationship between the individual and society changes, and they are one, each sharing the same goals, ambitions and daydreams. The individual is allowed no time to take off his mask and “look deep into ourselves to our own inhabitation of the world” (Tanizaki, 2001, pg 2). Barrigan claims that when this language of architecture occurs we are “forced to live public lives, essentially away from home.” (Pallasmaa, 2005; pg47) The glass box produces no respite, day or night, from society’s gaze as “outside, 10,000 pilgrims before the altar” (Gans, 2000; pg96) of modern architecture and post-war housing gather. Shadow “provides the realm from which fantasies and dreams arise,” (Pallasmaa, 2005; pg47) but the open walls of the Stahl house provide no place to daydream or to allow the imagination to flourish. Only the daydreams and ideals of society, as the Shulman image illustrates – society imparting its view on what two young women should be and how they should act. It is with this house that the window, as Pallasmaa puts, “lost its ontological meaning” and “become the mere absence of the wall.”(Pallasmaa, 2005; pg47) As the loss of the windows occurs within this space, so does the loss of inside and outside throughout the house, thus creating a situation where individual and society are inextricably linked. Pallasmaa argues that “the window has lost its significance as a mediator between two worlds, between enclosed and open, interiority and exteriority, private and public, shadow and light” (Pallasmaa, 2005; pg47) It is the Shulman image, meant to sell this new type of architecture, which further links city to house and vice versa. The fast-paced life of LA consistently invading the perspective of the house with its direct street lines, bright lights and sounds of the city; the uniform light within providing no respite for the user; Benjamin’s “unhomely” invading the individual’s space. Within the construction of the Stahl house,

There is an honesty and beauty in the darkness as illustrated by the work of Lewerentz, Ando, Le Corbusier and Shinohara, and even in the photography of Brassai. “Darkness illuminates for us a culture very different from our own; but at the same time it helps us to look deep into ourselves to our own inhabitation of the world.” (Tanizaki, 2001, pg2) In our modern society, there is no mystery. Everything is covered in light, all too obvious. Where light reveals, “night only suggests.” (Sayag, Lionel-Marie, 2000; pg157) The imagination can flourish as shadows, darkness and night “frees powers within us which were controlled by reason during the day.” (Sayag, Lionel-Marie, 2000; pg157) When these conditions are subtracted from spaces and monotonous light covers all, our sense of self is lost. We find no “renewed truth” or different culture in our surroundings, only known truths and society’s expectations. Within dark spaces, our imagination and subconscious imbue them with ourself as we retreat inward, but within the illuminated architecture of the Stahl house, it reflects the whole of society, it reflects nothing of oneself. Imagination and thinking cannot prosper. As Ando puts it, “Modern Architecture has produced a world of exceeding transparency – a world of homogeneous light, bright to the exclusion of all else, devoid of darkness. This world of light, halation-like in its diffusion, has meant the death of space as surely as absolute darkness.” (Ando, 1998; pg470) Pallasmaa agrees, stating that “homogenous bright light paralyses the imagination in the same way that homogenisation of space weakens the experience of being.” (Pallasmaa, 2005; pg46) Within the illuminated space, all is known, our eyes perceive all that is laid out in front of them and as such, our other senses become forgotten! Western society has always seemed to advance for the sake of moving forward, rarely questioning why we should accept these advancements, and change. As Tanizaki puts it, “The Westerner has been able to move forward in ordered steps.” (Tanizaki, 2001; pg16)

122

department of architecture and urban design

Architecture is no exception as the technical advancements have now made the wall defunct as a solid. The question needs to be asked of contemporary architects, that if we can, should we? Contemporary architecture, for the most part, has lost its sense of darkness and shade, the window and wall have lost their significance. Spaces of “homogeneous light” are created and the act of lighting itself has become “a mere quantitative matter.” (Pallasmaa, 2005; pg47) Pallasmaa argues that “the art of chiaroscuro is a skill of the master architect too.” (Pallasmaa, 2005; pg47) This art is on the verge of being lost within western society and even in Japan. Ando fears its disappearance. In his opinion, “one important thing being lost from modern Japanese culture is a sense of depth and richness in darkness”. (Ando, 1998, pg458) As darkness disappears from our spatial vocabulary, “everything is uniformly illuminated; and object and form are limited to simple relations.” (Ando, 1998, pg458) As we move further down the path of illumination and advancement, we create a “culture that seeks to control its citizens” (Pallasmaa, 2005; pg49) and a society “of public and distant detachment.” (Pallasmaa, 2005; pg49) Brassai’s images of Paris at night rebelled against this thought. Darkness and Shadow, in balance with light, are essential to the well being of the individual, to avoid the “mental torture” that illumination and the unhomely create. We must provide space for “mental withdrawal” and “privacy.” (Pallasmaa, 2005; pg49) There is a need for shadow and darkness to be found once more within our constructions, so that the individual might truly think, occupy, imagine and be supplied “the power to deal with feelings of insecurity.” (Massip Bosch, 2011; pg257) Darkness and shadow have become the “spectacle” (Debord, 1994; pg 33) used within architectural photography to sell the ideal, but rarely experienced within the spaces themselves. The “estrangement” of darkness and shadow, which has occurred due to their lack of use within contemporary, has possibly enhanced the romanticism and power that these spaces hold over us. Darkness and shadow in architecture provide us with a mask or perhaps, more appropriately, the ability to take off the mask, wherein we can find solitude and create our own illusions as we daydream. They provide us with “this black translucid realm”(Plummer, 2001; pg110) which helps us “to withdraw into ourselves, dimming the vision so we might glimpse what is behind the eyes, leading us down to the blackness of our own depths, therein to achieve the deepest meditation” (Plummer, 2001; pg110) And “with light becoming a commonplace commodity, the darkness” (Bluhm, Lippincott, 2000; pg25) and shadow will offer respite once more.

References Ahlin, Janne, 1987,’Sigurd Lewerentz, architect 1885-1975’ MIT, London Ando, Tadao, 1998, ‘Tadao Ando: Complete Works’, Phaidon Press Ltd., London Bachelard, Gaston, 1994, ‘The Poetics of Space’, Beacon Press, Boston Bluhm, Andreas, Lippincott, Louise, 2000, ‘Light! The Industrial Age 1750 – 1900’, Thames and Hudson Ltd., London Calvino, Italo, 1997, ‘Invisible Cities’, Vintage, London Caruso, Adam, 2008, ‘The Feeling of Things’, Ediciones Poligrafa, Barcalona Danchev , Alex, Various, 2011, ‘100 Artist’s Manifestos: From Futurists to the Stuckists’ Penguin Classics, London DeBord, Guy, 2009, ‘The Society of the Spectacle’, Soul Bay Press Ltd. Susex Dyer, Geoff, 2005, ‘The Ongoing Moment’, Pantheon, New York Dymling, Claes, 1997, ‘Architect Sigurd Lewerentz, Vol. 1: Photographs of the Work’, Byggforlaget , Stockholm Dymling, Claes, 1997, ‘Architect Sigurd Lewerentz, Vol. 2: Drawings’, Byggforlaget , Stockholm Furuyama, Masao, 2006, ‘Ando’, Taschen, Collogne Gans, Deborah, 2000, ‘The Le Corbusier Guide’, Princeton Architectural Press, New York Massip Bosch, Enric, 2011, “2G: Kazuo Shinohara n.58/59” , Gustavo Gili, Barcalona Pallasmaa, Juhani, 2011, ‘The Embodied Image’, John Wiley & Sons Ltd., West Susex Pallasmaa, Juhani, 2005, ‘The Eyes of the Skin’, John Wiley & Sons Ltd., Chicester Plummer, Henry, 1995, ‘Light in Japanese Architecture’, A+U Publishing, Tokyo Rosa, Joseph, 1994, ‘A Constructed View: The Architectural Photography of Julius Shulman’, Rizzoli International Publications, Inc New York Sayag, Alain, Lionel-Maries , Annick, 2000, ‘Brassai: No Ordinary Eyes’, Thames and Hudson Ltd. London Sbriglio, Jacques, 2011, “Le Corbusier & Lucien Herve : a dialogue between architect and photographer”, Getty Publications, California Shulman, Julius, 1998, ‘Architecture and its Photography’, Taschen, Cologne Smith , Elizabeth, 2006, ‘Case Study Houses’, Taschen, Cologne Tanizaki , Junichiro, 2001, ‘In Praise of Shadows’, Vintage, London Vidler, Anthony, 1992, ‘The Architectural Uncanny’, MIT Wang, Wilfried, 2009, ‘St.Petri’, D.A.P., New York

123

Simplexity; A Glimpse Inside The Hive Mind Of Snøhetta Craig Dykers, Snøhetta in conversation with Noel J Brady Craig Dykers, the current holder of the CRH Chair in Architecture at the School of Architecture, DIT, led students in a regime of play, discussion, workshops and design studio over the course of 4 days. On the last day he sat down on the floor in the midst of the junior school to engage with the students in a simulacrum of the processes Snøhetta use on a daily basis. He was passionate about its importance. “I think at least my feeling is that many architectural practices today are stuck in a world of the past. I often divide the architectural community into two groups; one is what I call old world modernists and the other is what I call new world modernists. There are still those people who manufacture work within a kind of master apprentice scenario in a studio. That is not to suggest that is particularly bad but if it’s left unchecked such processes will not be able to respond to the broader needs of society and will further condemn architects to a secondary role. It may have created power in the past but now it creates weakness. We need flexibility in practice, balanced by a need for more experienced older people in the practice who are able to guide certain discussions so that there is an understanding of the professional needs of our work. It is a Profession after all, it isn’t an Art.” Snøhetta’s unique office profile, with its coupling of Architecture and Landscape at the centre of the design process, points the way towards this new world. “Our office consists of 50/50 architect/landscape architects who work immediately together in the development of the design which tends to create a stronger emphasis and understanding of landscape design in our work. The importance of landscape training and the implementation of that training in the office is a significant factor in the development of our work. While landscape is an important issue, the dialogue between the building and its setting is more so; getting people to move around is important for us, it is an anthropological issue. We talk about how people might experience something in their physical presence, in relation to a design. In the Oslo Opera House and on our other projects, including the World Trade Centre, you will see that there are forms, areas where people move or stop that are clearly not perpendicular to the ground, so that your body has to react physically, different to your normal presence in the city. Your centre of gravity shifts, your body shifts, your neck or head may crane in a particular direction or your hips may move in a particular way. It is about the physicality of being in a place as opposed to an abstract or intellectual conversation.” Observing that this appeared to be an extension of the game environment of Snøhetta’s office, where exercises are used to

124

unhinge or upset the normal pattern of things, it appeared to parallel the experience the students felt in the studio. “We try to be physical in the office. We try to ensure that there is enough physical activity during the design process to carry the idea through; lots of models, physical models. While we use technology, we also have a more traditional wood shop where you have to use your hands. We use contemporary technologies in terms of digital model building techniques at the same time as sketching. In order to be valuable, there has to be a connection between the analogue and digital world. I would be resistant to solely focusing on digital technology in practice. In contemporary society, the sole use of an analogue medium like sketching has its own pitfalls.” The emphasis on process and in particular dialogue prompted the question whether Snøhetta’s work was a concretisation of those dialogues, the social, political and economic relationships. Craig countered with Barthes rather than Norberg-Schultz, confirming a fear of inertia. “Our world, our earth, our universe, our existence is slowly

department of architecture and urban design

calcifying. At some point we will all become stuck. With increased incidence of arthritis and other diseases our fleshy bodies are becoming stiffer. As a result we put an emphasis on temporariness in our work and I think many architects could learn from creating structures that are not meant to exist for very long.” “Are we trying to make a stamp of what a society is? Well we do discuss social and political issues when we are working, so I would assume that would mean what we represent has some foundation in the current state of a society or a culture. Because there are universal truths that connect many people in the world, we try not to get hung up on specifics.”

or designer might go through. They are first culled by a smaller group then they are able to meet with a larger group of people in the office. Finally there is a discussion between the people in the office to see if they are a good match or not. The personalities change the quality of the ego in the office. If someone goes off on their own, even if they are a great designer, without having spoken to anyone, it throws the process into such turmoil. That is when the ego rises to the surface. There is a commitment to interaction that usually holds that in check.”

In a keynote address to the European Association for Architectural Education, Craig paraphrases the US poet Robert Rexroth’s famous maxim, transposing architecture for writing. I make architecture for my ego, buildings for money and drawings to seduce the opposite sex”, before correcting his position by adding ….“You cannot want to make architecture for any of these reasons – these are not good enough.” In conversation he expanded on avoiding the stylistic end product and the risk of producing iconic or heroic work. “We used to say “Our manifesto is No Manifesto”. We took great pride in this. The truth is that after you work for many years there is a line of reasoning that starts to appear more clearly. We try to break that line of reasoning by allowing younger people to have a say in how the work evolves. That avoids getting into a little whirlpool of thinking or maelstrom of ideology. That having been said, there are clear ideas that are beginning to show up in many of our projects. In the past it had been more landscape oriented, now it is moving more into an anthropological discussion. What ties them all together is the use of narrative. There is often a powerful story associated with the development of a project. Sometimes this can be seen clearly in the design, sometimes it’s left up to interpretation. It was not clear if the lack of a manifesto ran counter to the need to have an author, to keep a project on track, suggesting at the very least the need for an editor. Craig suggested an alternative role of a curator. “It’s a great thing to have a really good editor, one that really understands what you are doing trying to draw it to the surface. A good editor will strengthen a piece and knows when to back off when there is too much resistance from the author. A curator plays a background role in the story so much so that you almost don’t know that they are there.” This concern with guiding the practice of architecture rather than leading it was echoed in the manner in which the office is staffed, especially in the concern of balance between disciples, gender and approach. “Ego is a big issue, you curate the work by curating the people you work with. Essentially we try to keep the hiring process as open as possible. There are several levels a potential architect

“One of the things we talked about early on was that we had a name that was not tied to a person. Theoretically when some of the early members and founders move or pass on the company won’t be shackled by the fact the person whose name is on the door isn’t around anymore. Since we feel that the profession is behind the times I suppose the next step would be in teaching what we think to others to see if it has a connection for younger people. It was interesting working with the workshop here in Dublin. We did a few sort of silly things up front to get everyone loosened up and got them moving around a bit to where things calmed down really quickly and we were able to act as a unified whole. It was almost like leading a military campaign. I was pretty happy with the result and I think that was a great thing that it was over 100 people. I know many architects, especially those that wish to control their architecture to the smallest detail, would not do well in such an environment. For us it was almost perfect; a little crazy but perfect.” “If large numbers of people use buildings then larger numbers of people should have input into their design. That is not to say it is a typical democracy, it may be open source in one level that everyone should have input but there are still groups of people who must manage it and developing the right atmosphere so they manage with an informed mind opposed to an arbitrary or emotional mind.” In the DIT workshops it was clear that Craig and Snøhetta operate differently than the norm. While unorthodox it is not

125

without ambition or without rigour. Despite this hive mind like activity of the office, it is certainly clear that the work of Snøhetta exhibits a strong aesthetic. Sometimes it looks remarkably at ease in the international arena with heroic tendencies and has attracted much deserved recognition such as the Mies van der Rohe award for the Oslo Opera House. Perhaps his fear of being undervalued is misplaced or maybe there is another side to the Snøhetta story that is emerging, one divided between the continents of America and Europe, between cosmopolitan New York and geological Norway, between art and the environment. “Somebody once referred to us as being “under the radar”. I would say that our challenge might be in the world of architecture but it is certainly in the academic world. We are not often given the same recognition as more academically oriented practitioners are. We often work around a strong academic or theoretical foundation. It is certainly not represented in the same way as the academic work is.” “After nearly twenty years of practice there was a feeling that if we were not careful we would find ourselves in a kind of rut in spite of all the mechanisms that we put into place to

keep recharging ourselves. The office began with an odd circumstance. We had some people in Norway and I was in LA and we came together for the Alexandria Library Competition so all of us were out of context when we began and I think we are still out of context. We have heard the heroic comment from other critics. It is just a means in our office to explore different avenues which seem appropriate for those projects. I think that part of the reason why we were commissioned for the World Trade Centre Museum was our otherness. Part of the reason I am there is because of my commitment to that project as an American. Nevertheless our outside quality provided a sense of perspective that wasn’t so clear at the time. That had to do with a relaxed, organic and comfortable approach to what the site means in the future as opposed to a tense sense of harm. Currently we have fifteen projects under way in America.”

126

“I often say that we are balancing environmental sustainability with intellectual sustainability. Intellectual sustainability has as much power as environmental sustainability. The fact is that many of the approaches taken today regarding sustainable use of resources though helpful are not making as big an impact as we would like. They are leading somewhere that might be more valuable in the future but we won’t reach a new level of sustainable consciousness unless we are able to manage our own nature; our human nature. The levels of comfort that we demand in today’s society overwhelm our desire for sustainable environments. Much of our work is dedicated to making people more conscious of their physical surroundings and their physical self. If we can get human nature under control we might be able to get nature better in line with our needs.” With an envious project list, high profile clients including a redesign of Times Square for the City of New York, Snøhetta are increasingly an international phenomenon. Craig is refreshingly open about the nature of the challenges the firm, its founders and increasingly young workforce face. “We remain somewhat under the radar even though we are better known now than we were twenty years ago. Because we have such a weird name, it isn’t even the name of a person, it’s hard to pronounce and it’s got a funny letter in it. It is a constant challenge for people to know who we are simply because people cannot pronounce our name. Because we are collective there is the commercial challenge for particular kinds of clients who expect the master architect. There have been several times in interviews when you see people who want a face to have at cocktail parties or they want the sketch on the napkin they can sell. That pressure is always there. Sometimes we have to succumb and we make the sketch for them. That tension is still challenging in our society. Maybe in the next twenty years, those perceptions of what is architecture will change. Let us hope that people are open to the idea that they are coming to a group of people rather than a single individual. They may find single individuals in that group that they are more connected to than others so there will always be the need for a personal contact.” “This has provided us with some positive attributes; that is you remain an outsider in a world of stars. When a client is looking for a creative wildcard, they will say I will choose all these famous names and then there is Snøhetta; “they are kind of famous we don’t know how they fit in”. They let us have the complimentary weird one so it doesn’t look like you have the usual suspects.” The flexible, responsive and ethical stance of Snøhetta offers a view into a new office format, a hive mind of anthropologic architecture. It remains to be seen if this approach bears fruit and extends to other practices. Certainly the next twenty years will demand better responses from the architectural community and it is clear Snøhetta will be at the heart of this.

department of architecture and urban design transportation system

Water Filtration System Jarlath Burke Honourable Mention - 2012 , 5th Concrete Design Competition Theme - Energy

units are small enough to be transported by small vehicles

filtration system

chimney exit

water entry

when on awkward site placement steel tubes can be attached to enable it to be pushed like a wheelbarrow over rough terrain

mix is embedded with polyester for a finer filtration. 15 microns in diameter, filters large clusters of bacteria.

the units are small and light enough to be lifted into place by hand.

chamber of beads impregnated with iodine. this kills parasites and 99.3% of bacteria

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

mesh of openings precast, using oversaturation of the mix. 100 microns in diameter, filters bigger particles.

the final filter is filled with a granulated active carbon in the mix. not only improves taste and smell but should filter remaining bacteria

fire place

water tank

water pump

1:5 section

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

127

High Court and Tapestries, Chandigarh Gavin Buggy “Well when all is said and done, I believe Le Corbusier was right! …Convenience, subsistence, these are not solutions…We should have struggled for the conditions of civilization.” Pierre Jeanneret.

Engineer, to Europe to interview architects and urban designers in the hope of bringing these necessary skills back to India where they could take root. “Chandigarh: symbol of the freedom of India unfettered by the traditions of the past…an expression of the nation’s faith in the future.” Pandit Nehru. 1 It was Jane Beverly Drew who accommodated these traveling emissaries upon their visit to London and the credit lies with her and her second husband Maxwell Fry in convincing Le Corbusier to take on the challenge of master planning and building an entire city below the foothills of the Himalayas. Jane Drew as she was always known was a well-respected practicing architect in London who had dedicated a gigantic part of her professional life to building in Nigeria and other parts of tropical Africa. I discovered the original telegram sent by Tharpar back to India making his final recommendation of the European design team, a faithful stroke of luck for Le Corbusier. Honorable Bhargava Chief Minister, Simla Punjab, India.

From earth to sky. The Gangiatic plateau, a giant slab of stone slopes downwards from south to north crashing into the Himalayan Mountain range, mother Ganga the source of all life flows through this plateau plain oozing out onto the delta flood planes of Bangladesh. My journey to Chandigarh involved twenty four hours sitting on a shelf inside a second class non air conditioned train setting off from the sacred temple city of Bodhgaya, in the remote north eastern province of Bihar, crossing this giant plateau via New Delhi and upwards to face the rising Himalayas in the city that gave freedom to Le Corbusier’s imagination. Mahatma Ghandi gave birth to an independent India in 1947 but in doing so he opened the way for partition, the most traumatic experience in modern Indian history where the sub continent was carved into three enclaves, West Pakistan, India and East Pakistan, now known as Bangladesh, the populous of Pakistan and Bangladesh are majority Muslim, the ice has yet to be broken between the three parties, three disgruntled siblings fighting over the family inheritance, crossing their frontiers even today is a challenging experience. From this turmoil Nehru stepped forward as the progressive leader of the Independent State of India, the Punjab was without a regional capital as Lahore was now in another country, Chandigarh was Nehru’s idea, in 1950 he sent P. N. Tharpar, the State Administrator and P.L.Varma, the Chief

128

“We have completed our visits to Rome, London, Paris, Zurich and Brusselles stop In Italy interest was lively but response on our lines from experienced architects nil or vague stop in London we interviewed several candidates recommended by High Commissioner and Institute of Architects stop. Only Maxwell Fry a man of ability and standing agreed stop In France we interviewed many architects but most good ones reluctant to leave stop Luckily great interest shown by Corbusier well known architect of France with International reputation stop He has suggested himself as Architectural Advisor to Government giving guidance and advice from Paris visiting Punjab twice a year each time staying about one month stop In addition two good architects namely Maxwell Fry from London and Pierre Jeanneret from Paris would be our whole time employees stop as described in our alternative number two stop Corbusier will take two thousand sterling per year for three years on honarium and thirty five sterling per day of stay in India subject to maximum of four thousand per year including honorium stop The other two will take three thousand per year stop Corbusier being most distinguished architect it would not be necessary to consult any one else on any matter stop The cost of outside consultation in alternative scheme number two would thus be saved and this saving would more than compensate payment made to Corbusier stop After discussing our requirements with experienced architects, office bearers of societies and ministries concerned we consider this arrangement most suitable and enthusiastically recommend it as the best and cheapest stop kindly telegraph instructions care High Commissioner London stop Pending receipt your instructions we are proceeding Holland for interviewing more candidates stop Malhotra consults stop He fully concurs and has approved draft telegram stop Tharpar.” 2.

department of architecture and urban design

So it came about that Jane Beverly Drew with her husband Edwin Maxwell Fry established practice at the old Raj summer capital of Simla and then on the site of the new city with Pierre Jeanneret, Le Corbusier’s younger cousin, and set about undoing the bulbous master plan as commenced by the American planner Albert Mayer. It must be noted that Nehru had previously sought American designers for this Herculean task seeking out the master planner Albert Mayer and Matthew Nowicki one of the architects involved in the final design of the United Nations Head Quarters complex in Manhattan. Nowicki was without question a dynamic and talented architect but died in a plane crash on august 31st 1950 near Cairo, his death ended the American team’s involvement in the project. His early sketches are held with pride by the City Museum which was designed by Le Corbusier. It is not the time or place to give you a full history of the evolution of Chandigarh, but I will try and give you a brief outline of the feelings and sensations I experienced inside the High Court and the Secretariat buildings. Design boom interviewed Mr. Sharma the chief engineer earlier this year, he is in his eighties and looking well, he bemoans the authorities hostility towards tourists and travelers wishing to visit the monuments of Chandigarh and the continued ignorance displayed by officialdom towards these relics of 20th century modernism. I was warned it wasn’t going to be an easy ride as I had found a forum on the internet where previous visitors explained their experiences of visiting Chandigarh and how to get through the bureaucracy in order to visit the Capitol Complex. May I say that the people of the city were extremely warm and friendly but the Indian Army squatting in the Capitol were bumbling and obstructing at best and unknowingly menacing at their worst, loaded machine guns were pointed at visitors at every turn. One must attend the Tourist Police where a gentle old lady issues you with two well crafted letters of introduction permitting you to photograph and study the works of Le Corbusier as if every one was on an architectural pilgrimage as an historian or scholar, these letters must be issued regardless of whether or not you are a mere tourist or preparing post graduate research into the evolution of modernism! These letters are valid only for the day of issue and sadly the Assembly building is permanently shut to visitors as there was a siege in 2011 where over fifteen people were held captive inside the Assembly for over a week, likely it was a protest regarding the unresolved frontiers of Kashmir. This was very disappointing, as I really wanted to see the forest of mushroom head concrete columns and see the light inside the cooling tower Assembly hall. As with the other two Capitol projects by Le Corbusier the Assembly has suffered mindless alterations where all of Jeanneret’s beautiful leather upholstered furniture has been thrown away and plastic lino placed over the polished concrete flooring. The entire Capitol Complex including the Secretariat has

been co-opted by the Indian Army as a command stronghold and frustratingly they do not permit photography inside the Secretariat. It is suffering from the worst type of neglectful indifference from the two local governments which inhabit its vast concrete hull. Inside the secretariat has the feel of 1920’s Corbusian work such as Centrosyus in Moscow and is as highly strung as one of his beloved ocean liners, it was on such a ship where he met the American heiress Josephine Baker, his long distance mistress. Two wonderful concrete staircases thread their way up the structure emerging at roof level in flourishing floating ship like spirals. One emerges onto the roof and you feel you are back in Marseille on the Unite D’Habitation surreal roof landscape only with the Himalayas as a growing horizon to the north and the horizontal plateau of India stretching forever towards the south. With my letters of introduction in hand I bypassed four French landscape architects (who were doing the same thing as my self only compressing their trip into one day, an impossible task I can assure anyone) and set off to the High Court. Arriving at the High Court is disconcerting as one must traverse a sand covered dusty car park, walk through a shanty settlement of cafes before setting eyes on a brick hillock that is the legal back office of the Court complex, large Sheikh gentleman are seen busting away on typewriters and computers with tatty photocopiers pushed out on to the street; legal services for hire. The street sellers squeeze tasty orange juice on demand, which settled me for the on coming barrage of military bureaucracy I was about to experience. Le Corbusier had been re-commissioned in the early 1960’s to provide an additional district court complex, dressed in brick with primary coloured steel beams, it is ungainly grafted onto the back of the pristine cast insitu High Court dating from 1951-55, the earliest of the Capitol complex buildings to be completed. One can see from archive photographs that Le Corbusier conducts the first prime minister of India Pandit Nehru on a guided tour at the High Court opening in 1955, Le Corbusier’s mother had fallen ill immediately prior to his departure for India, he did not have time to visit her and another black mark went down against him in his mother’s book of affections. Rather sadly Le Corbusier suffered unhappiness in his private life, Albert his elder brother received much of his mother’s affections and Le Corbusier spent inordinate amounts of time trying to win her over. Yvonne his loving wife was an alcoholic and suffered from anorexia, a constant worry to him but they did seem to be in love despite his long distance affair with Josephine Baker. He seems to have taken out his frustrations by either off loading his anger on Pierre Jeanneret or taking long swims in Cap Martin. Pierre was wise enough to not rise to his cousin’s ranting and settled happily in Chandigarh being much loved by his young army of trainee architects. There is no doubt that the Capitol complex would not be as pristine a work of architecture had it not been for Pierre Jeanneret’s constant attention to detail and site supervision. Jeanneret is very much the unsung hero of Le Corbusier’s oeuvre, one must remember that they had set up a joint atelier in 1922, Pierre being ten years Younger than Charles Eduard Jeanneret,

129

(his real name prior to taking on his moniker Le Corbusier) Pierre is the silent partner that brought the world Villa Savoy and Les Terraces at Garches, those iconic modernist villas of the 1920’s. The highlight of the visit to the High Court was gaining access to the roof and being able to walk under the concrete shells with their impressions from the formwork visible like battle scars. My minder did not permit me to take photographs as to my horror I witnessed piles of Jeanneret’s leather arm chairs piled up in a heap along side obsolete computers and neglected bicycles which would have made Flann O’Brien’s third policeman most unhappy. The vaults are thin egg shells with a trabeated concrete system concealed above their rough and smooth surfaces, every nail and steel sheet left an indelible mark from the formwork, as the sun hits these surfaces they come to life. The under croft of the roof is disused and forgotten, a scrap heap from India’s birth, it would be inspiring if the barristers and judges would colonize this terrace as an open air restaurant and cafe, as it stands all the dining facilities are in make shift huts to the east face of the courts with the most distinguished barristers sitting on cheap white plastic chairs, Jeanneret would not be pleased. Access was denied to the High Court interiors and my unfriendly minder escorted me off the premises twice! The main entrance portal sits flush with the surrounding land, to avoid a stepped entrance, a democratic plateau accessible for all citizens of the new Republic. The extruded entrance columns were painted in India’s national colours, the salmon pink pillar has morphed to bright raspberry red as if the maintenance crew over time improvised their own schemes. Pierre fell out with Le Corbusier during the second world war as he was disgusted at Le Corbusier’s obsequiousness to the pro Nazi Vichy government. Pierre had communist leanings and was involved in the Resistance. Le Corbusier spent the rest of his life trying to distance himself from his role in Vichy, however he never got any work from the Vichy government. Charlotte Perriand, never forgave him for being a collaborator but Pierre found his friendship rekindled thanks to the making of Chandigarh. Pierre Jeanneret left India for the last time in 1965 and died of a malaria related illness in 1967, his ashes were scattered by his wife Jacqueline on Lake Shukna at Chandigarh where he sailed yachts which he designed in his free time.

Le Corbusier had his contracts as Government Adviser terminated in 1963 and he left India frustrated that so much of his design for the Capitol had not been built, however the Open Hand and the Tower of Shadows were constructed faithfully to his designs in 1985, they are currently off limits due to Indian Army restrictions. The Museum of Knowledge is, as yet, unbuilt and would be a

130

timely addition, seen as how India has embraced the digital revolution so successfully, the Palace of the Governor was axed by Nehru as he felt it was too elitist, Le Corbusier kept badgering those in office to no avail, his letters become increasingly frantic in his later years. The 24 Hour Solar Cycle sculpture could by readily installed beside the Trench of Consolation as intended by Le Corbusier, perhaps a commission for worthy young Indian architects in the future. Le Corbusier took one last journey to the horizon on the 27th of august 1965 at Rocque Brune Cap Martin where he drowned in his beloved Mediterranean Sea in the waters in front of Eileen Gray’s house E1027. ‘We live in an old chaos of the sun, Or old dependency of day and night, Or island solitude, unsponsored, free, Of that wide water, inescapable.’ Wallace Stevens.3. Chandigarians are extremely proud of their city despite the neglect of the original furniture stock, what can one do when an entire city decides to ‘upgrade’ their furniture as they become more affluent? Education and awareness of the unique character of this city still has a long way to go but are we any different in Ireland? We have systematically neglected our own Georgian housing stock and our Central Bankers gleefully threw out Sam Stephenson’s tubular steel boardroom furniture a few years ago. Our record of conservation of our Irish architectural heritage leaves a lot to be desired. Students of Architecture go to Chandigarh! Stand erect on the horizon with your back to the mountains facing the sun as the sub continent rolls away from your view and think of Le Corbusier, he is still there in spirit and his concrete superstructures will make wonderful ruins in a thousand years time. The writers of L’Indian L’Aventure, Eric Touchaleaume and Gerald Moreau returned over thirty times to the city to chart the chronicles of Corbu, Jeanneret, Drew and Fry and salvaged as much of the original furniture as they could. Leaving the city was upsetting for me as there is so much to explore for any one with an interest in Architecture and Urbanism. I was told that Chandigarh is the only city in India where sacred cows can no longer roam free, I can attest to witnessing a rather animated cow dancing up the platform just before the train to Dehli pulled into the station, in India rules are there to be broken. Gavin Buggy, Chandigarh, Punjab, India, 25/02/12.

department of architecture and urban design

Critical Practice Dominic Stevens A series of Tuesday evening lectures Fourth and fifth year History, Theory and Criticism course. Critical reflection on practice is a requirement of the relationship between theory and practice. Otherwise theory becomes simply “blah, blah, blah,” and practice, pure activism. Paulo Freire, Pedagogy of Freedom As architects we use words to describe to others and ourselves what we have done, we tell people about the buildings that we have built, the projects that we have designed, this is architectural discourse. Within these words, this discourse, lie ideas, and a careful approach to the world of ideas underpins most thoughtful works of architecture in my opinion.

designed with a view to aesthetic appeal. Pevsner: An Outline of European Architecture (Harmondsworth: Penguin, [1942] 1957 And rather replacing it with a sense that critical practice, a practice informed by the world of ideas and philosophies is what separates architecture from building and is what makes architecture that wonderful human mixture of reason, intuition, making and invention that (after Friere) we do for each other and with each other. For apart from inquiry, apart from the praxis, individuals cannot be truly human. Knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other. Paulo Freire, Pedagogy of the Oppressed

This understanding of the relationship between ideas and form is an essential part of architectural practice and education, through it we can understand what we have done, explain it to others and can attempt to do it again. We do this in the studio from first year through to fifth year as we do carry out our projects. This relationship between theory and practice is common to many disciplines and in this series of lectures we invited all kinds of creative people from many disciplines to discuss their practices in respect to the ideas that generated the works, be that music, theatre, art or architecture.

Fig. 1

Fig. 3

This is not as straightforward as it may sound, it is easy to present things, to show people artefacts produced, it is much more difficult to explain the ideas that produced them. I have explained that “logical” thought is what is expressed in words directed to the outside world in the form of discourse. “Analogical” thought is sensed yet unreal, imagined yet silent; it is not a discourse but rather a meditation on themes of the past, an interior monologue. Logical thought is “thinking in words”, Analogical thought is archaic, unexpressed. From correspondence between Freud and Jung, quoted by Aldo Rossi in An Analogical Architecture 1976 We discuss what Freud calls logical thought quite easily, analogical thought is perhaps more difficult to talk about, it requires much reflection and honesty. This, however, is the task that we suggested our guests to perform and from week to week a fabulous conversation ensued, always difficult, at its best honest, sometimes personal. Hopefully it brought us closer to a collective understanding about what architecture is, what separates it from building, disputing Pevsners notion: A bicycle shed is a building; Lincoln Cathedral is a piece of architecture. …the term architecture applies only to buildings

Fig. 2

Fig. 4

2012 Speakers Brian Ward, Architect Ronan McCree, Visual Artist - School Play No.3, Fig. 3 Craig Dykers, Architect - National Opera House, Oslo, Fig. 1 Gordan Ryan, Philosopher, Builder Jordi Querol, Urban Planner Jim Roche, Architect John Hutchinson, Curator Paul Kelly, Architect- FKL architects - Baldoyle Library, Fig. 2 Aoengus McAvoy, Musician and Artist Ryan Kenihan, Architect - Temple carrig House, Fig. 4 Johanna Cleary, Architect

131

Keep Sketch ‘The society made a call for sketchbook entries early in the year with the intention of compiling a publication. The Society’s intention was to encourage students to use sketching as a method of design investigation and to promote awareness of the differences between presentation and representation. The ASA is aware of the difficulties with which CAD presents, particularly when understanding scale; in a world which is becoming increasingly dominated by computers, the sketch or the initial idea becomes increasingly important.

There was great enthusiasm from all participants. The sketchbooks are all accomplished and display a great variety of styles. While the work is displayed anonymously to emphasize an idea, the index provided in the publication makes reference to individual students. The ASA exhibited the student sketches at the ‘Keep Sketch’ exhibition which took place in December. The exhibiton provided for students within the school an opportunuity to see the varied ideas and thoughts of fellow students. - Orla O’Donnell, Andrew Murphy

132

department of architecture and urban design

Oklahoma Competition In February 2012, 3 students from DIT Bolton Street travelled to Norman, Oklahoma to take part in an international ‘Design Build’ competition along with 3 students from the University of Oklahoma. The team members were Orla Hayes (DIT Architecture), Conor Shaw (DIT Architectural Technology), Paul Murphy (DIT Construction Management) , Bryce McCarthy (OU Architecture), Kevin Leach (OU Construction Management) and Jonathan Radebaugh (OU Construction Management)

The OU/DIT team produced a hefty binder with design drawings, cost estimate and detailed schedule and travelled to Dallas, Texas to present their scheme to a panel of six judges. Their hours of hard work were rewarded with a first place prize, as well as a Best Speaker Prize for Orla Hayes. The team would like to thank both coaches for their enthusiasm and unending support for the team, in particular Lloyd Scott who was incredibly giving of his time and energy to make this happen.

The brief for the Design Build competition was an ‘Interpretive Nature Centre for the City of Dallas’, which included site works, sustainable strategies and a building which housed exhibition halls, education labs, a visitor centre and administration areas.

Paper Tubes Kevin Coffey, Alen O’Farrell, Marcin Wojcik The Paper Tube Project was a project which followed strict sustainable development ethics and required an abundant, cost-effective, environmentally friendly and recyclable but lightweight, durable and machine-able material. It was decided to work with simple, unassuming and widely available paper tubes and corrugated card. Through the use of a high-tech approach it was made possible to produce a sturdy structure which a very small, if any, environmental impact and at a very low cost. The machining time of the parts amounted to 28 hours. The assembly on site took 14 hours. The structures aim is to test and present the capabilities of our system. The spatial organisation of the structure follows the logic of the joint that is capable of accommodating 4 tubes only. The geometry is based on three dimensional cells built on hexagons and Voronoi diagrams as these have the capacity of accommodating 4-way joints in 3-dimensions contrary to a regular 3d grid.

133

Empty Vessels A Design Workshop With Craig Dykers Working with over 300 architectural students in the school of architecture is a daunting task for most. But Craig Dykers working alongside staff at the school of architecture engaged the students in a series of untypical exercises to engage them in thinking about the urban space of Dublin. The area of investigation consisted of two of Dublinâ&#x20AC;&#x2122;s major cultural buildings, Croke Park Stadium and the National Conference Centre and the string of the Royal Canal that connects them. These major cultural buildings are interesting because they remain empty for most of the time, only fulfilling their function when there is an event. In groups of between 8 and 10 the students were allowed to choose between a number of vacant (empty) sites along the route suggesting new uses, architectural interventions or other ideas. The work ranged form the playful (skate parks) to the utilitarian (urban farms). Following a walk along the route to take bearings and to document the experience the students returned to the studios where critical conversations were commenced with Craig. At the end of the week these ideas were critiques, discussed, parsed before Craig sat down in the middle of the crowd at the same level as each student to discuss their future plans and their future role within the profession.

134

department of architecture and urban design

135

NJBA A+U "THE BONES OF PRACTICE"

TUESDAY - 18:30 - ROOM 259

GRAFTON ARCHITECTS

TUESDAY - 18:30 - ROOM 259

136

PATRICK RICHARD

TUESDAY - 18:30 - ROOM 259

department of architecture and urban design

SHANE Oâ&#x20AC;&#x2122;TOOLE

Pat Malone, founding member of Cloughjordan's eco-village, is g i v i n g a p r e s e n t a ti o n o u t l i n i n g t h e i d e a l s b e h i n d s e tti n g u p t h e village and the design behind his ecologically friendly home. There will be FREE wine and FREE cheese. Tuesday 29th November 19:30 - 23:30 at The Ormond Wine Bar

TUESDAY - 18:30 - ROOM 236

ARCHITECTURE REPUBLIC

TUESDAY - 18:30 - ROOM 281

137

Department of Architectural Technology

INTRODUCTION

department of architectural technology

Department Headâ&#x20AC;&#x2122;s Statement Cormac Allen, Head of Department of Architectural Technology Each passing year sees positive but challenging developments in the Department of Architectural Technology. In 2009 the DT175a 1 year fulltime Level 8 BSc (Hons) Architectural Technology progression programme commenced, followed in 2010 by the DT175b RPL Level 8 BSc (Hons) Architectural Technology and the new DT175 4 year Level 8 full time BSc (Hons) Architectural Technology programmes, and in 2011 by the new Springboard funded DT774 Level 9 Postgraduate Certificate in Digital Analysis & Energy Retrofit programme. The 2011-2012 academic year has been the busiest of my nearly 10 years as Head of Department of Architectural Technology. In a period of less than 9 months we have had to deal with the phased relocation of the School to its new accommodation in Linenhall, the retirement of Head of School Professor James Horan, the commencement of the new Springboard funded DT774 PGCert(DAER) programme, the development of a suite of new programmes aimed at upskilling unemployed architects and architectural technologists in emerging information and building technologies, and the commencement of BSc (Hons) Architectural Technology graduates Lee Corcoran, Cormac Flood and Steven Richardson as MPhil research students in the School. Having secured Springboard funding for the PGCert(DAER) programme in 2011, we applied for and securing further Springboard funding in 2012 for a range of building performance design and retrofit programmes. Arising from this the DT775 PGCert / DT774a PGDip / DT774b MSc Energy Retrofit Technology nested Level 9 programme will be validated during Semester 1 of the 20122013 academic year, while the 1 year part-time DT775 CPD Diploma (BIM Technologies), 2 year part-time DT775a CPD Diploma (Collaborative BIM), and 1 semester part-time DT775b CPD Certificate (Thermal Bridge Assessment) programmes will also be validated during Semester 1 of the 2012-2013 academic year for recruitment and admission in December 2012 and commencement in January 2013. The development of these programmes will allow the School to purchase vitally needed ICT equipment and software, and more importantly to recruit part time lecturers in the emerging technological areas of retrofit technology, thermal bridge assessment, energy analysis, BIM architecture, BIM engineering and BIM surveying, all of which will play a vital role in enabling the School to respond to the growing demand for technology led education and research. I would like to use this opportunity to acknowledge the hard work and support of my colleagues, full time and part time, in the development of these much needed programmes which no doubt will enhance the reputation of the School as a centre of excellence for architectural education and research.

139

department of architectural technology

Yearmasterâ&#x20AC;&#x2122;s Statement Marie Crean Students: Keith Behan Meenesh Boolaky Michael Caffrey Sean Casey Eduardas Cepliauskis Troy Clarke Andrew Cleary Eoin Collopy Ryan Conaty Carl Corcoran Ronan Costello Michael Cowley Anna Cullen Matthew Cunningham Chris Daly Adam Darby Luke Deegan Vincent Doherty Dean Farrell Alex Gleeson Ross Harrell Ben Harrison Adam Henderson Colin Hernon David Holland Akvile Klapatauskaite Jason Ladrigan Brian Lee Peter Lemasney Ciaran Lennon Ciara Leogue Brendan Linnane Sarah Mac Loughlin James Maguire Myles Majid Philip Martin Karl McGarry Kevin McNulty Sebastian Mora Alan Oâ&#x20AC;&#x2122;Reilly Avelino Pembele Darryl Phelan Tadhgh Poole Robert Quinn Stephen Ralph David Reilly Jonathan Rogers Anita Salako Andrew Smyth Darren Tracey David Veltom

The Architectural Technology programme is designed around the Technical Design Studio module with the other lecture based modules feeding into it. The Technical Design Studio module provides the focus for all the project work and it is the means by which the application of the technical knowledge and the understanding developed in the other modules is developed. In the first semester students are exposed to freehand drawing and sketching, digital sketching and drawing, surveying, material examination and various building and construction technologies. They are also involved in construction skills where they receive hands-on practical experience in a number of different construction techniques including bricklaying, carpentry, painting, plumbing and sheet metal. The second semester concentrates on the development of a building project. Students carry out research on site analysis and development, on technologies of various constructions and at the end of the semester produce a set of working drawings to industry standards for a simple one or two storey building using building information modelling software. The theory module assignments are integrated into the studio project, thus requiring the application of the principles of technology, the investigation of structure and the analysis of the environment. The studio environment offers flexibility, allows for teamwork, both within the architectural technology programme and in a multi-disciplinary way, with students of architecture and other courses. It also gives flexibility for students to attend site visits, factory visits and field trips away from the college environment thus widening their college experience and their understanding of the context of their project work.

Staff: Noel Brady Maire Crean Francis Duffy Tony Hayes John Lauder Malachy Mathews Sarah Sheridan Paul Tierney

141

Andrew Cleary DVC Graphic 7 Model

142

department of architectural technology

Patrick NewellPatrick DT101Newell DT101 Andrew ClearyAndrew DT175 Cleary DT175

BTS BRIDGE PROJECT Partick Newel

This bridge design consisted of a cantilever truss which held 6 and a half bricks.

143

Thi des con can wh and bri

Andrew Cleary

144

department of architectural technology

Body in Emo Akvile Klapatauskaite

145

Victorian House Eduardas Cepliauskis

146

department of architectural technology

Michael Crowley Michelle Diver

147

Michael Crowley

148

department of architectural technology

Chris Daly

David Holland David Gondry

149

How House, Los Angeles Akvile Klapatauskaite

150

department of architectural technology

151

Eames House, Pacific Palisades, CA Jason Ladrigan

152

department of architectural technology

153

Sarah MacLoughlin

154

department of architectural technology

155

department of architectural technology

Yearmasterâ&#x20AC;&#x2122;s Statement Cathy M. Prunty Second year Architectural Technology is all about developing the student towards the ability to produce clear and concise construction documentation to industry standards. In order to achieve this, the students were encouraged to develop personal working procedures, problem-solving methodologies and increase their ability to work independently, while their command of CAD was further developed using Building Information Modelling and other programmes in tandem with general freehand drawing to scale and model making skills. The theory and principles of building technologies (which continued over both semesters), were delivered as separate lectures but integrated as elements of each studio project. The students also visited and reported on building sites which used construction systems relating to their specific projects in both semesters.

Students: Milo Bashford Gerard Bennett Ross Boyce Patrick Brady Jessy Brown Robert Burns Robert Burns Bernard Deay Mark Denneny Mark Doyle Shane Hall Fatma Hinawy Darren Hoey Brian Kennedy Davitt Lamon Fiachra Lohan Peter Mahon Brian Malone Michael Malone Keith Mann Jason Mc Elroy Kevin Mc Feely Pauric Mc Gill Marcus Mc Guire Stephen Mc Mullan Joe Mc Nally Bryan Menton Darragh Moore Stephen Morris Niall Murphy Ruairi O Neill John O Sullivan Ian Plunkett Andrei Triffo Aiga Veltensone Michael Walsh Dominika Zubiak

In Semester 1 of 2nd year the students were introduced to the appropriate building techniques required for the construction information required in order to assemble a two storey house, while using industry standard detailing and systems. The students were also introduced to the principles of surveying and levelling using measurement instrumentation, whereby the house site was surveyed and drawn. The house project, required to meet current building regulations, was also subject to energy performance audits (which required technical adjustments in most cases), were also made to the design in order to achieve compliance. The house project was described using technical orthographic drawings to industry conventions in CAD, schedules and models. Preparation of a prescriptive specification of the construction method proposed using the National Building Specification package was also undertaken. The technical merits of the project were then evaluated in a performance report and the project was presented in a crit environment. In Semester 2, the students were introduced to the technologies employed in steel and concrete framed and clad structures of medium scale. Each project required each student to carry out technical research, site analyses, exploration through esquisse investigating the proposed materials along with the appropriate construction processes and fire safety strategy for the building type. After Easter, the students joined with their fellow 2nd year architecture students for a joint project which introduced the students to collaborative working in order to realise the architectural intent through successful construction technology detailing. This project, which was an intense week, was a very successful, though demanding event.

Staff: Darren Bergin Noel Brady Emma Hayes Tony Hayes David Knight John Lauder Malachy Mathews Andrew Oâ&#x20AC;&#x2122;Rourke Catherine Prunty Sima Rouholamin

157

Mark Doyle

158

department of architectural technology

159

Ross Boyce

160

department of architectural technology

161

Dominika Zubiak

162

Davitt Lamon

department of architectural technology

163

Andrei Triffo

164

department of architectural technology

165

Michael Doyle

166

department of architectural technology

167

Aiga Veltensone

168

department of architectural technology

Michael Walsh

169

Aiga Veltensone

170

department of architectural technology

171

department of architectural technology

Yearmaster’s Statement Jim Roche Students: Sean Barrett Michael Bermingham Stephen Bolton Kieran Brady Stephen Brennan Mark Callanan Brendan Cope James Cosgrove Mark Cox Colin Coyne Wesley Deverell John Flynn James Forbes Joseph Fox John Geraghty Stephen Gotting Shane Halpin Darren Higgins Ronan Higgins Alan Holmes Adam Jackson Hutchinson Stephen Johnston Graham Kavanagh Philip Kavanagh Tara-Lee Keogh Justine Kinirons Shane Madden Rory Maguire Andrew Mc Allister Declan Mc Donagh Paul Mc Donagh Alexander Mc Guirk Paul Mc Mahon Ciara Mc Williams Kevin Moran Marcus O Beirne Maria O Rourke Mark Pringle Anthony Quinn Aaron Regazzoli Gary Stafford Adam Switala Matthew Tebbutt Rory Tobin Colin Tutty Sam Wallis Niall Watters Dean Weir Bianca Wong

A central theme for the year was grappling with and, striking a balance between, the relationship, and often dilemma, between architectural aesthetic ideas and detailing while resolving many technological and legislative requirements. Each student was expected to work independently on research, detail exploration, many different kinds of drawing and model making. Much esquisse type free-hand drawing was encouraged. In addition to the full and part-time staff there was much input into the studio from inhouse staff in relation to structures, services and professional development, specialist part-time staff on fire safety and specification writing and guest seminars from industry on a myriad of technical and environmental topics. The following projects were completed during a hectic year: Discover a Detail After a walk about the city each student chose a detail to explore, analyse, research its durability and express their findings through annotated freehand drawings. A loosening up discovery project! Structure and Fabric Each student was asked to choose an exemplar work of architecture abroad (mainly so they would have to decipher it from journal articles and web research) and then with the limited information, make a structural model, a detailed fabric model and a series of specific detailed drawings demonstrating the technology employed, particularly the relationship between the structure and fabric, to be presented on one A1 sheet. At the reviews students were paired and had to describe their paired student’s project. The Conservation Project Working in groups of 5-6 the students choose a historic structure and through research, surveying, documenting and collating derived an understanding of the importance of historic buildings and the kinds of works needed to conserve them. The outputs included measured and photographic surveys, structural analysis, a cut away model, historic research, map analysis, a dilapidations survey, a summary of conservation measure and a works schedule with specification for selected areas of the building. The findings were presented in a bound printed documented and a Power Point presentation. This project was supplemented by a visit to the Architectural Archives and lectures on conservation issues. The Trip Seventeen students joined the year head on an exploratory trip to historic Prague.

Staff: Noel Brady Peter Crowley Pierce Fahy Helen Lambe John Lauder Malachy Mathews Andrew O’Rourke David Palmer Jim Roche Sarah Sheridan

The Technical Thesis This was the students’ main project for the year covering 60% of their overall grade and running from before Christmas until the end of year. The primary purpose of the thesis is for each student to demonstrate their technical capability in producing research documents, drawings and models for a complex multi-cellular and multistorey building that would be of sufficient standard to allow a contractor to build from. A short collaboration occurred before Christmas with Fourth Year Architecture students and staff where pairs of students from each discipline worked on the project designed by the architectural student. The building typologies included a Mediatheque / Library for a site in Ballymun and Baths, Sailing Clubs, Hostels, Museums and Fish Processing Plants on coastal sites in Swords and Balbriggan. During this collaborative period the technology students undertook group research on relevant issues to the buildings and sites and an audit and Esquisse study on a range of issues from planning and organisation to external fabric on their paired architectural student’s project.

173

Old Court House, Howth Stephen Brennan

174

department of architectural technology

Ballymun Library - Sketch Study Stephen Brennan

175

Selected Conservation Projects

176

department of architectural technology

Precednt Study Stephen Bolton

Precedent Study Kevin Moran

177

Joseph Fox

178

department of architectural technology

Detail Study Mediatheque, Ballymun

Niall Watters

179

Detail Study James Cosgrove Timber Scuba Diving Centre, Balbriggan

180

department of architectural technology

181

Analysis of Media-Tec Building John Anthony Flynn Enric-Ruiz-Geli, Clound 9 Architects

182

department of architectural technology

Discover A Detail John Anthony Flynn Glazed Canopy, Rotunda Hospital

183

Analysis of Education Institute Stephen Gotting Morales Giles Mariscal Architects

184

department of architectural technology

185

Stephen Gotting

186

department of architectural technology

187

Document and Information Centre Alan Holmes Engel Und Zimmermann Architekten

188

department of architectural technology

Section Study Alan Holmes Water Sport Centre, Skerries

189

Detail Analysis AJ Hutchinson Sharp Centre for Design Will Alsop Architects

190

department of architectural technology

Detail Study AJ Hutchinson Joseph Plunkett Tower, Ballymun

Discover A Detail AJ Hutchinson SeĂĄn Oâ&#x20AC;&#x2122;Casey Bridge

191

Detail Analysis Peter Mahon Stevie Eller Dance Centre Gould Evans Associates

192

department of architectural technology

Detail Study Peter Mahon Fishing School, Balbriggan

193

Detail Analysis Kevin Moran Danish Radio Konzerthaus Atelier Jean Nouvel

194

department of architectural technology

195

Preceedent Study Stephen Brennan Bolzano Museion, KSV Architects

196

department of architectural technology

Section And Elevational Study Stephen Brennan Ballymun Library

197

Detail Study Dean Weir Baths, Ballbriggan

198

department of architectural technology

199

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Detail Analysis

Sibelius Hall was designed by Palo Rossi Tikka Architects and is located in Lahti,Finland. In 1997 the city of Lahti annouced an open competition for a congress and concert hall with a unique architectural solution using wood in a new way.The acoustic performance of the build was a main factor in the design.The architects design consisted of three main areas, the old existing factory building, the forest hall and the main concert hall.The aim was to make Sibelius Hall was designed by Palo Rossi Architects and isbut located Lahti,Finland. simple pieces of building each of them withTikka individual character stilledinconnected backIn to 1997 the city ofbuilding. Lahti annouced an was opentaken competition for a congress concert hall withand a the old factory Inspiration from traditional finnishand buildings like barns unique architectural solution using woodthe in first a new way.The acousticpublic performance family homes.The idea was to connect large scale wooden buildingoftothe its build was a mainwanted factor intothe design.The design like consisted of three main areas, the old roots.They gain the simplearchitects human peasant atmoshpere appearing in these existing factory building, the forest hall and the main concert hall.The aim was to make traditional buildings. Perspective Hall simple pieces of buildingView eachofofSibelius them with individual character but stilled connected back to the old factory building. Inspiration was takenafrom finnish buildings like The barns and To accommodate the acoustic requirements 'box traditional in box' construction was used. main family homes.The idea was to of connect thecolumn first large public building to its concert hall structure consists a glulam andscale trusswooden structure at 9 meter centers roots.They wanted to gain the simple human like atmoshpere in these encased in a glass box.The building also has peasant a reverberation chamber appearing to accommodate traditional buildings. sound from within the concert hall.The external wall system consists of tilted prefabricated sand filled panels that where custom designed for the project.The project was completed in To accommodate the acoustic requirements a 'box in box' construction was used. The main 2000. concert hall structure consists of a glulam column and truss structure at 9 meter centers encased in a glass box.The building also has a reverberation chamber to accommodate sound from within the concert hall.The external wall system consists of tilted prefabricated sand filled panels that where custom designed for the project.The project was completed in 2000.

Bianca Wong Sibelius Hall Palo Rossi Tikka Architects

Perspective View of Sibelius Hall

North Elevation -NTS

Ground Floor Plan - NTS Ground Floor Plan - NTS

Ground Floor Plan - NTS

South Elevation -NTS South Elevation -NTS

South Elevation -NTS

First Floor Plan - NTS First Floor Plan - NTS

West Elevation -NTS

First Floor Plan - NTS

West Elevation -NTS

ROOF CONSTRUCTION CONSISTS OF: TREATED TIMBER COUNTER BATTENS ON100MM VENTILATED CAVITY ON INSULATED ROOF PANELS 9000X2200 ON3500X500 GLULAM TRUSS

Detail A Structural Sketch of Main Hall - NTS

CURTAIN WALL SYSTEM CONSISTS OF: 26MM SOLAR CONTROL GLAZING UNIT (6-16-4)FIXED BACK TO HORIZONTAL ALUMINIUM PROFILES AT 1500C/S FIXED BACK TO GLAVANISED STEEL ROD FIXED THROUGH GLULAM COLUMN

Structural Sketch of Main Hall - NTS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

East Elevation -NTS

Detail

Detail A

Detail B

3D Sketch showing location of details - NTS Detail B

3D Sketch showing location of details - NTS

Roof Covering

Structural Sketch of Balcony Construction

Counter Battens

Structural Sketch of Balcony Construction

Gypsum Boards Rigid Insulation Roof Covering

Structural Sketch of Balcony Construction

Plywood Deck Counter Battens Gypsum Boards Glulam Truss Rigid Insulation Plywood Deck Sand Filled Panel

Glulam Truss

PRODUCEDPRODUCED BY AN AUTODESK BY AN AUTODESK EDUCATIONAL EDUCATIONAL PRODUCT PRODUCT

CURTAIN WALL SYSTEM CONSISTS OF: 26MM SOLAR CONTROL GLAZING UNIT (6-16-4)FIXED BACK TO HORIZONTAL ALUMINIUM PROFILES AT 1500C/S FIXED BACK TO GLAVANISED STEEL ROD FIXED THROUGH GLULAM COLUMN

West Elevation -NTS

Structural Sketch of Main Hall - NTS

CURTAIN WALL SYSTEM CONSISTS OF: 26MM SOLAR CONTROL GLAZING UNIT (6-16-4)FIXED BACK TO HORIZONTAL ALUMINIUM PROFILES AT 1500C/S FIXED BACK TO GLAVANISED STEEL ROD FIXED THROUGH GLULAM COLUMN

PRODUCEDPRODUCED BY AN AUTODESK BY AN AUTODESK EDUCATIONAL EDUCATIONAL PRODUCT PRODUCT

East Elevation -NTS

3D Sketch showing loca

Mineral Wool Insulation Wisa Facade Veener Glulam Column Sand Filled Panel Mineral Wool Insulation Wisa Facade Veener

Detail A: Roof Construction

Glulam Column

Detail A: Roof Construction

Plan View of Wall Build Up - NTS Plan View of Wall Build Up - NTS

Plan View of Wall Build Up - NTS

Solar Control Glazing Unit Glazing Cable Glulam Column

Solar Control Glazing Unit Glazing Cable EXTERNAL WALL SYSTEM CONSISTS OF: 26MM SOLAR CONTROL GLAZING UNIT FIXED BACK TO HORIZONTAL ALUMINIUM PROFILES AT 1500C/S FIXED BACK TO GLAVANISED STEEL ROD FIXED THROUGH GLULAM COLUMN FIXED BACK TO FACADE VENEER FIXED BACK TO 100MM MINERAL WOOL INSULATION FIXED BACK TO 300MM EXTERNAL WALL SYSTEM CONSISTS OF: SAND FIXED TO GLULAM 26MM FILLED SOLAR PANELS CONTROL GLAZING UNIT COLUMN FIXED BACK TO HORIZONTAL ALUMINIUM PROFILES AT 1500C/S FIXED BACK TO GLAVANISED STEEL ROD FIXED THROUGH GLULAM COLUMN FIXED BACK TO FACADE VENEER FIXED BACK TO 100MM MINERAL WOOL INSULATION FIXED BACK TO 300MM SAND FILLED PANELS FIXED TO GLULAM COLUMN

Glulam Column Mineral Wool Insulation EXTERNAL WALL SYSTEM CONSISTS OF: 26MM SOLAR CONTROL GLAZING UNIT FIXED BACK TO HORIZONTAL ALUMINIUM PROFILES AT 1500C/S FIXED BACK TO GLAVANISED STEEL ROD FIXED THROUGH GLULAM COLUMN FIXED BACK TO FACADE VENEER FIXED BACK TO 100MM MINERAL WOOL INSULATION FIXED BACK TO 300MM SAND FILLED PANELS FIXED TO GLULAM COLUMN

Sand Filled Panels Glulam Column

Mineral Wool Insulation Concrete Plinth with Sand Filled Panels Bituminous Sealing Strip Glulam Column Concrete Footing

Concrete Plinth with Bituminous Sealing Strip Glavanised Foot Grating Concrete Footing Ventilation Duct Rigid Insulation Concrete Slab

25MM Glavanised Foot Grating Ventilation Duct

Cad Section 1:50

25MM Glavanised Foot Grating Ventilation Duct

Environmental Strategy - An intergrated system concept for air handling,heating and cooling.Operates at low temperatures for heating and high temperatures for cooling.Energy to the hall is delivered by district heating/cooling Environmental - An intergrated networks.WasteStrategy heat from the system is system concept fortoair handling,heating and recovered the district heating return. cooling.Operates at low temperatures for heating 1:50 for cooling.Energy to the and Cad high Section temperatures hall is delivered by district heating/cooling networks.Waste heat from the system is recovered to the district heating return.

Glavanised Foot Grating

25MM Glavanised Foot Grating Ventilation Duct

Environmental Strategy - An intergrated system Ventilation Duct concept for air handling,heating and Rigid Insulation cooling.Operates at low temperatures for heating Concrete Slab and high temperatures for cooling.Energy to the hall is delivered by district heating/cooling networks.Waste heat from the system is recovered to the district heating return. Detail B: Ground Floor Construction

Detail B: Ground Floor Constru

Cad Section 1:50 Detail B: Ground Floor Construction

STRUCTURE & FABRIC STUDY - Sibelius Hall by Palo Rossi Tikka Architects 200 STRUCTURE & FABRIC STUDY - Sibelius Hall by Palo Rossi Tikka Architects Bianca Wong, Year 3 Architectural Technology, DublinBianca School Wong, of Architecture, D.I.T. Year 3 Architectural Technology, Dublin School of Architecture, D.I.T.

department of architectural technology

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

TIMBER CONSTRUCTION: 4200X150X22MM TIMBER CLADDING BOARDS ON 44X44MM TIMBER BATTENS CREATING VENTILATED CAVITY FIXED TO 150MM TIMBER STRUCTURAL INSULATED PANEL CONSISTING OF: BREATHER MEMBRANE 15MM PLYWOOD 140 RIGID POLYUERTHANE ISULATION 15MM PLYWOOD VAPOUR BARRIER FIXED BACK TO 100MM TIMBER STUD NO. X 2 12.5MM PLASTERBOARD SKIMMED AND FINISHED

1. PRIMARY STRUCTURE ERECTED

2. INSULATION AND STRUCTURALLY INSULATED PANELS

GROUND FLOOR IN-SITU CONCRETE STRUCTURE IS POURED WITH CAST AND CHANNELS FOR SIP SUPPORT.HOLLOWCORE FLOOR SLABS ARE FIXED IN PLACE STRUCTURAL SCREED IS POURED.DOUBLE HEIGHT GLULAM POST AND BEAM STRUCTURE IS FIXED IN PLACE.

RIGID POLYUETHANE INSULATION IS FIXED TO THE OUTSIDE OF THE CONCRETE STRUCTURE.OUTDOOR CEMENT BOARD IS THEN FIXED BACK TO STRUCTURE.BREATHER MEMBRANE AND GEO TEXTILE MEMBRANE ARE THE FIXED OVER OUTDOOR BOARD.

3. CURTAIN WALL INSTALLATION CURTAIN WALL MULLIONS ARE FIXED IN PLACE.TRANSOMS ARE FIXED IN PLACE.GLASS UNITS ARE FIXED AND SECURED IN PLACE. SILICON STRUCTURAL SEALANT IS APPLIED. PRESSED METAL FLASHING IS FIXED AT EDGE DETAIL AND FIXED BACK THROUGH SIP PANEL. ALL MEMBRANES ARE LAPPED AND SEALED BEHIND CORNER FLASHING.

STEEL ANGLE SUPPORT BRACKETS ARE BOLTED INTO PLACE THROUGH CAST IN CHANNEL. TIMBER STRUCTURAL INSULATED PANELS ARE FIXED ON BRACKETS AND RESTRAINED INTERNALLY.BREATHER MEMBRANE IS FIXED EXTERNALLY TO THE SIP PANEL AND VAPOUR BARRIER FIXED INTERNALLY TO SIP PANEL.ALL MEMBRANES LAPPED AND SEALED.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

FIRST FLOOR PLAN 1:5

TIMBER STRUCTURALLY INSULATED PANELS SUPPORTED BY 2000X50X30MM CAST IN CHANNEL AND SECURED IN PLACE USING NO.2 BOLT FIXINGS. PANELS RESTRAINED AT FLOOR LEVEL @ 3000MM C/S

CONCRETE CONSTRUCTION: 750X750X300MM HOT DIP GALVANISED 5MM WIRE MESH GABION CELLS FILLED WITH QUARRIED LIMESTONE NO GREATER THAN CELL OPENING SIZE ON GEO TEXTILE MEMBRANE ON BREATHER MEMBRANE LAPPED AND SEALED ON 3000X1500X15MM CEMENT OUTDOOR BOARD ON 150MM RIGID POLYUERTHANE INSULATION ON 200MM CAST IN-SITU CONCRETE WALL ON 100MM METAL STUD FACED WITH NO.2 X 12.5MM PLASTERBOARD SKIMMED AND FINISHED

4. GABION CLADDING SYSTEM INSTALLATION

6. TIMBER CLADDING INSTALLATION/INTERNAL STUD WALLS

5. TIMBER COUNTER BATTENS AND FLASHING

GABION MESH CELLS ARE ASSEMBLED TO CORRECT WIDTH AND HEIGHT.CELLS ARE FIXED IN PLACE USING CLAMP BARS LOCATED IN EACH CELL TOP AND BOTTOM.CLAMP BARS ARE FIXED BACK TO PRIMARY STRUCTURE WITH NO.3 BOLT FIXINGS.GABION CELLS ARE FILLED USING QUARRIED STONE OF CORRECT SIZE FOR MESH OPENINGS.

44X44MM VERTICAL TIMBER COUNTER BATTENS FIXED BACK TO TIMBER STRUCTURALLY INSULATED PANEL.PRESSED METAL FLASHING FIXED BEHIND BATTENS BACK TO SIP PANEL TO CREATE CILL OVER FILLED GABION CELLS.

4200X150X22MM TIMBER CLADDING BOARDS FIXED BACK TO 44X44MM COUNTER BATTENS USING STAINLESS STEEL FIXINGS.INTERNAL TIMBER STUD PARTITIONS FOR SERVICES/COMPARTMENT WALLS ERECTED. PLASTER LATHS WITH SKIMMED FINISH.

NOTES: -THIS DRAWING IS TO BE READ IN CONJUNCTION WITH ALL OTHER RELEVANT SPECIFICATIONS AND DRAWINGS. -DO NOT SCALE FROM THIS DRAWING -ALL DRAWINGS TO BE CHECKED BY CONTRACTOR ON SITE -ARCHITECT AND/OR ENGINEER TO BE NOTIFIED OF ANY DISCREPANCIES PRIOR TO COMMENCEMENT OF ANY WORK -IT IS CONTRACTORS RESPONSIBILITY TO ENSURE COMPLIANCE WITH ALL ASPECTS OF CURRENT BUILDING REGULATIONS

A-A

NAME: BIANCA WONG YEAR: DT105/3 PROJECT: STUDIO THESIS: BALLYMUN MEDIATHEQUE

KEY SECTION

KEY PLAN SECTION: DETAIL EXPLORATION

SECTION A-A 1.5

GROUND FLOOR PLAN 1.5

SCALE:

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

STRENGTH AND DEFORMATION RESISTANCE TO SURFACE DAMAGE

PRECAST SLAB UNITS MATERIAL

REINFORCED CAST IN-SITU REINFORCED PRE CAST SLAB CONCRETE SHAPE AND PHYSICAL PROPERTIES RECTANGULAR 200MM WIDE STRENGTH AND DEFORMATION RECTANGULAR WITH HOLLOW SECTIONS RESISTANCE TO SURFACE DAMAGE EXTREMELY HIGH EXTREMELY HIGH STRENGTH AS STRUCTURAL ELEMENT

STRENGTH AS STRUCTURAL ELEMENT

GLULAM COLUMNS PRECAST SLAB UNITS RIGID POLYUERTHANE CAST IN-SITU CONCRETE WATERPROOFING MESH GABION QUARRIED STONE & BEAMS CELLS INSULATION MEMBRANE GLULAM COLUMNS RIGID POLYUERTHANE WATERPROOFING MESH GABION QUARRIED STONE TIMBER SIP PANELS TIMBER BATTENS & BEAMS HOT DIP CELLSRIGID POLYUERTHANE INSULATION MEMBRANE 1.2mm SPUNBONDED CAST IN-SITU REINFORCED REINFORCED GLUE LAMINATED LIMESTONE GALVINISED WIRE PRE CAST SLAB TIMBER INSULATANT POLYOLEFIN CONCRETE HOT DIP RIGID POLYUERTHANE 1.2mm SPUNBONDED GLUE LAMINATED DOUGLAS FIR LIMESTONE RECTANGULAR PLYWOOD/INSULATION GALVINISED 150MM WIRE WIDE RECTANGULAR TIMBER INSULATANT POLYOLEFIN 200MM WIDE RECTANGULAR SHEET MEMBRANE ANGULAR SECTIONS RECTANGULAR SECTIONS RECTANGULAR WITH HOLLOW SECTIONS RECTANGULAR RECTANGULAR 44 X 44MM 150MM WIDE RECTANGULAR EXCEEDS 100Pa AT SHEET MEMBRANE ANGULAR SECTIONS SECTIONS TREATED SOFTWOOD SECTIONS RECTANGULAR HIGH LOW HIGH EXTREMELY HIGH EXTREMELY HIGH 10% COMPRESSION 5 N/mm2 EXCEEDS 100Pa AT HIGH LOW HIGH HIGH 10% COMPRESSION LIGHT DENSITY 530KG/m2 5 N/mm2 EXTREMELY HIGH EXTREMELY HIGH HIGH N/A N/A N/A N/A

EXTREMELY HIGH EXTREMELY HIGH PERFORMANCE EXPOSED TO SUNLIGHT HIGH HIGH EFFECT OF CHEMICALS

PERFORMANCE EXPOSED TO SUNLIGHT EFFECT OF CHEMICALS

N/A

INTERACTION OF CHEMICAL CONSTITUENTS

N/A

BIOLOGICAL ELEMENTS

N/A

THERMAL RESISTANCE AND ABSENCE OF COLD BRIDGING

PERFORMANCE CRITERIA/MATERIAL

CAST IN-SITU CONCRETE

INTERACTION OF N/A CHEMICAL CONSTITUENTS N/A BIOLOGICAL ELEMENTS

N/A AND THERMAL RESISTANCE ABSENCE OF COLD BRIDGING THERMAL RESISTANCE N/A 1.8 W/mK AIR PERMEABILITY N/A

AIR PERMEABILITY VAPOUR PERMEABILITY WATER ABSORPTION WATER PERMEABILITY

N/A

N/A WATER ABSORPTION

N/A

N/A WATER PERMEABILITY

IMPERMEABLE

LIGHT TRANSMISSION

OPAQUE

ACOUSTIC REQUIREMENTS

N/A VAPOUR PERMEABILITY

N/A

FIRE PERFORMANCE

2 HOURS + FIRE RESISTANT

LIFE SPAN

BUILDING LIFESPAN

IMPERMEABLE LIGHT TRANSMISSION OPAQUE ACOUSTIC REQUIREMENTS N/A FIRE PERFORMANCE 2 HOURS + FIRE RESISTANT LIFE SPAN BUILDING LIFESPAN

HIGH HIGH N/A

N/A

N/A HIGH

HIGH N/A

REACTS WITH NOT IMMUNE TO OXIDISING ISOCYANATES AGENTS,SULPHIDES,ALKALIS N/A N/A NON FERROUS METAL CFC/HCFC RECOMMENDED FOR FREE FIXING MATERIAL N/A N/A MUST BE TREATED HIGHLY RESISTANT TO AGAINST BIOLOGICAL THERMAL RESISTANCE - FUNGAL AND RODENTS DEGRATION N/A 1.8 W/mK 0.025 W/mK N/A N/A 7-10M3/hr/m2 N/A N/A

LOW N/A

N/A IMPERMEABLE IMPERMEABLE OPAQUE OPAQUE

UNAFFECTED N/A

N/A

N/A + 2 HOURS FIRE RESISTANT CHARRING RATE 40mm PER HOUR BUILDING LIFESPAN BUILDING LIFESPAN

N/A HIGHLY RESISTANT IMPERMEABLE IMPERMEABLE OPAQUE OPAQUE N/A HIGH + 2 HOURS FIRE RESISTANT VERY LOW BUILDING LIFESPAN BUILDING LIFESPAN

N/A N/A AT FULL UV EXPOSURE LASTS 6 MONTHS NOT EN IMMUNE 138592 TO OXIDISING AGENTS,SULPHIDES,ALKALIS NON N/A FERROUS METAL RECOMMENDED FOR FIXING MATERIAL MUST N/A BE TREATED AGAINST BIOLOGICAL DEGRATION N/A TEMPERATURE RESISTANCE 7-10M3/hr/m2

N/A

0.025 W/mK UNAFFECTED

N/A

HIGHLY RESISTANT

DOES NOT ABSORB WATER IMPERMEABLE IMPERMEABLE OPAQUE OPAQUE

N/A

N/A CHARRING RATE 40mm PER HOUR

N/A

VERY LOW BUILDING LIFESPAN

AT FULL UV EXPOSUREHIGH LASTS 6 MONTHS HIGH EN 138592 N/A N/A N/A NON FERROUS METAL RECOMMENDED FOR FIXING MATERIAL N/A N/A MUST BE TREATED AGAINST BIOLOGICAL DEGRATION N/A N/A

N/A

TEMPERATURE RESISTANCE -

LOW

THERMAL RESISTANCEUNAFFECTED 0.450m/WK

N/A

LOW

IMPERMEABLE OPAQUE

BUILDING LIFESPAN

N/A

N/A HIGHLY RESISTANT TO N/A FUNGAL AND RODENTS

LOW

0.3 ng/Pa(s) m2 N/A

OPAQUE

HIGH

N/A CFC/HCFC FREE

UNAFFECTED N/A

DOES NOT ABSORB WATER IMPERMEABLE

N/A

HIGH

HIGH REACTS WITH ISOCYANATES

N/A

DOES NOT ABSORB WATER

N/A

IMPERMEABLE

N/A

OPAQUE

HIGH

N/A

MEDIUM

N/A

N/A DOES NOT ABSORB WATER

N/A N/A OPAQUE

IMPERMEABLE OPAQUE N/A

MEDIUM

VERY LOW

VERY LOW HIGH

LOW

N/A

0.3 ng/Pa(s) m2

OPAQUE

VERY LOW BUILDING LIFESPAN

BUILDING LIFESPAN

N/A

N/A HIGH SURFACE PRESERVATIVE COATING APPLIED TO N/A INCREASE UV RESISTANCE NON FERROUS METAL RECOMMENDED FOR FIXING MATERIAL N/A MUST BE TREATED AGAINST BIOLOGICAL DEGRATIONN/A

VERY LOW

N/A

LOW

THERMAL RESISTANCE0.450m/WK N/A N/A N/A N/A

N/A N/A N/A

N/A OPAQUE OPAQUE MEDIUM VERY LOW HIGH

CHARRING RATE CHARRING RATE 40mm PERBUILDING HOUR PER HOUR LIFESPAN 40mm BUILDING LIFESPAN BUILDING LIFESPAN

BUILDING LIFESPAN

TIMBER SIP PANELS TIMBER CLADDING BOARDS PLYWOOD/INSULATION ACCOYA WEATHER BOARDS RECTANGULAR SECTIONS 4200 X 150 X 22MM TREATED HIGH TIMBER

TIMBER BATTENS

LIGHT DENSITY 530KG/m2 HIGH

RECTANGULAR LIGHT DENSITY 530KG/m2 PURE ALUMINIUM HAS A TENSILE STRENGTH OF N/A 90MPa APPROX.

N/A N/A SURFACE PRESERVATIVE NON FERROUS METAL COATING APPLIED TO RECOMMENDED FOR INCREASE UV RESISTANCE FIXING MATERIAL NON FERROUS METAL RECOMMENDED FOR MUST BE TREATED FIXING BIOLOGICAL MATERIAL AGAINST DEGRATION MUST BE TREATED AGAINST BIOLOGICAL DEGRATION N/A

GOOD SURFACE PRESERVATIVE COATING APPLIED TO INCREASE UV RESISTANCE NON FERROUS METAL HIGH RECOMMENDED FOR FIXINGOXIDISING MATERIALFILMS NATURAL PROTECT MUST BEALUMINIUM TREATED FROM AGAINST BIOLOGICAL CHEMICAL ATTACK DEGRATION N/A N/A

THERMALN/A RESISTANCE0.450m/WK THERMAL RESISTANCE0.450m/WK N/A N/A N/A N/A N/A N/A N/A N/A OPAQUE

N/A THERMAL RESISTANCE0.450m/WK

AE 600 Pa N/A

VERYRATE LOW CHARRING 40mm PER HOUR VERY LOW BUILDING LIFESPAN

GLASS UNIT 1.8 W/mK OVERALL 1.4 Wm/K N/A

N/A

N/A N/A

LOW

N/A

N/A N/A

LOW

N/A

5.09 M3 H/M2

N/A

N/A N/A N/A DOES NOT N/A N/A ABSORB WATER DOES NOT DOUBLE SEALED PANELS WITH DOUBLE N/ASEALED PANELS WITH N/A ABSORB WATER IMPERMEABLE VENTED AIR SPACE PROVIDING VENTED AIR SPACE PROVIDING PRESSURE EQUALISATION PRESSURE EQUALISATION DOUBLE SEALED PANELS WITH IMPERMEABLE VENTED AIR SPACE PROVIDING N/A TRANSLUCENTPRESSURE EQUALISATION OPAQUE OPAQUE

TRANSLUCENT VERY LOW

OPAQUE VERY LOW

VERY LOWRATE CHARRING 40mm PER HOUR VERY LOW BUILDING LIFESPAN

BUILDING LIFESPAN

TIMBER STUD WALLS

GLAZED LOUVRES UNITS

ASPHALT

GREEN CONCRETE PAVING TIMBER FLOORING CEMENTITIOUS ROOF TOUGHENED GLASS SLABS MATERIAL OAK SEMI-SOLID NON-SLIP TEXTURE SEE DETAIL 3 DOUBLE GLAZED CAST CONCRETE ENGINEERED TIMBER BUILD UP N/A RECTANGULAR UNITS

ASPHALT DOUGLAS FIR CEMENTITIOUS RECTANGULAR MATERIAL

RECTANGULAR 450X450X25MM SQUARE N/A

RECTANGULAR N/A

LOW

N/A

N/A CORROSION N/ATHERMAL RESISTANCE THERMAL N/A UNIT 1.8 W/mK MULLIONRESISTANT UNIT 3.4-5.1 GLASS RESISTANCEPOOR W/m K OVERALL 1.4 Wm/K OVERALL 1.4 Wm/K 0.450m/WK HIGH CONDUCTIVITY RATE GLASS UNIT 1.8 W/mK POOR THERMAL RESISTANCE THERMAL RESISTANCE0.75 W/mK OVERALL 2.4 Wm/K 0.450m/WK HIGH CONDUCTIVITY AE 600 Pa RATE N/A N/A N/A

N/A N/A

VERY LOW CHARRING RATE 40mm PER HOUR CHARRING RATE 40mm PER HOUR BUILDING LIFESPAN BUILDING LIFESPAN

N/A N/A

ALUMINIUM TRIMMINGS AND FLASHINGS

HIGH

N/A

SURFACE SOLAR SOLAR N/A N/A PRESERVATIVE LOW N/A CONTROL COATING N/A N/A CONTROL COATING COATING APPLIED TO 23X10-6mm/m/oc N/A APPLIED TO INTERNAL FACE APPLIED TO INTERNAL FACE HIGH INCREASE UV RESISTANCE OF EXTERNAL PANE OF EXTERNAL PANE SOLAR CONTROL COATING SURFACE PRESERVATIVE EMULISIFED SOLAR CONTROL COATING NON FERROUS NONTO FERROUS METAL NATURAL OXIDISING FILMS 23X10-6mm/m/oc N/A APPLIED TO GOOD INTERNAL FACE ASPHALT SEALER MUSTMETAL COATING APPLIED TO APPLIED INTERNAL FACE RESISTANCE RECOMMENDED PROTECT ALUMINIUM FROM N/A N/A INCREASE UV RESISTANCE OF EXTERNAL PANE BE ADDEDRECOMMENDED TO EXTEND LIFEFOR OF EXTERNAL PANE FOR TO CHEMICAL ATTACK FIXING MATERIAL NON FERROUS METAL FIXING MATERIAL CHEMICAL ATTACK NON FERROUS METAL GOOD RESISTANCE RECOMMENDED FOR RECOMMENDED FOR MUST MUSTN/A BE TREATED N/A BE TREATED N/A TO CHEMICAL ATTACK FIXING MATERIAL FIXING MATERIAL AGAINST BIOLOGICAL AGAINST BIOLOGICAL N/A N/A N/A N/A DEGRATION DEGRATION MUST BE TREATED MUST BE TREATED AGAINST BIOLOGICAL AGAINST BIOLOGICAL N/A N/A N/A N/A DEGRATION N/A DEGRATION N/A N/A N/A CORROSION RESISTANT N/A

N/A N/A N/A N/A DOUBLE SEALED PANELS WITH DOUBLE SEALED PANELS WITH VENTED AIR SPACE PROVIDING VENTED AIR SPACE PROVIDING PRESSUREOPAQUE EQUALISATION PRESSURE EQUALISATION OPAQUE OPAQUE VERY LOW

GLAZED UNITS

TIMBER STUD WALLS GLAZED LOUVRES UNITS POWDER COATED TOUGHENED GLASS ALUMINIUM DOUGLAS FIR GLAZED TOUGHENED GLASS DOUBLE PRESSED INTO RECTANGULAR UNITS NECESSARY SHAPES DOUBLE GLAZED RECTANGULAR RECTANGULAR UNITS N/A N/A

POWDER COATED ALUMINIUM RECTANGULAR PRESSED INTO PURE ALUMINIUM NECESSARY SHAPESHAS A TENSILE STRENGTH OF APPROX. 90MPa N/A GOOD

TOUGHENED GLASS 4200 X 150 X 22MM TREATED TIMBER DOUBLE GLAZED RECTANGULAR UNITS LIGHT DENSITY 530KG/m2

N/A RESISTANCETHERMAL 0.450m/WK

MULLION UNIT 3.4-5.1 W/m K OVERALL 1.4 Wm/K N/A

OPAQUE MEDIUM

DETAIL 4: FLAT ROOF TO CURTAIN WALL DETAIL 4: FLAT ROOF TO CURTAIN WALL

MULLIONS & TIMBER CLADDING TRANSOMS BOARDS ALUMINIUM TRIMMINGS GLAZED UNITS AND EXTRUDED FLASHINGSALUMINIUM ACCOYA WEATHER BOARDS

MULLIONS & DOUGLAS FIR TRANSOMS EXTRUDED ALUMINIUM 44 X 44MM TREATED SOFTWOOD

VERY LOW

TRANSLUCENT VERY LOW

VERY LOW VERY LOW

MAX ACOUSTIC RATING 38DB LEVEL VERY LOW

OPAQUE

VERY LOW VERY LOW VERY LOW BUILDING LIFESPAN BUILDING LIFESPAN

BUILDING LIFESPAN

CHARRING RATE 40mm BUILDING PER HOURLIFESPAN BUILDING LIFESPAN

N/A N/A

N/A CHARRING RATE 40mm PER HOUR

450X450X25MM SQUARE HIGH

LOW N/A

N/A

0.174 W/mK

N/A

OPAQUE

N/A

BUILDING LIFESPAN

PERFORMANCE OF MATERIALS

N/A N/A

N/A

N/A OPAQUE

N/A

IMPERMEABLE

PERMEABLE

OPAQUE

MEDIUM

LOW

MEDIUM LOW N/A CHARRING RATE VERY LOW N/A 40mm PER HOUR FIRE RETARDANT CHARRING RATE 2 HOURS + SUBSTRATE TO 40mm PER HOUR LIFESPAN FIRE RESISTANT BUILDING LIFESPAN BUILDING LIFESPAN BUILDING DIN 4102

BUILDING LIFESPAN

N/A

0.174 W/mK

N/A

N/A HIGH

0.04 W/mK

N/A

N/A N/A

MEDIUM

N/A

RECTANGULAR

N/A

0.17 W/mK

0.75 W/mK

OPAQUE MAX ACOUSTIC RATING OPAQUE 38DB LEVEL

N/A BUILDING LIFESPAN

NON-SLIP TEXTURE SEE DETAIL 3 CAST CONCRETE BUILD UP

RECTANGULAR

N/A

N/A DOUBLE SEALED PANELS WITHN/A N/A VENTED AIR SPACE PROVIDING N/A PRESSURE EQUALISATION IMPERMEABLE PERMEABLE N/A TRANSLUCENT OPAQUE

N/A

BUILDING LIFESPAN

N/A

N/A OPAQUE

CONCRETE PAVING SLABS

OAK SEMI-SOLID ENGINEERED TIMBER

SURFACE PRESERVATIVE EMULISIFED N/A N/A COATING APPLIED TO ASPHALT SEALER MUST BE ADDED TO EXTEND LIFE INCREASE UV RESISTANCE NON FERROUS METAL HIGH N/A RECOMMENDED FOR N/A FIXING MATERIAL MUST BE TREATED N/A N/A AGAINST BIOLOGICAL N/A DEGRATION N/A N/A N/A N/A

0.04 W/mK

0.17 W/mK 5.09 M3 H/M2 N/A

N/A

OPAQUE VERY LOW

VERY LOW BUILDING LIFESPAN BUILDING LIFESPAN

N/AUNIT 1.8 W/mK GLASS OVERALL 2.4 Wm/K

MEDIUM

N/A

GREEN ROOF

TIMBER FLOORING

N/A

FIRE RETARDANT 2 HOURS + TO FIRE RESISTANT SUBSTRATE DIN 4102 BUILDING LIFE SPAN

BUILDING LIFESPAN

BUILDING LIFE SPAN

PERFORMANCE OF MATERIALS

NOTES: NOTES: -THIS DRAWING IS TO BE READ IN CONJUNCTION WITH ALL OTHER RELEVANT SPECIFICATIONS AND DRAWINGS. -DO NOT SCALE FROM THIS DRAWING -ALL DRAWINGS TO BE CHECKED BY CONTRACTOR ON SITE -ARCHITECT AND/OR ENGINEER TO BE NOTIFIED OF ANY DISCREPANCIES PRIOR TO COMMENCEMENT OF ANY WORK -IT IS CONTRACTORS RESPONSIBILITY TO ENSURE COMPLIANCE WITH ALL ASPECTS OF CURRENT BUILDING REGULATIONS

Ballymun Mediatheque Bianca Wong

DETAIL 4

NAME: BIANCA WONG

DETAIL 2

DETAIL 1

DT105/3 PROJECT: DETAIL 4 DETAIL 3 STUDIO THESIS: BALLYMUN MEDIATHEQUE

DETAIL 1

DETAIL 4

SECTION A-A

DETAIL 1

YEAR: DETAIL 2

YEAR: DETAIL 3

DETAIL 3

-THIS DRAWING IS TO BE READ IN CONJUNCTION WITH ALL OTHER RELEVANT SPECIFICATIONS AND DRAWINGS. -DO NOT SCALE FROM THIS DRAWING -ALL DRAWINGS TO BE CHECKED BY CONTRACTOR ON SITE -ARCHITECT AND/OR ENGINEER TO BE NOTIFIED OF ANY DISCREPANCIES PRIOR TO COMMENCEMENT OF ANY WORK -IT IS CONTRACTORS RESPONSIBILITY TO ENSURE COMPLIANCE WITH ALL ASPECTS OF CURRENT BUILDING REGULATIONS

NAME: BIANCA WONG

DETAIL 2

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

MATERIAL

1 OF 5

SECTION A-A KEY PLAN

DETAIL 3

SECTION: DETAIL EXPLORATION KEY PLAN SCALE: DATE: AS INDICATED 02/04/12

DWG NO. 5 OF 5

DT105/3 PROJECT: STUDIO THESIS: BALLYMUN MEDIATHEQUE SECTION: DETAIL EXPLORATION SCALE: AS INDICATED

DATE: 02/04/12

201

DWG NO. 5 OF 5

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PERFORMANCE CRITERIA/MATERIAL

SHAPE AND PHYSICAL PROPERTIES

DETAIL 3: INTERNAL TO EXTERNAL GREEN AREA DETAIL 3: INTERNAL TO EXTERNAL GREEN AREA

DWG NO.

02/04/12

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

DETAIL 1 : CURTAIN WALL TO CLADDING FACADES DETAIL 2:GLAZED ROOF TO FLAT ROOF JUNCTION DETAIL 1 : CURTAIN WALL TO CLADDING FACADES DETAIL 2:GLAZED ROOF TO FLAT ROOF JUNCTION

DATE:

AS INDICATED

3 PREFORMED INSULATED GUTTER LINED WITH ZINC/EPDM OR SIMILAR WATERPROOF MEMBRANE WITH RAINWATER OUTLETS - ALUMINIUM DOWNPIPES BETWEEN GLULAMS REFER TO NBS SPECIFICATION DOCUMENT H74 CLAUSE 520

300mm HIGH DENSITY INSULATION FIXED BETWEEN TIMBER JOISTS ENGINEERED TIMBER JOISTS WILL REQUIRED ADDITIONAL FIRRING TIMBER SECTIONS TO ACHIEVE 3° FALLS REQUIRED

ENGINEERED TIMBER MEMBERS FIXED TO GLULAM TIMBER FRAME - REFER TO NBS SPECIFICATION DOCUMENT G20

22mm WBP PLYWOOD SHEET FIXED TO ENGINEERED TIMBER JOISTS

300mm HIGH DENSITY INSULATION FIXED BETWEEN TIMBER JOISTS ENGINEERED TIMBER JOISTS WILL REQUIRED ADDITIONAL FIRRING TIMBER SECTIONS TO ACHIEVE 3° FALLS REQUIRED FALLS

FALLS

155

22mm WBP PLYWOOD SHEET FIXED TO ENGINEERED TIMBER JOISTS

FALLS

155

FALLS

ROOF LEVEL 18.870

TOP OF GLULAM 18.580

F.C.L. 18.435

75 x 75mm SOFTWOOD TIMBERS FIXED TO UNDERSIDE OF ENGINEERED TIMBER ROOF JOISTS TO PROVIDE GROUNDS FOR PLYWOOD SHEETING 18mm PLYWOOD SHEETING PRIMED AND PAINTED MATT BLACK FIXED TO SOFT WOOD TIMBER FRAME

CENTRE OF TOP TRANSOM 17.780

STANDING SEAM ZINC SHEETING ON 9mm MAT VENTILATION LAYER ON BREATHER MEMBRANE ON PLYWOOD SHEETING FIXED TO ENGINEERED TIMBER ROOF JOISTS

STANDING SEAM ZINC FASCIA ON VENTILATION STANDING SEAM ZINC SHEETING 9mm MAT LAYER ONON BREATHER MEMBRANE ON PLYWOOD VENTILATION LAYER ONBASE BREATHER MEMBRANE ON PLYWOOD SHEETING FIXED TO ENGINEERED TIMBER ROOF JOISTS

ENGINEERED TIMBER WITH OSB/PLYWOOD SHEETING BOTH SIDES 275mm INSULATION BETWEEN 75 x 75mm SOFTWOOD TIMBERS FIXED TO BACK OF F.C.L. ENGINEERED TIMBERS TO PROVIDE GROUNDS FOR 18.435 PLYWOOD SHEETING. PLASTERBOARD & SKIM FINISH REFER TO NBS SPECIFICATION DOCUMENT G20 GLULAM BEAM WITH PRE NOTCHED ENDS TO ALLOW FIXING OF ENGINEERED TIMBERS TO FORM EDGE AND GROUNDS VAPOUR CONTROL LAYER FIXED TO INSIDE FACE OF FOR FIXING FASCIA PANEL PLYWOOD SHEETING WITH 150mm SIDE AND END LAPS - OVERLAPPING TO BE FULLY TAPED CENTRE OF TOP TRANSOM 17.780 75 x 75mm SOFTWOOD TIMBERS FIXED TO BACK OF PRESSED METAL FLASHING FIXED TO UNDERSIDE OF ENGINEERED TIMBERS TO PROVIDE GROUNDS FOR REVEAL AND CLAMPED INTO CURTAIN WALL SYSTEM PLYWOOD SHEETING. PLASTERBOARD & SKIM FINISH REFER TO NBS SPECIFICATION DOCUMENT H72 CLAUSE 250 REFER TO NBS SPECIFICATION DOCUMENT G20

PRESSED METAL SOFFIT FLASHING SUPPLIED AND FITTED BY GLAZING MANUFACTURER STANDING SEAM ZINC FASCIA ON VENTILATION PRESSED METAL SOFFIT FLASHING SUPPLIED LAYER ON BREATHER MEMBRANE ONBYPLYWOOD AND FITTED GLAZING MANUFACTURER BASE CENTRE OF TOP TRANSOM 17.780 PRESSED METAL SOFFIT FLASHING SUPPLIED AND FITTED BY GLAZING MANUFACTURER

ALUMINIUM CURTAIN WALL VAPOUR CONTROL LAYER FIXED TO INSIDE FACE OF FRAMING SYSTEM WITH DOUBLE/TRIPLE GLASS PLYWOOD SHEETING WITH 150mm SIDEGLAZED AND END LAPS PANELS WITH GLASS TO GLASSTAPED HORIZONTAL AND VERTICAL JOINTS - REFER TO - OVERLAPPING TO BE FULLY NBS DOCUMENT SECTION H11 CLAUSE 110

PRESSED METAL SOFFIT FLASHING SUPPLIED ALUMINIUM CURTAIN WALL SYSTEM WITH AND FITTED BY GLAZING MANUFACTURER TRIPLE GLAZED 'GLASS TO GLASS' JOINTS. CENTRE OF TOP TRANSOM 17.780

PRESSED METAL FLASHING FIXED TO UNDERSIDE OF REVEAL AND CLAMPED INTO CURTAIN WALL SYSTEM REFER TO NBS SPECIFICATION DOCUMENT H72 CLAUSE 250

VAPOUR CONTROL LAYER FIXED TO INSIDE FACE OF PLYWOOD SHEETING WITH 150mm SIDE AND LAPSFIXED - OVERLAPPING TO BE FULLY TAPED 75 x 75mm SOFTWOODEND TIMBERS TO UNDERSIDE OF ENGINEERED TIMBER ROOF JOISTS TO PROVIDE GROUNDS FOR PLYWOOD HARDWOOD TIMBER MEMBERS FIXED TO SHEETING PLYWOOD BASE WITH 15mm GAPS BETWEEN

ALUMINIUM CURTAIN WALL FRAMING SYSTEM WITH DOUBLE/TRIPLE GLAZED GLASS PANELS WITH GLASS TO GLASS HORIZONTAL AND VERTICAL JOINTS - REFER TO NBS DOCUMENT SECTION H11 CLAUSE 110

6310

18mm PLYWOOD SHEETING PRIMED AND PAINTED MATT BLACK FIXED TO SOFT WOOD TIMBER FRAME

STANDING SEAM ZINC SHEETING ON 10mm MAT LAYER ON BREATHER LAYER ON PLYWOOD SHEETING FIXED TO ENGINEERED TIMBER JOISTS - REFER TO NBS PREFORMED INSULATEDDOCUMENT GUTTER LINED WITH H74 ZINC/EPDM SECTION FOR ZINC SPECIFICATION OR SIMILAR WATERPROOF MEMBRANE CLAUSE 110 WITH RAINWATER OUTLETS - ALUMINIUM DOWNPIPES BETWEEN GLULAMS ENGINEERED TIMBER WITH OSB/PLYWOOD SHEETING REFER TO NBS SPECIFICATION DOCUMENT H74 CLAUSE 520 BOTH SIDES 275mm INSULATION BETWEEN ENGINEERED TIMBER MEMBERS FIXED TO GLULAM ROOF LEVEL- REFER TO NBS SPECIFICATION DOCUMENT G20 TIMBER FRAME 18.870 STANDING SEAM ZINC SHEETING ON 10mm GLULAM BEAM WITHMAT PRE NOTCHED ENDS TO ALLOW FIXING LAYER ON BREATHER LAYER ON PLYWOOD SHEETING OF ENGINEERED TIMBERS TO FORM EDGE AND GROUNDS FIXED TO ENGINEERED TIMBER JOISTS - REFER TO NBS FOR FIXING FASCIA PANEL TOP OF GLULAM DOCUMENT SECTION H74 FOR ZINC SPECIFICATION 18.580 CLAUSE 110

CLEAR SILICONE/MASTIC SEAL TO HORIZONTAL AND VERTICAL 'GLASS TO GLASS' JOINTS

ALUMINIUM CURTAIN WALL SYSTEM WITH TRIPLE GLAZED 'GLASS TO GLASS' JOINTS.

CLEAR SILICONE/MASTIC SEAL TO HORIZONTAL AND VERTICAL 'GLASS TO GLASS' JOINTS

VAPOUR CONTROL LAYER FIXED TO INSIDE FACE OF PLYWOOD SHEETING WITH 150mm SIDE AND END LAPS - OVERLAPPING TO BE FULLY TAPED

6310

HARDWOOD TIMBER MEMBERS FIXED TO PLYWOOD BASE WITH 15mm GAPS BETWEEN

SECTION DETAIL 'C' scale 1:20

SECTION DETAIL 'C' scale 1:20 Ø150mm HOLLOW CIRCULAR STAINLESS STEEL SECTION TO BE OFFERED THROUGH PRE DRILLED HOLES IN GLULAM FRAME TO SUPPORT CURTAIN WALL FRAME SECTIONS FIXING SEQUENCE TO FURTHER DETAIL DOUBLE GLULAM TIMBER COLUMNS TO BE FACTORY NOTCHED TO ACCOMMODATE CONTINUOUS STEEL PLATE WHICH IS TO BE BOLT INTO GLULAMS ON SITE

CIRCULAR STAINLESS STEEL SUPPORT SECTIONS TO BE FACTORY FIXED BACK TO CONTINUOUS SS PLATE BOLTED ON SITE BACK TO GLULAM STRUCTURE. STAINLESS STEEL DIAGONAL BRACING TOP AND BASE FIXED TO PROVIDE CENTRAL SUPPORT TO Ø150mm HOLLOW CIRCULAR STEEL STAINLESS MEMBER STEEL SECTION TO BE OFFERED THROUGH PRE DRILLED HOLES IN GLULAM FRAME TO SUPPORT CURTAIN WALL FRAME SECTIONS FIXING SEQUENCE TO FURTHER DETAIL ALUMINIUM CURTAIN WALL FRAMING SYSTEM WITH DOUBLE/TRIPLE GLAZED GLASS PANELS WITH GLASS TO GLASS HORIZONTAL AND VERTICAL JOINTS CIRCULAR STAINLESS STEEL SUPPORT SECTIONS REFERTO TOCONTINUOUS NBS DOCUMENT SECTION H11 CLAUSE 110 TO BE FACTORY FIXED BACK SS PLATE BOLTED ON SITE CENTRE OF BACK TO GLULAM STRUCTURE. STAINLESS STEEL DIAGONAL BRACING TOP AND TRANSOM BASE11.310 FIXED TO PROVIDE CENTRAL SUPPORT TO STEEL MEMBER CLEAR MASTIC SEALANT TO VERTICAL AND HORIZONTAL JOINTS BY GLAZING CONTRACTOR

DASHED LINE INDICATES ALUMINIUM/STAINLESS STEEL RAINWATER DOWNPIPE BRACKETED BETWEEN GLULAM COLUMNS AND CONNECTED DOUBLE GLULAM TIMBER COLUMNS TO BEHARVESTING SYSTEM INTO RAINWATER FACTORY NOTCHED TO ACCOMMODATE CONTINUOUS STEEL PLATE WHICH IS TO BE BOLT INTO GLULAMS ON SITE

DASHED LINE INDICATES ALUMINIUM/STAINLESS STEEL RAINWATER DOWNPIPE BRACKETED BETWEEN GLULAM COLUMNS AND CONNECTED INTO RAINWATER HARVESTING SYSTEM CENTRE OF TRANSOM 11.310

ALUMINIUM CURTAIN WALL SYSTEM WITH TRIPLE GLAZED 'GLASS TO GLASS' JOINTS.

CENTRE OF TOP TRANSOM 11.310

ALUMINIUM CURTAIN WALL FRAMING SYSTEM WITH DOUBLE/TRIPLE GLAZED GLASS PANELS WITH GLASS TO GLASS HORIZONTAL AND VERTICAL JOINTS REFER TO NBS DOCUMENT SECTION H11 CLAUSE 110TRANSOM TO MANUFACTURERS ALUMINIUM CURTAIN WALL SPECIFICATIONS REFER TO NBS DOCUMENT SECTION H11 CLAUSE 110

ALUMINIUM CURTAIN WALL SYSTEM WITH TRIPLE GLAZED 'GLASS TO GLASS' JOINTS. DASHED LINES INDICATE ALUMINIUM CURTAIN WALL FRAMES BEHIND CENTRE OF TOP TRANSOM 11.310

GLULAM TIMBER PRIMARY STRUCTURAL COLUMN BY

CLEAR SILICONE/MASTIC SEAL TO HORIZONTAL AND VERTICAL 'GLASS TO GLASS' JOINTS

CONTRACTOR - REFER TO NBS SPECIFICATION CLEAR MASTIC SEALANTSPECIALIST TO VERTICAL AND HORIZONTAL DOCUMENT G20 JOINTS BY GLAZING CONTRACTOR

DASHED LINES INDICATE ALUMINIUM CURTAIN WALL FRAMES BEHIND

ALUMINIUM CURTAIN WALL TRANSOM TO MANUFACTURERS SPECIFICATIONS REFER TO NBS DOCUMENT SECTION H11 CLAUSE 110 GLULAM TIMBER PRIMARY STRUCTURAL COLUMN BY SPECIALIST CONTRACTOR - REFER TO NBS SPECIFICATION DOCUMENT G20

CLEAR SILICONE/MASTIC SEAL TO HORIZONTAL AND VERTICAL 'GLASS TO GLASS' JOINTS

6725

SECTION DETAIL 'B' scale 1:20

CLEAR SILICONE/MASTIC SEAL TO HORIZONTAL AND VERTICAL 'GLASS TO GLASS' JOINTS

6725

GLULAM TIMBER PRIMARY STRUCTURE FIXED IN PLATE WITH CAST IN STEEL PLATES (TO FURTHER DETAIL) - REFER TO NBS SPECIFICATION DOCUMENT G20

PRESSED METAL FLASHING FIXED INTO GLAZING SYSTEM BY GLAZING CONTRACTOR

CENTRE OF LOUVRED VENT CONNECTED TO THE BUILDING TRANSOM ALUMINIUM CURTAIN WALL FRAMING SYSTEM WITH MANAGEMENT SYSTEM TO DRAW FRESH AIR INTO 5.350 DOUBLE/TRIPLE GLAZED GLASS PANELS WITH GLASS TO BUILDING WHEN REQUIRED (THERMOSTATICALLY GLASS HORIZONTAL AND VERTICAL JOINTS - REFER TO NBS CONTROLLED) - REFER TO NBS DOCUMENT H11 DOCUMENT SECTION H11 CLAUSE 110 CLAUSE 110 FOR SPECIFICATION

CAST IN STAINLESS STEEL FIXING PLATES SUPPLIED AND FITTED BY GLULAM FRAME SUPPLIER REFER TO NBS DOCUMENT SECTION E42 CLAUSE 320 FOR FURTHER SPECIFICATION IN-SITU CONCRETE COLUMN/RETAINING WALL TO GLULAM TIMBER PRIMARY STRUCTURAL PROVIDE STRUCTURAL SUPPORT TO GLULAM FRAME SUPPLIED AND FITTED SPECIALIST FRAMEBY - REFER TO NBS DOCUMENT SECTION CONTRACTOR REFER TOE05 NBSCLAUSE DOCUMENT 220 FOR FURTHER SECTIONG20 SPECIFICATION CENTRE OF TRANSOM 5.350

CAST IN STAINLESS STEEL PLATES TOPFIXING OF CONCRETE SUPPLIED AND FITTED BYCOLUMN GLULAM4.750 FRAME SUPPLIER REFER TO NBS DOCUMENT SECTION E42 CLAUSE 320 FOR FURTHER SPECIFICATION IN-SITU CONCRETE COLUMN/RETAINING WALL TO PROVIDE STRUCTURAL SUPPORT TO GLULAM PREFORMED INSULATED METAL PERIMETER FRAME - REFER TO NBS DOCUMENT SECTION TRENCH HEATING DUCTING WITH PERFORATED E05 CLAUSE 220 FOR FURTHER STAINLESS STEEL COVER BY SPECIALIST SPECIFICATION MANUFACTURER

CENTRE OF TOP ALUMINIUM CURTAIN WALLTRANSOM SYSTEM WITH 5.350 TRIPLE GLAZED 'GLASS TO GLASS' JOINTS. LOUVRED VENT CONNECTED TO THE BUILDING

MANAGEMENT SYSTEM TO DRAW FRESH AIR INTO CLEAR SILICONE/MASTIC SEAL TO HORIZONTAL BUILDING WHEN REQUIRED (THERMOSTATICALLY AND VERTICAL 'GLASS TO GLASS' JOINTS CONTROLLED)

GLULAM TIMBER PRIMARY STRUCTURE STAINLESS FIXED IN PLATE WITH CAST IN STEELSTEEL GRILL COVER AROUND PERIMETER OF BUILDING DETAIL) PLATES (TO FURTHER DETAIL) - REFER(TO TO FURTHER NBS SPECIFICATION DOCUMENT G20 EXTERNAL PLAZA FINISHES TO LATERTO DETAIL PLAZA LEVEL LOUVRED VENT CONNECTED THE BUILDING 4.750 MANAGEMENT SYSTEM TO DRAW FRESH AIR INTO BUILDING WHEN REQUIRED (THERMOSTATICALLY CONTROLLED) - REFER TO NBS DOCUMENT H11 CLAUSE 110 FOR SPECIFICATION

PRESSED METAL FLASHING FIXED INTO GLAZING PRESSED METAL FLASHING FIXED INTO GLAZING SYSTEM BY GLAZING CONTRACTOR SYSTEM BY GLAZING CONTRACTOR CENTRE OF TOP PLAZA LEVEL 4.750 TRANSOM 5.350

EXTERNAL PLAZA FINISHES TO LATER DETAIL

PRESSED METAL FLASHING FIXED INTO GLAZING SYSTEM BY GLAZING CONTRACTOR PLAZA LEVEL 4.750

CONTINUOUS PERIMETER DRAINAGE CHANNEL AROUND BASE OF GLAZING

PREFORMED INSULATED METAL PERIMETER TRENCH HEATING DUCTING WITH PERFORATED DOWNPIPE TO BE CAST INTO STAINLESS STEEL COVERRAINWATER BY SPECIALIST IN-SITU CONCRETE BETWEEN EACH PAIR MANUFACTURER OF GLULAM COLUMNS - REFER TO NBS DOCUMENT SECTION E42 FOR SPEC.

LOUVRED VENT CONNECTED TO THE BUILDING MANAGEMENT SYSTEM TO DRAW FRESH AIR INTO BUILDING WHEN REQUIRED (THERMOSTATICALLY CONTROLLED)

PART ELEVATION 'P' scale 1:20

STAINLESS STEEL GRILL COVER AROUND PERIMETER OF BUILDING (TO FURTHER DETAIL)

TOP OF CONCRETE COLUMN 4.750

PLAZA LEVEL 4.750

PART ELEVATION 'P' scale 1:20

120mm RIGID URETHANE INSULATION OVER DAMP PROOF LAYER TO BE LAID CONTINUOUSLY UNDER IN-SITU CONCRETE FLOORS AND WALLS

SWEEPING BEND RAINWATER PIPE TO BE SPECIFIED BY SERVICES ENGINEER CAST INTO IN-SITU CONCRETE RETAINING WALL - REFER TO NBS DOCUMENT SECTION E 42 FOR FURTHER SPECIFICATION

PROTECTIVE LAYER ON TANKING SHEET FIXED BACK TO FACE OF EARTH TO PROVIDE STABLE BACKING FOR DAMP CONTINUOUS PERIMETER DRAINAGE CHANNEL PROOFING LAYER - REFER TO NBS DOCUMENT SECTION J40 AROUND BASE OF GLAZING CLAUSE 520 FOR FURTHER DETAIL

2915

RAINWATER DOWNPIPERAINWATER TO BE CAST INTO PIPE LAID HORIZONTALLY TO IN-SITU CONCRETE BETWEEN PAIR FALLSEACH WITHIN SERVICE DUCT WITH 45° OF GLULAM COLUMNS -BRANCH REFER TO NBS SECTIONS EVERY 10 METRES DOCUMENT SECTION E42 SPEC. TOFOR PICK UP CONNECTIONS FROM RAIN WATER DOWNPIPES SWEEPING BEND RAINWATER PIPE TO BE SPECIFIED BY SERVICES ENGINEER CAST INTO IN-SITU CONCRETE RETAINING WALL - REFER COVER TO HORIZONTAL PRECAST CONCRETE TO NBS DOCUMENT SECTION E 42 FOR FURTHER SERVICE OPENING WITH STAINLESS STEEL SPECIFICATION D - HANDLES

ALUMINIUM CURTAIN WALL SYSTEM WITH TRIPLE GLAZED 'GLASS TO GLASS' JOINTS.

ALUMINIUM CURTAIN WALL FRAMING SYSTEM WITH DOUBLE/TRIPLE GLAZED GLASS PANELS WITH GLASS TO GLASS HORIZONTAL AND VERTICAL JOINTS - REFER TO NBS DOCUMENT SECTION H11 CLAUSE 110

GLULAM TIMBER PRIMARY STRUCTURAL FRAME SUPPLIED AND FITTED BY SPECIALIST CONTRACTOR REFER TO NBS DOCUMENT SECTIONG20

2915

RAINWATER PIPE LAID HORIZONTALLY TO FALLS WITHIN SERVICE DUCT WITH 45° BRANCH SECTIONS EVERY 10 METRES POWER FLOATED IN-SITU CONCRETE FLOOR TO PICK UP CONNECTIONS FROM RAINFINISH REFER TO NBS SPECIFICATION WITH HONED WATER DOWNPIPES DOCUMENT SECTION E05 - CONCRETE TO BE SEALED IN ACCORDANCE WITH NBS DOC. SECTION M10 PRECAST CONCRETE COVER TO HORIZONTAL SERVICE OPENING WITH STAINLESS STEEL D - HANDLES LOWER GROUND LEVEL 1.835

120mm RIGID URETHANE OVER DAMP PROOF ININSULATION SITU REINFORCED CONCRETE LAYER TO BE LAID CONTINUOUSLY UNDER WALL IN-SITU BASE & RETAINING TO STRUCTURAL CONCRETE FLOORS ANDENGINEERS WALLS DETAILS - GROUND BEAM ALSO TO STRUCTURAL ENGINEERS SPECIFICATION REFER TO NBS DOCUMENT SECTION E05 CLAUSE PROTECTIVE LAYER ON TANKING FIXED BACK TO FACE OF 220 FOR SHEET FURTHER SPECIFICATION DETAILS EARTH TO PROVIDE STABLE BACKING FOR DAMP PROOFING LAYER - REFER TO NBS DOCUMENT SECTION J40 CONTINUOUS PERFORATED PIPE AROUND PERIMETER CLAUSE 520 FOR FURTHER DETAIL OF BUILDING TO DIRECT RAINWATER/GROUNDWATER AWAY FROM STRUCTURE IN SITU REINFORCED CONCRETE BASE & RETAINING WALL TO STRUCTURAL ENGINEERS DETAILS - GROUND BEAM ALSO TO STRUCTURAL ENGINEERS SPECIFICATION REFER TO NBS DOCUMENT SECTION E05 CLAUSE 220 FOR FURTHER SPECIFICATION DETAILS

D-D KEY SECTION nts A

CONTINUOUS PERFORATED PIPE AROUND PERIMETER OF BUILDING TO DIRECT RAINWATER/GROUNDWATER AWAY FROM STRUCTURE

POWER FLOATED IN-SITU CONCRETE FLOOR WITH HONED FINISH REFER TO NBS SPECIFICATION DOCUMENT SECTION E05 - CONCRETE TO BE SEALED IN ACCORDANCE WITH NBS DOC. SECTION M10

D-D

KEY SECTIONW nts

LOWER GROUND LEVEL 1.835

PART ELEVATION 'P'

TOP OF GROUND BEAM 1.115

65mm SAND BLINDING LAYER OVER HARDCORE TO PROVIDE PROTECTION TO DAMP PROOF MEMBRANE LAYER

150mm LAYERS OF WELL COMPACTED HARDCORE TO BE LAID BELOW CONCRETE GROUND BEAMS AND FLOOR SLABS

1200 GAUGE POLYPROPYLENE DAMP PROOF MEMBRANE WITH SEALED SIDE AND END LAPS REFER TO NBS DOCUMENT SECTION J40 FOR SPECIFICATION

120mm COMPRESSION RESISTANT URETHANE INSLUATION LAID OVER DAMP PROOF COURSE WITH TAPED JOINTS

65mm SAND BLINDING LAYER OVER HARDCORE TO PROVIDE PROTECTION TO DAMP PROOF MEMBRANE LAYER

150mm LAYERS OF WELL COMPACTED HARDCORE TO BE LAID BELOW CONCRETE GROUND BEAMS AND FLOOR SLABS

1200 GAUGE POLYPROPYLENE DAMP PROOF MEMBRANE WITH SEALED SIDE AND END LAPS REFER TO NBS DOCUMENT SECTION J40 FOR SPECIFICATION

120mm COMPRESSION RESISTANT URETHANE INSLUATION LAID OVER DAMP PROOF COURSE WITH TAPED JOINTS

SECTION DETAIL 'A' scale 1:20

202

PART ELEVATION 'P'

KEY PLAN nts

E S

department of architectural technology

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

GLULAM BEAMS FACTORY NOTCHED

ENGINEERED TIMBER JOISTS

SIPS PANEL FIXED TO TIMBER JOISTS TO FORM FASCIA FOR ZINC SHEETING STAINLESS STEEL PLATES TO ATTACH COLUMNS TO BEAMS

FACTORY MADE INSULATED GUTTER

CONTINUOUS STAINLESS STEEL ANGLE FIXED INTO TIMBER JOIST TO PROVIDE SUPPORT FOR CURTAIN WALL SYSTEM

2. ENGINEERS TIMBER JOISTS TO SPAN 10 METRES FIXED TO GLULAM PRIMARY STRUCTURE. PRE - FORMED INSULATED GUTTER. GUTTER TO BE FACTORY PRIMED TO ALLOW MEMBRANES TO BE APPLIED. JOISTS TO BE FIXED CONTINUOUSLY TO ENDS OF GLULAM BEAMS TO PROVIDE GROUNDS FOR SIPS FASCIA AND FIXING OF STEEL BRACKET.

1. PRIMARY GLULAM TWIN TIMBER COLUMNS WITH FACTORY FITTED STAINLESS STEEL PLATE BOLTED THROUGH TIMBER WITH STAINLESS STEEL NUTS AND BOLTS. GLULAM TIMBER BEAMS WITH FACTORY ROUTED SLOT TO RECEIVE METAL PLATE. ENDS OF GLULAM COLUMNS TO BE FACTORY NOTCHED TO RECEIVE TIMBER JOISTS ON SITE.

3. SIPS TIMBER PANEL (STRUCTURAL INSULATED PANEL) TO BE MECHANICALLY FIXED TO FACE OF ENGINEERED TIMBER FASCIA. CONTINUOUS STAINLESS STEEL ANGLE TO BE BOLTED TO ENGINEERED TIMBER JOIST TO PROVIDE FIXING TO CURTAIN WALL MULLIONS.

WBP PLYWOOD SHEETING FIXED TO ENGINEERED TIMBER JOISTS

ROCKWOOL QUILT INSULATION BATTS BETWEEN JOISTS

RIGID EXTRUDED POLYPROPYLENE VENTILATION LAYER LAID OVER WEATHERPROOF MEMBRANE

4. ALUMINIUM CURTAIN WALL MULLIONS FIXED TO STAINLESS STEEL ANGLE BY GLAZING CONTRACTOR. BASE FIXING AS DESCRIBED IN DETAIL Q. (WBP) WATER BOILED PROOF PLYWOOD SHEETING FIXED TO ENGINEERED TIMBER JOISTS. TIMBER FIRRINGS WILL NEED TO BE FIXED TO TOP OF TIMBER JOISTS TO ACHIEVE MINIMUM 3° FALLS REQUIRED. INSULATION BETWEEN AND ON INSIDE FACE OF JOISTS TO BE CELLULOSE BATTS.

BREATHER MEMBRANE LAID OVER PLYWOOD SHEETING WITH 150mm SIDE AND END LAPS

STANDING SEAM ZINC SHEETING WITH FOLDED JOINTS FIXED TO ROOF WITH STANDING SEAM BRACKETS

CURTAIN WALL GLAZING HELD IN PLACE WITH CONCEALED TOGGLE FIXINGS.

COLOURED MASTIC SEALANT TO GLASS TO GLASS HORIZONTAL AND VERTICAL JOINTS

5. WATERPROOF MEMBRANE OVER PLY SHEETING WITH MIN. 150mm SIDE AND END LAPS. EXTRUDED (8mm) POLYPROPYLENE VENTILATION LAYER LAID OVER MEMBRANE. TRIPLE GLAZED GLASS SHEETS FIXED INTO POSITION WITH CONCEALED TOGGLE FIXING

6. STANDING SEAM ZINC ROOF SHEETING FIXED OVER VENTILATION LAYER WITH PROPRIETARY STANDING SEAM BRACKETS ENDS AND JOINTS TO BE FOLDED WHILE PROVIDING CONTINUOUS VENTILATION GAP. GLASS TO GLASS HORIZONTAL AND VERTICAL JOINTS TO BE MASTIC SEALED WITH COLOURED TRANSLUCENT SEALER.

B 300mm HIGH DENSITY ROCKWOOL QUILT INSULATION FIXED BETWEEN TIMBER JOISTS

PREFORMED INSULATED GUTTER LINED WITH ZINC/EPDM OR SIMILAR APPROVED WATERPROOF MEMBRANE WITH FALLS TO RAINWATER OUTLETS - ALUMINIUM DOWNPIPES BETWEEN GLULAMS

ENGINEERED TIMBER JOISTS WILL REQUIRED ADDITIONAL FIRRING TIMBER SECTIONS TO ACHIEVE 3° FALLS REQUIRED

STANDING SEAMS TO BE FOLDED AND CRIMPED ALONG SEAMS AND AT EDGES BY ZINC CLADDING CONTRACTOR CONTINUOUS 8mm VENTILATION GAP BELOW ZINC SHEETING PROVIDED BY EXPANDED POLYPROPYLENE MAT LAYER BY ZINC ROOFING CONTRACTOR

22mm WBP PLYWOOD SHEET FIXED TO ENGINEERED TIMBER JOISTS FALLS

FALLS

ROOF LEVEL 18.870

155

WATER BOILED PROOF (WBP) PLYWOOD SHEETING FIXED AT 3° PITCH TO CREATE FALLS INTO GUTTER

400

TOP OF GLULAM 18.580 STRUCTURAL INSULATED TIMBER PANEL FIXED TO EDGE OF STRUCTURAL TIMBER GLULAM FRAME FOR FORM EDGE FOR ZINC FASCIA F.C.L. 18.435 BREATHER MEMBRANE FITTED OVER PLYWOOD DECK WITH MIN. 300mm SIDE AND END LAPS LAPS TO BE TAPED 0.8mm NATURAL ZINC SHEETING FIXED OVER 8mm EXPANDED POLYPROPYLENE VENTILATION MAT WITH GALVANIZED STEEL STANDING SEAM BRACKETS FIXED BACK TO PLYWOOD DECK

GALVANISED STEEL BRACKETS FIXED BACK TO STRUCTURAL TIMBER FRAME TO SUPPORT CURTAIN WALL MULLIONS TO STRUCTURAL ENGINEERS SPECIFICATION CENTRE OF TRANSOM 17.780

KEY SECTION X-X nts

PRESSED METAL FLASHING FIXED TO UNDERSIDE OF REVEAL AND CLAMPED INTO CURTAIN WALL SYSTEM GLASS TO GLASS HORIZONTAL AND VERTICAL JOINTS TO BE FILLED WITH TRANSLUCENT MASTIC JOINTING BY GLAZING CONTRACTOR

6310

GLAZING TO BE TRIPLE GLAZED UNITS ARGON FILLED WITH LOW E - COATING TO ACHIEVE AN OVERALL U-VALUE OF 0.8W/m² k

VAPOUR CONTROL LAYER FIXED TO INSIDE FACE OF PLYWOOD SHEETING WITH 150mm SIDE AND END LAPS - OVERLAPPING TO BE FULLY TAPED

POWDER COATED ALUMINIUM CURTAIN WALL FRAMING SYSTEM WITH SECRET FIX TOGGLE I.G.U. CLAMPS FITTED IN ACCORDANCE WITH MANUFACTURERS SPECIFICATIONS

HARDWOOD TIMBER MEMBERS FIXED TO PLYWOOD BASE WITH 15mm GAPS BETWEEN

MUSEUM

DETAIL 'P' scale 1:10

Maritime Museum, Balbriggan Michael Bermingham

KEY PLAN nts X

REVISED

203

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

ALUMINIUM CURTAIN WALL MULLIONS AT 1500mm CENTRES

department of architectural technology

Students: Owen Byrne Richard Callaghan Aodhgan Comaskey Graham Crawford Aine Crimin Alan Farquharson Robert Gallagher Olivia Golden Lynsey Graham Gerard Hanratty Patrick Healy Jonathan Henry Stephen Liddy Eoin Mc Cooey Gary Mc Donagh Kevin Mc Evoy Cathal Mc Kenna Brian Mc Loughlin James Mc Mahon Chris Merriman Dennis Morgan Peter Murphy Ronan O Brien Tomas O Hanlon Tuireann O Neill Brian O Shaughnessy Simon Priestly Eoin Prunty Neil Quinn Mark Reilly Aidan Robinson Conor Shaw Conor Sweeney Padraig Sweeney Andrea Szoboszlay Dean Wallace

Yearmaster’s Statement Sima Rouholamin Our aim in 4th year architectural technology is to cultivate critical thinking skills using student centred and community based learning approach. To achieve this, an educational model was developed to provide students with a collaborative studio environment as well as a place to investigate their individual thesis projects. The model is based on an architectural practice, with the fundamental principle of collaboration between client, senior architect, project architects, architectural technologists, consultants, experts and so forth. The model consisted of four parts: 1. The units, which mimic a small practice led by a practicing architect 2. The client in form of a Dublin Community and/or government department i.e Dublin City Council 3. Industry experts and consultants in areas such as accessibility, energy conservation, fire, etc. 4. The individual thesis topic Although based on an architectural practice scenario, the four parts play an important and equal role in reinforcing the model in order to provide an experimental learning forum with no limitations contrary to a real life office setting where other factors can set limits and compromise the outcomes. Every year we choose a particular theme as a starting point to guide and focus the development of the Units’ designs. This year’s theme was ‘Retrofitting of protected structure/s’. We partnered with Dublin City Council architects department and through them we were introduced to Cuilín House. The brief consisted of the refurbishment & redevelopment of Cuilín House, Hampstead Avenue, Dublin 9. Cuilín House is a two storey detached house, which formed part of the former Glasnevin Model-Farm House, also known as Albert Agricultural College. It was built ca.1838; the house and the adjoining farm buildings are protected structures. The house has fallen into disrepair and detached from the surrounding park land of Albert College Park. The project involved reimagining a future for the Model Farm and its agricultural heritage in the context of an urbanised society facing into the challenges of climate change, peak oil, resource scarcity and a growth in global demand for food. Therefore, it was proposed that the agricultural education background of the building/s was to be reinstated in the form of a proposed urban farming school and ecological model of food production. The design proposals had to provide for a new building/s or link as part of the overall design. The individual thesis projects explored technical issues arising from retrofitting of protected structures, the areas explored were daylight, thermal, breathability, materiality, energy.

Staff: Stephen Best John Lauder Malachy Mathews Simon McGuinness Sima Rouholamin Sarah Sheridan David Wright

205

Investigating Window Jamb Conditions in Relation to Increasing the Quantity and Dispersal of Daylighting in Buildings Richard Callaghan Greater recognition is given to the contribution that daylight can offer towards energy efficiency in modern sustainable buildings. This project examines the effect that modifying window jamb conditions has on the daylight entering a building and ascertains if improved quantity and dispersal of daylighting can be achieved with an equivalent size of window opening. Predictive computer analysis and physical model testing was conducted on a selection of window jamb designs, including splayed and curved reveals, with a comparison made between each of the jamb conditions. The project also investigates whether the same effect occurs if the modification is applied to the interior or exterior window jamb. Each jamb profile tested did indeed allow a greater quantity of daylight to reach the interior space with the highest increase being approximately 35% above the lowest level achieved during testing. The dispersal patterns show a contrast between the internal and external modifications with the former increasing the daylight provision to the perimeter of the space and the latter focusing the increase to the central area. This study shows that if building designers choose to embrace modifying window jamb conditions they can achieve higher daylighting levels without increasing the window size.

206

100 5

100 100

Depth of Jamb to Interior



+ 48.283



PG 0.02

ds on

1085

BUILDING 1 RIDGE LEVEL

FRAMELESS PLANAR GLAZING TO NEW ATRIUM WITH STRUCTURAL SILICONE JOINT SATIN FINISHED STAINLESS STEEL CAP TO SPIDER FIXING SYSTEM THROUGHOUT

EXISTING SLATE FINISH DAMAGED SLATE TO BE REPLACED WITH MATCHING APPROVED SLATE

nted



with ime

Depth of Jamb to Exterior Thickness of Window Frame

400



department of architectural technology





 b

d by a ed or

that are constructed square (at 90

the external face of the wall. The

throughout the window jamb desig

cill size, windowboard size, etc h

W 1.01

window cill projects 50mm from t

+ 41.900

W 0.04

W 0.03

W 0.02

W 0.01



+ 42.100



GROUND FLOOR LEVEL

FROSTED GLASS FRAMELESS GUARD SEALED AGAINST EXTERNAL WALLS SATIN FINISHED STAINLESS STEEL CAPPED FIXING

Part Front (South) Elevation F r o n t

( S o u t h )

E l e v a t i o n

S c a l e

1 : 5 0

              

3 d



P a r t



EXISTING TIMBER FRAME WINDOWS RETAINED AND RESTORED WHERE REQUIRED EXISTING STONE CILL

FINISHED GROUND LEVEL

The Below View is of the interior

lighting conditions, camera position



EXISTING CAST IRON GUTTER JOINTS TO BE SEALED WITH OIL PUTTY SELECTED PAINT TO FINISH

P e r s p e c t i v e

EXISTING BRICK AND STONE FINISH RETAINED AND RESTORED WHERE REQUIRED



EXISTING CAST IRON GUTTER JOINTS TO BE SEALED WITH OIL PUTTY SELECTED PAINT TO FINISH

windowboard projects 25mm from



W 1.02

V i e w

W 1.03

5320 5815

W 1.04

S t u d i o

dow vide



+ 45.000

ists. fillets joints

mber ong style sting

testing process. There are 14 diff

600mm. The dimensions of the BUILDING 1 1F LEVEL

sting fully neer mber and

The window jamb design shown a

all the infinite variations that may

board tegral

100 5

100 100

Depth of Jamb to Exterior Thickness of Window Frame

Depth of Jamb to Interior

15°

107

Angle of Taper to Interior Jamb

ters ong sure of

400

s to nted

The window jamb design shown the testing process. There are 14

of all the infinite variations that m constructed splayed at 15° with

external face of the wall. The th

600mm. The dimensions of the

throughout the window jamb desig

cill size, windowboard size, etc h

ash tom

windowboard projects 25mm from

V i e w

The Below View is of the interior o

lighting conditions, camera position

P e r s p e c t i v e

mber and es in

Fall

S t u d i o

Fall

window cill projects 50mm from t

F l

new ped

Depth of Jamb to Interior

30°

Refurbishment and Redevelopment of

400

g to

100 5

Depth of Jamb to Exterior Thickness of Window Frame

Part Ground Floor Plan

mber mber

C u i l i n

H o u s e

a n d

G r o u n d s .

Cuilin House, as part of the studio projects for the year, has been selected as a candidate for

elow

top

100 100

rnal ting

    

3 d

Fall

231

Angle of Taper to Interior Jamb

207

The window jamb design shown the testing process. There are 14

of all the infinite variations that m

 20mm lime render scratch coat with hemp fibres added with 15mm lime render skim coat.

Existing wall to Cuilin House consisting of approx 200mm thick Limestone exterior leaf, approx 75mm rubble filled cavity, approx 215mm brick inner leaf with new 35mm lime render finish to inner face of wall. Exterior of wall to be repointed in the style of the origional construction by a suitably trained craftsman where necessary.

EXISTING SLATE FINISH DAMAGED SLATE TO BE REPLACED WITH MATCHING APPROVED SLATE

Ex 15mm x 125mm ogee profile painted softwood timber skirting.

New DPC to window head between new timber sash window frame and existing lintel. Location of DPC to be revised if timber lintel requires replacement.

New painted timber housing for timber window shutters to be continued along internal window head to match the style and profile of remaining existing examples in Cuilin House.

63mm

New painted timber top rail of upper window sash to meet paintered timber window frame with incorporated draft excluder / weather strip. Glazing rebate to be bedded with non hardening compound (Butyl) to provide a bed of approximately 2mm between the glass and back rebate.

Existing lintel to interior of existing structural window opening to be fully investigated by a structural engineer prior to construction. Existing timber structural members to be assessed and replaced if required.

125mm

317mm

78mm

Existing rustic / buff brick soldier course forming lintel over existing structural window opening to be fully investigated by a structural engineer prior to construction. New sympathetic structural intervention to be installed if required.

New painted timber board to window head to cover lintel and to provide locking point for timber shutters.

376mm

New sash window weight system to counterbalance opening sections to be concealed in painted timber 'sash box' housing

BUILDING 1 1F LEVEL

+ 45.000

W 1.04

W 1.03

W 1.02

W 0.04

W 0.03

W 0.02

5320 5815

Existing refurbished timber floor boards on 5mm hardboard base. Interstitial gyproc plank fire board supported by metal channels with integral resilient strip over existing joists. Existing timber joists to be inspected by a structural engineer and refurbished or replaced where necessary. 100mm mineral wool infill between joists. Supalux board ceiling with supalux fillets as backing to create firestop seal at joints of boards.

275mm

Timber cavity closers to be inspected during refurbishment. If necessary new timber cavity closers to be installed. Existing rigid DPC / slate cavity closer to also be inspected / introduced during replacement (if required).

+ 48.283

1085

BUILDING 1 RIDGE LEVEL

EXISTING CAST IRON GUTTER JOINTS TO BE SEALED WITH OIL PUTTY SELECTED PAINT TO FINISH EXISTING BRICK AND STONE FINISH RETAINED AND RESTORED WHERE REQUIRED EXISTING TIMBER FRAME WINDOWS RETAINED AND RESTORED WHERE REQUIRED EXISTING STONE CILL

GROUND FLOOR LEVEL

+ 42.100

FINISHED GROUND LEVEL

+ 41.900

P a r t

F r o n t

( S o u t h )

E l e v a t i

18mm

Existing rustic / buff brick quoins surround to structural window opening

1852mm 2700mm

401mm

2957mm 2640mm

368.5mm

18mm

New painted timber housing for timber window shutters to match the style and profile of remaining existing examples in Cuilin House.

37.5mm

65.5mm

New painted timber internal windowboard to be built up from existing wall to fit to timber window frame. DPC to be installed below timber on top of existing wall.

New painted timber beading below windowboard.

75mm

35mm

New painted timber bottom rail of lower window sash to meet tapered paintered timber window frame with incorporated draft excluder / weather strip. Glazing rebate to be bedded with non hardening compound (Butyl) to provide a bed of approximately 2mm between the glass and back rebate.

New brass locking point for timber sash windows fixed to top and bottom meeting rails. 2975mm

New painted timber top and bottom meeting rail of lower and upper window sash, respectively, to meet within a high degree of accuracy with incorporated draft excluder / weather strip. Glazing rebate to be bedded with non hardening compound (Butyl) to provide a bed of approximately 2mm between the glass and back rebate.

New 'Slimlite' 12mm double glazed units. Made up of 4mm clear glass outer pane, 4mm krypton / xenon filled cavity and 4mm low emissivity inner pane.

Brass hinges to internal timber shutters to be situated at regular intervals along length of window shutters to ensure adequite support and ease of opperation.

66mm

New 'Slimlite' 12mm double glazed units. Made up of 4mm clear glass outer pane, 4mm krypton / xenon filled cavity and 4mm low emissivity inner pane.

New timber mullions to sash window to be manufactured in the style of existing windows in Cuilin House Glazing bar rebate to be bedded with non hardening compound (Butyl) to provide a bed of approximately 2mm between the glass and back rebate. Ex. 6.5mm x 6.5mm timber bead to exterior with 1mm Butyl bedding backing.

New painted timber window shutters to interior to be concealed in painted timber housing

401mm

New timber sash window to be manufactured in the style of existing windows in Cuilin House. All moldings and profiles to be replicated where possible.

Existing stone cill to be retained / reused. If possible during construction a DPC should be introduced below to prevent penetration of moisture.

Two new 50mm x 110mm timber members below new painted timber windowboard.

DPC to be installed below the new timber elements and to be wrapped around stone cill.

645mm

300mm

50mm high density insulation backing to existing stone cill. Existing wall to Cuilin House consisting of approx 200mm thick Limestone exterior leaf, approx 75mm rubble filled cavity, approx 215mm brick inner leaf with new 35mm lime render finish to inner face of wall. Exterior of wall to be repointed in the style of the origional construction by a suitably trained craftsman where necessary.

20mm lime render scratch coat with hemp fibres added to mix to create a stronger bond and a more flexible material. Surface to be raked to allow 15mm lime render skim coat to bond to it. Skim coat to have a smooth finish suitable for painting. Specialist paint of selected colour to be applied to wall surfaces.

Existing limestone plinth, 50mm proud of limestone facing of wall to be retained

F l

Refurbishment and Redevelopment of C u i l i n

H o u s e

a n d

G r o u n d s .

Cuilin House, as part of the studio projects for the year, has been selected as a candidate for redevelopment and refurbishment. It was constructed in the 1830s which is at the intersection of the Georgian and Victorian eras. The building is currently in a state of disrepair and is in need of thorough refurbishment. Some new interventions and separate freestanding structures were included in the scheme proposed by Cathal Crimmins, consulting architect. He also proposed a complete refurbishment of the existing Cuilin House building with an emphasis on conserving and emulating any existing features. The feature I chose to examine for this study

410mm

Ex 15mm x 125mm ogee profile painted softwood timber skirting.

is the refurbishment of the Georgian windows in the existing Cuilin House.

The ethos of the redevelopment includes reinstating many of the original features and details of Cuilin House. Even though the building is in poor condition some of the existing window Ground floor construction: Existing refurbished floorboards on 3mm proprietary isolating layer. Minimum 5mm expansion gap to perimeter of wood floors. 75mm concrete screed. 150mm reinforced concrete slab. 50mm high density rigid insulation to perimeter of subfloor abutting existing external walls. DPM to be turned up wall and inserted into cleaned out mortar joint at new floor level. 150mm high density rigid insulation on blinded DPM Existing subfloor surface of Cuilin House.

175mm

175mm Concrete footpath with 'Eco' drain to perimeter of building. 100mm high density insulation to be installed at perimeter of building below ground as a thermal barrier between the ground and the building

shutters, frames, mullions and glazing are present. This allowed for the examination of these existing window features and the reproduction of analogous modern versions that capture the original details and craftsmanship employed in Cuilin House. The window selected for this detail study has been blocked up using concrete blocks and all traces of the existing timber window equipment has been removed. The existing structural opening, however, is intact.

Prior to construction, there is a requirement for thorough inspections of all covered items within the existing building. All lintels, floor and ceiling joists and any other structural members should be inspected by a suitably qualified professional and recommendations made by them on the need to replace or repair these elements. They should also advise on any preservative treatment of existing timber that may be required.

The new glazing to be installed will be sympathetic to any existing glazing that may be present. Existing stone rising wall / foundation flagstones to be investigated prior to construction by structural engineer.

In the case of the window selected for this detail study, a complete new window and frame needs to be installed. As a result of this new glazing can be installed in the entire window. For windows to be refurbished that have existing glazing present care will be needed to select new glazing that will match or will be similar.

Section

A-A

Tr ough

Cuilin

House

Geor gian

Window

Ref ur bishment

Scale

1:5

208 Existing rustic / buff brick quoins surround to structural window opening

Existing wall to Cuilin House co approx 200mm thick Limeston leaf, approx 75mm rubble fill approx 215mm brick inner leaf

In the case of the window selected for this detail study, a complete new window and frame

Existing stone rising wall / foundation flagstones to be investigated prior to construction by structural engineer.

needs to be installed. As a result of this new glazing can be installed in the entire window. For

K e y department of architectural technology

windows to be refurbished that have existing glazing present care will be needed to select new glazing that will match or will be similar.

ection

A-A

Tr ough

Cuilin

House

Geor gian

Window

Ref ur bishment

Scale

Existing rustic / buff brick quoins surround to structural window opening

Timber cavity closers to be inspected during refurbishment. If necessary new timber cavity closers to be installed. DPC to be introduced during replacement

New sash window weight system to counterbalance opening sections to be concealed in painted timber 'sash box' housing

Grassed area adjacent to building

New timber sash window to be manufactured in the style of existing windows in Cuilin House. All moldings and profiles to be replicated where possible.

Surface of perimeter concrete footpath

View of Window Section Not To Scale

P 04

1:5

New 'Slimlite' 12mm double glazed units. Made up of 4mm clear glass outer pane, 4mm krypton / xenon filled cavity and 4mm low emissivity inner pane.

3d View of W Not T

New painted timber window shutters to interior to be concealed in painted timber housing

New painted timber housing for timber window shutters to match the style and profile of remaining existing examples in Cuilin House.

New painted timber internal windowboard to be built up from existing wall to fit to timber window frame. DPC to be installed below timber on top of existing wall.

Existing stone cill to be retained / reused. If possible during construction a DPC should be introduced below to prevent penetration of moisture. 50mm high density insulation backing to existing stone cill.

New painted timber beading below windowboard.

d Render of Window Not To Scale

Existing limestone plinth, 50mm proud of limestone facing of wall to be retained

3d View of W Not T

Ex 15mm x 125mm ogee profile painted softwood timber skirting.

Ground floor construction: Existing refurbished floorboards on 3mm proprietary isolating layer. Minimum 5mm expansion gap to perimeter of wood floors. 75mm concrete screed on 150mm reinforced concrete slab. 50mm high density rigid insulation to perimeter of subfloor abutting existing external walls. DPM to be turned up wall and inserted into cleaned out mortar joint at new floor level. 150mm high density rigid insulation on blinded DPM

Render of Window Cill, ame and Shutter Not To Scale

3d Render Not T

Existing stone rising wall / foundation flagstones to be investigated prior to construction by structural engineer.

Existing subfloor surface of Cuilin House.

d Render of Window azing Bars and Frame Not To Scale

S e c t i o n

A - A

T r o u g h

C u i l i n

H o u s e

G e o r g i a n

W i n d o w

R e f u r b i s h m e n t

S c a l e

New painted timber top and bottom meeting rail of window sash to meet within a hight degree of accuracy with incorporated draft excluder / weather strip. Glazing rebate to be bedded with non hardening compound (Butyl) to provide a bed of approximately 2mm between the glass and back rebate.

New brass locking point for timber sash windows fixed to top and bottom meeting rails.

New 'Slimlite' 12mm double glazed units. Made up of 4mm clear glass outer pane, 4mm krypton / xenon filled cavity and 4mm low emissivity inner pane. New painted timber internal windowboard to be built up from existing wall to fit to timber window frame. DPC to be installed below timber on top of existing wall.

New painted timber window shutters in closed position with arcs of leaf swing shown dotted 1448mm

126mm

1196mm

New painted timber housing for timber window shutters to match the style and profile of remaining existing examples in Cuilin House.

126mm 35mm

New painted timber beading surrounding timber housing for shutters

24°

242mm

250mm

New painted timber window shutters to interior to be concealed in painted timber housing

Timber cavity closers to be inspected during refurbishment. If necessary new timber cavity closers to be installed. DPC to be introduced during replacement (if required).

156mm

New timber sash window to be manufactured in the style of existing windows in Cuilin House. All moldings and profiles to be replicated where possible.

200mm

37mm 60mm

New sash window weight system to counterbalance opening sections to be concealed in painted timber 'sash box' housing.DPC to be installed between new sash box and existing wall.

75.5mm

65mm 25mm

250mm

525.5mm

215mm

287.5mm

Brass hinges to internal timber shutters to be situated at regular intervals along length of window shutters to ensure adequite support and ease of opperation.

3d Render o Frame an Not T

1 : 5

Existing rustic / buff brick quoins surround to structural window opening

Existing stone cill to be retained / reused. If possible during construction a DPC should be introduced below to prevent penetration of moisture.

 

P l a n

215mm

B - B

T r o u g h

C u i l i n

980mm

H o u s e

G e o r g i a n

215mm

W i n d o w

R e f u r b i s h m e n t

S c a l e

1 : 5

 209

s n o i

m i

Window Cill

Scale: 1:20

107

b m a

10%

Area of Direct Opposition to window aperature

Area of Partial Illumination (Increasing Obstruction) Area with No Direct Light (Dependant on Reflected Light) Line of limit of direct lighting (dependant on reflected light)

Line of Internal Jamb Obstruction

The angles of all the relevant lines and the angle values they give can be

different jamb types studied. The diagram above shows these lines for Jamb Type 02a and the table above gives the numerical values.

not represent the vertical angles of penetration.

02a have been produced using 3d Studio Max This program also gives

3 d

tabulated values that can be averaged and compared. (as shown below)

100

Width of Window Opening 1400 1300

150

n o

Depth of Jamb to Exterior

The physical model with with Insert 02b (representing Jamb Type 02b)

Exterior 100 50

has been used to produce the images as shown to the right. The model 50 100

consists of a timber box structure with an open side with a receptacle for inserts of scale reproductions of each jamb type to be tested. The Window Cill

V i e w Side View - Grid 02

10%

lig

S t u d i o

at each point. The diagrams also only show the horizontal plane and does

False colour images (right) showing the Daylight Factor for Jamb Type

210

P e r s p e c t i v e Plan View - Grid 01

Note: The diagram does not give an indication of the intensity of the light

D a y l i g h t

S t u d i o

L i g h t

compared for the dispersal of daylighting within the room with all the

F a c t o r

Line of External Jamb Obstruction Line of Direct opposite lighting

P e r s p e c t i v e

Area of Oblique Illumination (Limited Obstruction)

Total Angle 11° 20.5° 24.5° 33° 12°

Range 90° - 101° 69.5° - 90° 45° - 69.5° 12° - 45° 0° - 12°

G r i d

Description Angle of External Jamb Obstruction to Direct Opposition Area of Direct Opposition Area of Oblique Illumination (Limited Obstruction) Area of Partial Illumination (Increasing Obstruction ) Area with No Direct Light (Dependant on Reflected Light)

J n

I m a g e s

90°

m a g e s

P e r s p e c t i v e

lighting conditions, camera position, etc. have been kept constant for each image produced.

° 60

a J

windowboard projects 25mm from the wall and continues 50mm past the interior jamb.

V i e w

window cill projects 50mm from the wall and continues 100mm past the exterior jamb. The

throughout the window jamb designs above. The size of the window frame size, glazing area, cill size, windowboard size, etc have been kept consistent within the specific designs. The

A n g l e

600mm. The dimensions of the structural window opening have been kept constant

O b s t a c l e

external face of the wall. The thickness of the wall in which the test windows occur is

V i e w P e r s p e c t i v e S t u d i o

3 d

of all the infinite variations that may exist. This window jamb has internal jambs that are constructed splayed at 15° with the window frame and glazing situated 100mm from the

The Below View is of the interior of the test room with Jamb Type 02a included. All materials,



B o x 30

The window jamb design shown above has been designated as window jamb type 02a for the testing process. There are 14 different variations of window jamb providing a sample set

1400

Interior of Building

107

0°

50 Angle of Taper to Interior Jamb

600

Window Board

Side View - Grid 02

15°

V i e w

through apertures incorporated into the box frame.

D i a g r a m s

425

400

Depth of Jamb to Interior

Window Frame

preliminary images produced (right) have been taken by a camera Depth of External Wall

Glazing

consists of a timber box structure with an open side with a receptacle for inserts of scale reproductions of each jamb type to be tested. The

40 40 150

100 100

Depth of Jamb to Exterior Thickness of Window Frame

The physical model with with Insert 02a (representing Jamb Type 02a) has been used to produce the images as shown to the right. The model 50 100

Exterior

0°

              

3 d



tabulated values that can be averaged and compared. (as shown below)

lig



have been produced using 3d Studio Max. This program also gives

not represent the vertical angles of penetration.

D a y l i g h t

at each point. The diagrams also only show the horizontal plane and does

False colour images (right) showing the Daylight Factor for Jamb Type 01

Width of Window Opening 1400 1300

P e r s p e c t i v e Plan View - Grid 01

Jamb Type 01 and the table above gives the numerical values. Note: The diagram does not give an indication of the intensity of the light

I m a g e s

L i g h t

 

S t u d i o

different jamb types studied. The diagram above shows these lines for

Line of Internal Jamb Obstruction

Line of Direct opposite lighting

F a c t o r

Line of External Jamb Obstruction

The angles of all the relevant lines and the angle values they give can be

Area with No Direct Light (Dependant on Reflected Light)

V i e w

Area of Partial Illumination (Increasing Obstruction)

Line of limit of direct lighting (dependant on reflected light)

              

Area of Oblique Illumination (Limited Obstruction)

compared for the dispersal of daylighting within the room with all the

100 50

I m a g e s

Area of Direct Opposition to window aperature

G r i d

D N

Range Total Angle 90° - 101° 11° 69.5° - 90° 20.5° 61° - 69.5° 8.5° 14.5° - 61° 46.5° 0° - 14.5° 14.5°

M o d e l



P e r s p e c t i v e

Description Angle of External Jamb Obstruction to Direct Opposition Area of Direct Opposition Area of Oblique Illumination (Limited Obstruction) Area of Partial Illumination (Increasing Obstruction) Area with No Direct Light (Dependant on Reflected Light)

lighting conditions, camera position, etc. have been kept constant for each image produced.



V i e w

The Below View is of the interior of the test room with Jamb Type 01 included. All materials,

90°

windowboard projects 25mm from the wall and continues 50mm past the interior jamb.



window cill projects 50mm from the wall and continues 100mm past the exterior jamb. The

cill size, windowboard size, etc have been kept consistent within the specific designs. The



throughout the window jamb designs above. The size of the window frame size, glazing area,

A n g l e

the external face of the wall. The thickness of the wall in which the test windows occur is

O b s t a c l e



that are constructed square (at 90°) with the window frame and glazing situated 100mm from

3 d

all the infinite variations that may exist. This window jamb has internal and external jambs

600mm. The dimensions of the structural window opening have been kept constant

B o x



testing process. There are 14 different variations of window jamb providing a sample set of



Scale: 1:20

The window jamb design shown above has been designated as window jamb type 01 for the

Interior of Building

0°

M o d e l

1400

0°



Window Board

Depth of External Wall

Window Frame

425

400

600



Depth of Jamb to Interior

preliminary images produced (right) have been taken by a camera through apertures incorporated into the box frame.

Glazing

Window Cill

             

inserts of scale reproductions of each jamb type to be tested. The

40 40 150

100 100

consists of a timber box structure with an open side with a receptacle for

I m a g e s

been used to produce the images as shown to the right. The model 50 100

D i a g r a m s



n o



Depth of Jamb to Exterior Thickness of Window Frame

Width of Window Opening 1400 1300

The physical model with with Insert 01 (representing Jamb Type 01) has

Exterior 100 50

Scale: 1:20

The window jamb design shown above has been designated as window jamb type 02c for the testing process. There are 14 different variations of window jamb providing a sample set

I m a g e s

V i e w P e r s p e c t i v e S t u d i o

10%

n o

B o x

Area of Partial Illumination (Increasing Obstruction) Area with No Direct Light (Dependant on Reflected Light) Line of limit of direct lighting (dependant on reflected light)

Line of Direct opposite lighting Line of Internal Jamb Obstruction

The angles of all the relevant lines and the angle values they give can be

Jamb Type 02c and the table above gives the numerical values.

not represent the vertical angles of penetration.

3 d

tabulated values that can be averaged and compared. (as shown below)

s 00

150



Depth of Jamb

The physical model with with Insert 02d (representing Jamb Type 02d) has been used to produce the images as shown to the right. The model 50 100

consists of a timber box structure with an open side with a receptacle for inserts of scale reproductions of each jamb type to be tested. The Window Cill

b m a

V i e w Side View - Grid 02

S t u d i o

at each point. The diagrams also only show the horizontal plane and does

02c have been produced using 3d Studio Max This program also gives

Exterior

P e r s p e c t i v e Plan View - Grid 01

Note: The diagram does not give an indication of the intensity of the light

D a y l i g h t

L i g h t

S t u d i o

different jamb types studied. The diagram above shows these lines for

F a c t o r

Line of External Jamb Obstruction

False colour images (right) showing the Daylight Factor for Jamb Type

Width of Window Opening 1400 1300

P e r s p e c t i v e

Area of Oblique Illumination (Limited Obstruction)

V i e w

Area of Direct Opposition to window aperature

compared for the dispersal of daylighting within the room with all the

100 50

Total Angle 11° 20.5° 50.5° 11.5° 7.5°

G r i d

D N

Range 90° - 101° 69.5° - 90° 19° - 69.5° 7.5° - 19° 0° - 7.5°

a g e s

P e r s p e c t i v e

lighting conditions, camera position, etc. have been kept constant for each image produced.

The Below View is of the interior of the test room with Jamb Type 02c included. All materials,

90°

windowboard projects 25mm from the wall and continues 50mm past the interior jamb.

V i e w

window cill projects 50mm from the wall and continues 100mm past the exterior jamb. The

cill size, windowboard size, etc have been kept consistent within the specific designs. The

throughout the window jamb designs above. The size of the window frame size, glazing area,

A n g l e

600mm. The dimensions of the structural window opening have been kept constant

O b s t a c l e

external face of the wall. The thickness of the wall in which the test windows occur is

I m a g e s

of all the infinite variations that may exist. This window jamb has internal jambs that are constructed splayed at 45° with the window frame and glazing situated 100mm from the

3 d

Interior of Building

Angle of Taper to Interior Jamb

400

1400

0°

400

45°

Window Board

through apertures incorporated into the box frame.

D i a g r a m s

425

400

Depth of Jamb to Interior

preliminary images produced (right) have been taken by a camera

600

Glazing Window Frame

Depth of External Wall

100 100

40 40 150

inserts of scale reproductions of each jamb type to be tested. The Window Cill

Side View - Grid 02

3 d s n o Depth of Jamb to Exterior Thickness of Window Frame

consists of a timber box structure with an open side with a receptacle for

V i e w

not represent the vertical angles of penetration.

D a y l i g h t

at each point. The diagrams also only show the horizontal plane and does

has been used to produce the images as shown to the right. The model 50 100

P e r s p e c t i v e Plan View - Grid 01

              

Jamb Type 02b and the table above gives the numerical values. Note: The diagram does not give an indication of the intensity of the light

I m a g e s

L i g h t

S t u d i o

different jamb types studied. The diagram above shows these lines for

The physical model with with Insert 02c (representing Jamb Type 02c)

Exterior Width of Window Opening 1400 1300



e m i

10%

211

3 d

Line of Internal Jamb Obstruction

The angles of all the relevant lines and the angle values they give can be

F a c t o r

Line of Direct opposite lighting

tabulated values that can be averaged and compared. (as shown below)

100 50

3 d s n o i

Line of External Jamb Obstruction

02b have been produced using 3d Studio Max This program also gives

Area with No Direct Light (Dependant on Reflected Light) Line of limit of direct lighting (dependant on reflected light)

False colour images (right) showing the Daylight Factor for Jamb Type



Area of Partial Illumination (Increasing Obstruction)

compared for the dispersal of daylighting within the room with all the

i D

B o x Area of Oblique Illumination (Limited Obstruction)

Area of Direct Opposition to window aperature

G r i d

D N

Range Total Angle 90° - 101° 11° 69.5° - 90° 20.5° 31.5° - 69.5° 38° 10.5° - 31.5° 21° 0° - 10.5° 10.5°

0°

              

M o d e l

P e r s p e c t i v e

lighting conditions, camera position, etc. have been kept constant for each image produced.

90°

windowboard projects 25mm from the wall and continues 50mm past the interior jamb.

V i e w

window cill projects 50mm from the wall and continues 100mm past the exterior jamb. The

cill size, windowboard size, etc have been kept consistent within the specific designs. The

throughout the window jamb designs above. The size of the window frame size, glazing area,

600mm. The dimensions of the structural window opening have been kept constant

A n g l e

external face of the wall. The thickness of the wall in which the test windows occur is

The Below View is of the interior of the test room with Jamb Type 02b included. All materials,

of all the infinite variations that may exist. This window jamb has internal jambs that are constructed splayed at 30° with the window frame and glazing situated 100mm from the

O b s t a c l e

D b

the testing process. There are 14 different variations of window jamb providing a sample set

Scale: 1:20

The window jamb design shown above has been designated as window jamb type 02b for

Interior of Building

Angle of Taper to Interior Jamb

231

M o d e l

1400

0°

600

Window Board

231

through apertures incorporated into the box frame.

D i a g r a m s

30°

Depth of External Wall

425

Window Frame

400

Glazing

Depth of Jamb to Interior

40 40 150

100 100

preliminary images produced (right) have been taken by a camera

10%

consists of a timber box structure with an open side with a receptacle for inserts of scale reproductions of each jamb type to be tested. The Window Cill

              

D a has been used to produce the images as shown to the right. The model 50 100

2% 3% 5% 6% 7% 8% department of 4% architectural technology

I m a g e s



3 d s n o i

Depth of Jamb to Exterior Thickness of Window Frame

Width of Window Opening 1400 1300

0°

              

The physical model with with Insert 02b (representing Jamb Type 02b)

Exterior 100 50

An Investigation of Breathability and Building Performance of Traditional Buildings Aine Crimin This project is an investigation of the breathability and building performance of traditional buildings. Three different types of solid masonry walls were investigated to evaluate the effect of upgrading these walls in a Protected Structure and their impact on its lifespan. WUFI Pro 5.1 software was chosen to carry out the analysis of the breathability of the wall types. The movement of moisture at solid masonry wall and floor junctions were also investigated. The research has shown that the correct selection of materials when refurbishing traditional buildings, can have a significant impact on extending the use and lifespan of the building.

212

area, with a ). These are which displays ional seating serving area the back of ide seating is area.

department of architectural technology

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

ARKET

hidden from arks are also ark itself has a articularly the is inclusive of ere the main ars uninviting. the effect of nd making it

Existing exterior fabric of building consisting of brick and limestone

Sand/Cement render painted as external finish

Proposed Zinc roof on new-build extension to Building 1

Steel "I" beams make up the structure of the roof

ian building, 200 acres of dilaun estate is typical of a ourtyard with West and the City Council ed in 2006 to visual artists vide an area ervation work as the main hment works

nd only using able

Timber cill used internally

FIRE ESCAPE STAIRS

COURTYARD

SECOND FLOOR PLAN

n the existing uch as glass

EXISTING TO BE DEMOLISHED & PROPOSED

SECTIO

ROOF PLAN

REDEVELOPM

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

"The concept decided on for Cuilin House is to restore it to it's original use as a place of public education associated with horticulture. The proposal aims to restore, conserve and adapt the existing structure with minimal interventions used to improve the performance of the building to allow use into the future, to improve circulation and facilitate universal access. These inventions have been designed to contrast with, but complement, the historic structure and parkland setting" - Alice Bentley, Consultant Architect, Kevin Blackwood & Associates

SE N

GROUND FLOOR PLAN

213

5 mm Extruded Aluminium capping with polyester powder coating at 1200mm centres with drip-plate underneath junctions

Existing exterior fabric of building consisting of brick and limestone

100x215x440 Concrete Block used to form external rainscreen

Sand/Cement render painted as external finish Removable ceiling tiles used in suspended ceiling system

Proposed Zinc roof on new-build extension to Building 1

Extruded Aluminim curtain wall profiles used in pressure-equalized, externally glazed stick system Steel "I" beams make up the structure of the roof

Timber cill used internally 8mm Laminated Glass with a low E coating as external layer and 8mm heat toughened glass as internal layer. Argon used as insulating gas.

SECTION SHOWING PROPOSED MATERIALS

Since 1st January 2007 Sustainable Energy Authority of Ireland (SEAI) in conjunction with an EU directive requires that all new homes built, be tested and certified with a building energy rating. From the 1st January 2009 all non-domestic properties offered for sale or rent require a building energy rating certificate. From 1st January 2009 all homeowners who are looking to sell or rent their properties will also require a building energy rating certificate. A large proportion of Ireland's energy consumption is utilised in houses and buildings. Windows are generally regarded as the weak points of a building and the SEAI estimate that heat loss in a typical domestic house through windows is on average around 15%. Heat loss through gaps around windows and doors attribute to a further average of 25% of its heat loss. From this we can see the importance in the refurbishment and improvement of the thermal efficiency of timber sash windows in historic buildings. The refurbishment of historic buildings is an important part of our heritage. As energy prices continue to increase it is important that we take measures to restore historic buildings and make them more energy efficient. Merging modern technologies with historic buildings in order to improve the energy efficiency is a great challenge.

214

Parting Bead

CASE STUDY - SMALL CAFE PHOENIX PARK TEA ROOM

Cuilin House, located in Hampstead Park, Dublin 9, is a four-bay detached house comprising of two storeys, which forms the South-West corner of the former Glasnevin Model-farm House, part of the Albert Agricultural College, which was built in 1838. The house along with the adjoining farm buildings are protected structures (RPS Ref. Number 489). Within the zoning of the park, it lies under Zone 9: To preserve, provide and improve recreational amenities and open space/green networks.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

added to the sides of the changing rooms, allowing access only to the room which you have the key for, addressing the problems of security and confidence of leaving possessions behind. There has also been the addition of individual lockers for each changing space providing additional security.

The team have looked to improve the thermal properties of the building by using an external insulation system with a rendered finish. Member of Unit 4, Brian McLoughlin is an established expert in the field of external insulation and has carried out tests showing the predicted U-value to be....... which is well within the current Irish standards of...... This will provide users with a warm and welcoming place to shower and change after use of the park.

Marley Park, much like Hampstead Park is hidden from the main road by the tree line, the two parks are alsoThe ventilation strategy was also looked similar in what they aim to achieve. The park itself has aat with a view to both improving the strong relationship with its surroundings particularly thecurrent conditions which users had 100x215x440 Concrete patches, and is inclusive ofcomplained about, and incorporating main building and vegetable Block usedfrom to form the public. This differs Cuilin House where the mainnatural ventilation into the building. The house is cutexternal off fromrainscreen the public and appears uninviting.far right image shows the ventilation Creating a farmer's market would have the effect ofpath from the South-West of the introducing the public to the building and making itbuilding while the right image shows the full ventilation strategy. more accessible.

The solution devised by the Board was to develop "an extensive policy of teaching agriculture in schools" which was supplemented by "the establishment of model schools with farms attached, and the equipment of certain other rural schools with gardens or small pieces of land. These schools were designed to serve the double purpose, of educating people in agriculture to provide them with the means to earn a livelihood, and to train the existing teachers of the educational system in Ireland, who had little or no educational background concerning agriculture, in the vocation of agriculture.

Removable ceiling tiles used in suspended ceiling system

CASE STUDY - CONSERVATION RED STABLES STUDIOS

GLASNEVIN MODEL FARM

The Red Stables is a two storey Victorian building, located in St. Anne's Park, Dublin 3 on 200 acres of parkland which was originally part of the Ardilaun estate owned by the Guinness family from 1835. It is typical of a Extruded Aluminim Victorian Sussex style stables, laid out as a courtyard with curtain wall profiles used the stables to the South East and South West and the in pressure-equalized, coach house to glazed the North externally stick East. Dublin City Council acquired the building in 1939. It was opened in 2006 to system provide a working space and support to visual artists creating contemporary art and also to provide an area for them to interact with the public. Conservation work was carried out with "minimal intervention" as the main intent, much like Cuilin House. Refurbishment works included:  Replacing damaged building fabric and only using matching new materials when unavoidable  New kitchen and tea room  New extension has minimal impact on the existing structure by using modern materials such as glass and stainless steel.

In 1838, Glasnevin Model Farm was set up, with Cuilin House functioning as the residential wing of the development. It's primary purpose was to serve Marlborough Street and provide an area for its teachers in training to carry out practical lessons. However "from the ouset, a number of young men other than the teachers-in-training were accepted annually as pupils, and in time, it became the principal agricultural college in the country.

The farm was enlarged in 1847 from 40 acres to approx 100 acres to provide for the increasing number of students boarding, lodging and training with the college.

cill used internally

Aluminium capping with polyester powder coating at 1200mm centres with drip-plate underneath junctions

CASE STUDY - FARMER'S MARKET MARLEY PARK MARKET

In 1831, The Board of National Education was set up and entrusted with the task of establishing a newly authorised system of national primary and secondary education in Ireland. The immediate concern of the Board related to the standard of elementary education available for the children of the rural community whose "only hope of obtaining a livelihood lay in the cultivation of the land". This problem was further exacerbated by the outdated methods of farming practiced in these areas and the comparative poverty of a large percentage of the Irish farming class.

beams make up cture of the roof

design.

The Tea Room houses a small seating area, with a capacity of approx. 32 (8 tables of 4). These are The old changing rooms are to be demolished and in their place, arranged around the central serving area which displaysan open paved area leading to the new changing rooms, to the cake stands and fridges. There is additional seatingcombat the intimidation felt by users previously. The new changing in the form of a bar counter around the serving arearooms themselves will be situated further back than before, in the and high stools. The kitchen is contained in the back ofback courtyard of Cuilin House but will have easy access to the the building, behind the serving area. Outside seating ispaths linking the park on the North and West sides. An open-brick 5 mm Extruded covered walkway with lockable gates at either end has been provided with park benches in a fenced in area.

BOARD OF NATIONAL EDUCATION

ed Zinc roof on ild extension to 1

The previous changing rooms serving Hampstead Park were

The Phoenix Park Tea Room is situated beside the outdated and underused by the park's many patrons. This was due zoological gardens in Arbour Hill, Dublin 8. The main largely to the thermal properties of the building, the quality of the building is octagonal in shape with small extensions tofacilities and the issue of security, both personal safety when the rear. Surrounded by parkland and different species walking to the changing rooms and access to keys for regular of tree. users. Unit 4 have tried to address these issues with their new

BACKGROUND

d/Cement render d as external finish

STATE OF THE ART CHANGING FACILITIES

Part of the initial work Unit 4 did to assist the consultant architects in their design work was to investigate similar buildings, both in construction and use, to get a better understanding of what works in practice.

The decision to approach this project with the concept of minimal intervention allowed Unit 4 and their consultant architects, Kevin Blackwood & Associates, to look into the building's history for direction. It was felt that the unique personality of the building would be best preserved by restoring it as closely as possible to its original state and purpose while also supplementing this with sensitive and delicate touches of modern technology to ensure that the building is in use well into the future. Many of the groups early meetings with the architects circled around discussions of which materials would be compatible for use when joining new and old construction and means of thermally upgrading historic windows without unnecessary intrusion as well as the design history of the building. To educate ourselves and to provide the necessary information to our architects, Unit 4 prepared an historical report on the building and its placement within the greater Glasnevin region.

exterior fabric of consisting of nd limestone

"...In order to supply demand for persons qualified to conduct farms and agricultural schools, we have resolved upon increasing from 12 to 24 the number of agricultural pupils who compose the free class, at our Model Farm, Glasnevin..."

During this enlargement, a two storey extension was added to the North of Cuilin House with the ground floor used as a dining room and pantry while the first floor served as a dormitory. It is thought that a second extension to the East of Cuilin House comprising of a pantry and bedroom was constructed around this time also due to the similarities in finish between it and the North extension, however there is no documented evidence of the date of construction.

8mm Laminated Glass with a low E coating as external layer and 8mm heat toughened glass as internal layer. Argon used as insulating gas.

PARK TO BE SERVED BY NEW CAFE

What better way to unwind after a match or a run in the park than to take a break at the new cafe located in the original Cuilin House building. The cafe aims to attract trade from the park itself and from its proximity to the Ballymun Road. It is envisaged as more of a seasonal venture for the development, with the cafe operating at a much smaller capacity during the colder months to serve the students and staff, and growing in size to include outdoor seating on the timber decking to the front of the building during the summer. The cafe is served by a small kitchen and set of WC's which have been added in an element of new construction to the East of the original Cuilin House. The space for the cafe was created by the team by the removal of the walls surrounding the central fireplace to allow the joining of two smaller, previously unused rooms into a single larger space.

ECTION SHOWING PROPOSED MATERIALS ALBERT AGRICULTURAL COLLEGE

In 1851, new buildings were erected to the North of the Model Farm housing 100 students and becoming the focus of the establishment. This building is still part of DCU today. "In 1853 occurred a visit which had important results for the institution. On the occasion of Queen Victoria's visit to the Dublin Exhibiition, the Prince Consort, H.R.H Prince Albert, visited Glasnevin, which hence-forth, by his approval, adopted the name "Albert"...The name Albert National Training Institution, first appears at this time..."

The popularity of the College continued to grow into the 1860's, however pressure was put on the Board to discontinue support of "workhouse schools" and in 1874, it stopped all funding to model farms around Ireland. All but Albert College were forced to close. The College at this point was focusing on experimentation, with new crop varieties, farming methods and breeds of livestock being cultivated. In 1890, the College pioneered the use in Ireland of a French method of treating fungal infection which turned out to be the first successful treatment for potato blight. Circa 1920, some additional alterations took place to Cuilin House with the original entrance being removed and replaced by the current front porch and a small two storey extension was made to the South end of the building.

Parting Bead Pulley Stile

Outer Lining

Glazing Bar Folding Shutter

Inner Lining Pulley

Staff Bead

CLOSURE OF THE COLLEGE

In 1926, a Faculty of Agriculture was set up at UCD, and the Albert Agricultural College and the Royal College of Science for Ireland were both taken over under the University Education Act of 1926 (Agriculture & Dairy Science). By 1936, the ordnance survey map showed the problems faced by the College in remaining viable. "The rise of new built-up areas all around Albert College Farm made it less attractive and useful for educational purposes and it became apparent that sooner or later, the faculty would have to move to fresh woods and pastures new"

In 1979, the Faculty of General Agriculture's new building at Belfield was opened and the Albert Agricultural site was finally closed.

Sash Cord Meeting Rail Sash Stile

Sash Weight

EPILOGUE

The building continue to operate as a community centre for an indeterminate amount of time during which the pig shelter was demolished and replaced with the current gateway leading into the main courtyard. The buildings are now in use by Dublin City Council as the Parks Department Depot. The ground floor of Building 3 functions as a break room and Building 4 is used for storage. The other buildings, including Cuilin House itself, have fallen into disuse. It is envisaged however, that DCC will retain a use in the building after any development.

CONTEXT MAP SASH WINDOWS

RESTORED TO ITS ORIGINAL INTENT - EDUCATION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

HISTORY & HERITAGE CUILIN HOUSE

INTRODUCTION

PROPOSED INTERVENTIONS

PRECEDENTS FOR DESIGN

department of architectural technology

The original Cuilin House was an auxiliary building to the first agricultural school in Ireland and Unit 4 believe this part of the building's heritage is worth protecting and restoring. Several areas of the old building are proposed to be renovated into fully functional classrooms equipped with the latest technology, while the ground floor of Building 2 will become workshops for the students to gain practical experience in aspects of agriculture.

The biggest change to the building structure occurs to provide a better teaching space in a previously unused part of the building. The intermediate first floor in Building 3 is to be removed and the building itself restored to N become the main lecture theatre for the school. The roof beams of Building 3 will be restored and left uncovered , providing the students with a dramatic environment in which to learn.

IMPROVED CIRCULATION THROUGHOUT BUILDING The crux of the concept put forward by Kevin Blackwood & Assoc., the consulting architects to this scheme, was the idea that circulation is the key to a building succeeding. Circulatory space is often neglected in architectural programs as an after thought or merely a standard that has to be met. However circulation spaces bring much more to a building than access, these are the spaces in which people meet and socialise, particularly in a school building. It was felt that if the circulation spaces were prioritised, it would result in a richer experience, both in design and construction by the team and by the eventual users. One of the first ideas put forward for improvement of the circulation spaces was the removal of several new build elements to the East of the building which were cluttering the space and breaking it down to unusable corridors. It is proposed that these be replaced by an open stairs and lift lobby which opens out onto the main courtyard through a glazed curtain wall. This amalgamation of several smaller areas into a single core for the building will provide users with a focus point, and will be critical in compliance with Part B; Fire Safety, of the Technical Guidance Documents.

GROUND FLOOR PLAN

215

216

department of architectural technology

217

Analysis Of The Effects Of Upgrading A Building Olivia Golden A comparative study looking at the operational energy savings made through the retro-fit of an existing building and comparing it to the embodied energy lost within a cradle-to-gate boundary. Four retro fit options were created; two meet the existing Irish Building standards and two meet improved U-values in anticipation of future higher standards. For each standard the research looks at a retrofit option using materials with high embodied energy against an option using materials with low embodied energy. The ICE database is the single resource used in gathering the embodied energy figures. Operational energy is calculated using the Non domestic Energy Assessment Procedure (NEAP) and projected over a 50 year life span. Through the case study it was found that the energy savings made in operation far outweigh the embodied energy lost in manufacturing. Additional energy reductions were also made through the selection of materials. In this case study the embodied energy was reduced by an average of 32% by choosing materials with low embodied energy over high embodied energy. The research also highlights that embodied energy is a growing concern as the increased U-values in the future will lead to more materials use and higher embodied energy use.

218

department of architectural technology

219

Roof Existing slate tiles to be removed and reused on 25x44mm timber battens on Sarking felt on 200x44mm joists with 150mm Insulation 100mm rigid polyrethane insulation adhesive fixed to joists Vabour control layer 12.5mm with skim finish Cast ironplasterboard gutters

Natural slate tiles on 44 x 25 timber battens on 100 x 44 timber rafters

PVC drain

Timber eaves detail 25mm air gap

2725

790

04 03

860

01 10

1020

15mm external render on 300mm poured concrete wall 12.5 mm internal plaster

985

Concrete floor to be retained

170

120x25mm timber skirting 170

170

170 concrete floor slab to be retained

170 concrete floor slab to be removed 170

4500

Steel bracing to be specified by structural engineer

4500

1610

915

2250

790

860

Cold wall construction 12.5 Plasterboard with skim finish on Vapour barrier 80mm Polurethane Insulation 25mm service cavity with 25x44mm timber battens fixed to Existing 300mm concrete wall

Dashed line indicates existing concrete floor to be removed

Cast iron windows with single glazing

2290

900

820

Proposed Windows Alu-clad windows Double glazing with 16mm argon filled cavity External aluminium cill Timber window board on Vapour barrier 25mm polyurethane insulation

Concrete formed cill

2300

Existing slate dpc

360

460

Concrete ground slab

External Paving 500x500x50mm stone paving slabs on 50mm sand cement bedding on 150mm compressed earth on 300mm hardcore

2300 1900

2260

150

Depth of foundations to be confirmed

460

935

770

Floor 200x25mm european oak floor boards on 60mm concrete screed on Vapour control membrane on 100mm polurethane insulation on existing concrete floor slab

SECTION B-B scale 1:100 SECTION A-A OPTION A - EXISTING scale 1:20

DEAP Calculations

5350

16915

Energy Value

283.76 kWh/m2/ yr

CO2 Emissions Indicator

57.91 CO2/ m2/yr

SECTION A-A OPTION B - INTERNAL INSULATION scale 1:20

DEAP Calculations Energy Value

164.48 kWh/m2/ yr

CO2 Emissions Indicator

33.48 CO2/ m2/yr

SECTION A-A OPT scale 1:20

DEAP Calculations Energy Value CO2 Emissions Indicator

15mm external render on 300mm poured concrete wall 12.5 mm internal plaster

Cast iron windows with single glazing

Alu-clad windows Double glazing with 16mm argon filled cavity

900

EXTERNAL

PLAN OPTION A - EXISTING scale 1:20

EAST ELEVATION scale 1:100

220

Warm wall construction 12.5mm plasterboard with skim finish fi 25x44mm timber battens on existing con 100mm rigid polyuretane insulation adhe Reinforcing mesh Render base coat Render finishing coat

INTERNAL

330

INTERNAL

Cold wall construction 12.5 Plasterboard with skim finish on Vapour barrier 80mm Polurethane Insulation 25mm service cavity with 25x44mm timber battens fixed to Existing 300mm concrete wall

450

KEY PLAN scale 1:100

930

EXTERNAL

PLAN OPTION B - INTERNAL INSULATION scale 1:20

PLAN OPTION C - EXTERNAL scale 1:20

department of architectural technology DETAIL A - EXISTING BUILDING U-Value Wall

be removed and reused

ens on

ane insulation adhesive

with skim finish

Roof Existing slate tiles to be removed and reused on 25x44mm timber battens on Sarking felt on 200x44mm rafters with 100mm foamglass insulation between rafters 100mm foamglass insulation adhesive fixed to joists 12.5mm plasterboard with skim finish Cast iron gutter

Cast iron gutters

Materials

Thickness (M)

Conductivity

Resistance

Ext. Surface Render Concrete Wall Int. Plaster Int Render

0.015 0.300 0.015

0.57 2.00 0.43

0.040 0.035 0.150 0.330 0.130

Total Resistance= 0.685

Total Wall U Value = 1.46 W/m2K U-Value Floor

Timber eaves detail

Timber eaves detail 25mm air gap

25mm air gap

Materials

Thickness (M)

Conductivity

Resistance

Ext. Surface Rse Concrete Floor Int Render Rsi

0.250

2.00

0.040 0.125 0.170

Total Resistance = 0.335 P/A Ratio = 0.5 dt = 0.753 Thermal Conductivity of unfrozen ground = 2.0

850

2725

800

2725

Total Floor U-Value = 1.65 W/m2K U-Value Roof Timber frame pitched roof with slate tiles. No insulation.

Total Floor U-Value = 2.3 W/m2K

DETAIL B- WALL OPTION B INTERNAL INSULATION 990

1000

U-Value Wall Materials

Concrete floor to be retained 120x25mm timber skirting

Ext. Surface Render Concrete Wall Cavity Polurethane Ins. Int. Plaster Int Surface

170

Concrete floor to be retained 120x25mm timber skirting 170

etained

rting

Thickness (M)

Conductivity

0.015 0.300

0.57 2.00

0.080 0.015

0.025 0.43

Resistance 0.040 0.035 0.150 0.180 3.200 0.330 0.130

Total Resistance= 4.065 Warm wall construction 12.5mm plasterboard with skim finish fixed to 25x44mm timber battens on existing concrete wall 100mm rigid foamglass insulation adhesively fixed Reinforcing mesh Render base coat Render finishing coat

Warm wall construction 12.5mm plasterboard with skim finish fixed to 25x44mm timber battens on existing concrete wall 100mm rigid polyuretane insulation adhesively fixed Reinforcing mesh Render base coat Render finishing coat

skim finish on

Total Wall U Value = 0.25 W/m2K U-Value Floor

790

850

sulation with ens fixed to rete wall

Materials

Thickness (M)

Conductivity

Resistance

Ext. Surface Rse Concrete Floor Polyurethane Ins Concrete Screed Timber Floor Int Render Rsi

0.250 0.08 0.060 0.025

2.00 0.025 0.41 0.18

0.040 0.125 4.800 1.460 0.138 0.170

Total Resistance = 5.133 P/A Ratio = 0.5 dt = 0.455 Thermal Conductivity of unfrozen ground = 2.0

Alluminium cill

Render cill

Total Floor U-Value = 0.16 W/m2K U-Value Roof

Steel bracing to be specified by structural engineer

4500

existing concrete

Steel bracing to be specified by structural engineer

820

Dashed line indicates existing concrete floor to be removed

6mm argon filled cavity ll

d on

Best Res

Worst Res

0.040 0.005 0.180 3.750 4.000 0.034 0.130

1.530 4.000 0.034 0.130

Total Resistance= 8.139

5.739

Thickness

Cond.

0.015

2.2

0.150 0.100 0.015

0.04 0.025 0.43

0.040 0.005

Best : Worst = 0.88 : 0.12 Average Resistance = 7.75 Total U-Value of Wall = 0.13 W/m2K

25mm rigid polyurethane insulation

Proposed Windows Alu-clad windows Double glazing with 16mm argon filled cavity

Proposed Windows Alu-clad windows Triple glazing with 20mm argon filled cavity

890

cified by

Ext. Surface Slate Tile Cavity/ Batten Insulation Quilt/ Rafter Polyurethane Ins Int. Plaster Int Render

1550

1610

Materials

4525

Timber window board on 25x44mm timber battens Timber packing

Timber window board on

nsulation

oak floor boards on on rane on nsulation on slab

Floor 200x25mm european oak floor boards on 60mm concrete screed on Vapour control membrane on 100mm polurethane insulation on existing concrete floor slab

Floor 200x25mm european oak floor boards on 60mm concrete screed on 100mm foamglass insulation on existing concrete floor slab

DETAIL C- WALL OPTION C EXTERNAL INSULATION

paving slabs on dding on arth on 460

Waterproofing membrane Protective coating and flashing 100mm polurethane insulation

760

External Paving 500x500x50mm stone paving slabs on 50mm sand cement bedding on 150mm compressed earth on 300mm hardcore

Protective coating and flashing 100mm foamglass insulation

435

770

U-Value Wall

External Paving 500x500x50mm stone paving slabs on 50mm sand cement bedding on 150mm compressed earth on 300mm hardcore

Materials Ext. Surface Render Polurethane Ins. Concrete Wall Cavity Int. Plaster Int Surface

Thickness (M)

Conductivity

0.036 0.080 0.300

0.57 0.025 2.00

0.015

0.43

Resistance 0.040 0.063 3.200 0.150 0.180 0.034 0.130

Total Resistance= 3.797

Total Wall U Value = 0.26 W/m2K U-Value Floor

Total Floor U-Value = 0.16 W/m2K (as above)

U-Value Roof

Total U-Value of Wall = 0.12 W/m2K (as above)

SECTION A-A OPTION C - EXTERNAL INSULATION scale 1:20

SECTION A-A OPTION D - EXTERNAL INSULATION - ALTERNATIVE MATERIALS scale 1:20

DETAIL D - WALL OPTION C EXTERNAL INSULATION DEAP Calculations Energy Value

164.48 kWh/m2/ yr

CO2 Emissions Indicator

33.48 CO2/ m2/yr

DEAP Calculations Energy Value

158.09 kWh/m2/ yr

CO2 Emissions Indicator

32.18 CO2/ m2/yr

U-Value Wall Materials Ext. Surface Render Foamglass Ins. Concrete Wall Cavity Int. Plaster Int Surface

Thickness (M)

Conductivity

0.036 0.120 0.300

0.57 0.034 2.00

0.015

0.43

Resistance 0.040 0.063 3.529 0.150 0.180 0.034 0.130

Total Resistance= 4.126

Total Wall U Value = 0.24 W/m2K U-Value Floor

argon filled cavity

Warm wall construction 12.5mm plasterboard with skim finish fixed to 25x44mm timber battens on existing concrete wall 100mm rigid foamglass insulation adhesively fixed Reinforcing mesh Render base coat Render finishing coat

Alu-clad windows Double glazing with 16mm argon filled cavity

INTERNAL

Alu-clad windows Triple glazing with 20mm argon filled cavity

Materials

Thickness (M)

Conductivity

Resistance

Ext. Surface Rse Concrete Floor Foamglas Ins Concrete Screed Timber Floor Int Render Rsi

0.250 0.120 0.060 0.025

2.00 0.034 0.41 0.18

0.040 0.125 3.590 1.460 0.138 0.170

Total Resistance = 5.523

INTERNAL

P/A Ratio = 0.5 dt = 0.460 M Thermal Conductivity of unfrozen ground = 2.0

510

480

450

Total Floor U-Value = 0.15 W/m2K U-Value Roof Materials

800

EXTERNAL

PLAN OPTION C - EXTERNAL INSULATION scale 1:20

840

EXTERNAL

PLAN OPTION D - EXTERNAL INSULATION - ALTERNATIVE MATERIALS scale 1:20

Ext. Surface Slate Tile Cavity/ Batten Ins Foamglass/Rafter Ins Foamglass Int. Plaster Int Render

Thickness

Cond.

0.015

2.2

0.100 0.100 0.015

0.034 0.034 0.43

Best Res

Worst Res

0.040 0.005 0.180 2.941 2.941 0.034 0.130

1.154 2.941 0.034 0.130

Total Resistance= 6.271 Best : Worst = 0.88 : 0.12 Average Resistance = 5.98 Total U-Value of Wall = 0.17 W/m2K

0.040 0.005

4.304

221

222

department of architectural technology

223

An Analysis of the Behaviour of Timber Species Commonly Used in Ireland as Cladding; Relating to Timber Processing, the Irish Climate and Accelerated Moisture Testing Gerard Hanratty In an ever changing world where low embodied energy and sustainable design is a priority, no other material can offer the range of benefits that timber can provide. Timber is a remarkable element when it comes to construction as its diversity of application goes hand in hand with its environmental and aesthetic credentials. There is a general misconception that timber, be it structural or decorative, is more vulnerable to decay and deterioration in relation to the other major building materials. However with modern construction and design practises, there is an ever increasing understanding of timber and therefore an ever increasing life span of timber elements is achieved. In modern timber framed construction, hi-tech software analysis and controlled construction practises such as off site prefabrication, contribute to ideal conditions in which the timber will be protected. Despite this, external elements such as timber cladding tend to be more susceptible to deterioration. As an increasingly used material for exterior facades, it is felt that a more thorough understanding of the characteristics of timber cladding should be developed. For the purpose of this paper, the focus will be to analyse moisture in timber cladding. Every timber species, accompanied by its grain pattern, will have different hygroscopic properties and therefore a bearing on how the timber will perform as external cladding. The moisture movement in timber is a crucial aspect in regards to its dimensional stability, deterioration and its appearance. As part of the study, a select number of timber specimens were physically tested in order to obtain a further understanding of the cladding timbers commonly used in Ireland. Under the testing criteria, the specimens will be challenged on their appropriateness for use. A comprehensive documentation of the results will be under taken as well as research into literature based on the dissertation topic.

224

department of architectural technology

225

226

department of architectural technology

227

228

department of architectural technology

229

department of architectural technology

New Programmes at Dublin School of Architecture The DIT Dublin School of Architecture is pleased to announce that it will be admitting students to the following Springboardfunded part time programmes which aim to up-skill unemployed, underemployed and formerly self-employed architects and architectural technologists in a range of emerging technologies including energy retrofit and building information modelling.

Postgraduate Certificate in Digital Analysis and Energy Retrofit Postgraduate Diploma in Building Retrofit & Conservation MSc Energy Retrofit Technology CPD Diploma (BIM Technologies) CPD Diploma (Collaborative BIM) CPD Certificate (Thermal Bridge Assessment)

Professional Diploma in Architectural Practice Stephen Best January 2012 marked a landmark for the Dublin School of Architecture. For the first time in its history the school is able to offer the full suite of professionally accredited programmes, which will allow graduates to register as an Architect with the RIAI. The PDAP is a nine month long course, running from January to September, which is open to all graduates of the school, as well as those from other recognised institutions. Divided into two distinct semesters, the PDAP programme employs taught elements, as well as self-directed reflection. Together each mode of learning aims to equip individual candidates with the knowledge, ability and judgement expected of an Architect in offering services to a client as well as to successfully manage a business. The first semester is delivered through a twelve week series of lectures, seminars and one-to-one tutorials. These are delivered by a broad range of industry specialists, acknowledged leaders

in their field, who bring contemporary leading edge practical experience and knowledge to the course. The second semester is focused on each candidates own career in practice and is structured around their personal architectural experience, which is captured in the Janus report, and the Case Study which allows the candidate to critically reflect on a significant built project which they were involved in. This year saw the first cohort graduate through the RIAI validated programme and they will be joining graduates from the rest of the school at St Patrick’s Cathedral in October. The course offers a prize for the best graduate, the Jack O’Keefe Medal, and in its inaugural year, this was won by Laura Brennan. The programme comprises of three 5 credit lecture based modules and one 15 credit case study module. Each of the three lecture modules may also be taken individually as CPD.

Postgraduate Certificate in Digital Analysis and Energy Retrofit Cormac Allen With the growing importance of energy performance in building arising for EU wide legislative requirements and the failure of existing building stock to meet even current building regulation standards, the retrofitting of existing building stock will emerge as perhaps the most significant market for the construction industry in the coming years. With the majority of architects and architectural technologists having completed their education with limited coverage of the theory and practice of energy performance and sustainability, and with limited training in computer modelling and predictive digital analysis, a significant opportunity has arisen for the development of an academic programme centred on energy performance and digital analysis, and using prior learning arising from practice experience. The DIT PGCert(DAER) programme is funded under the Department of Education & Skills ‘’Springboard’’ Labour Market Activation (LMA) scheme and was designed in response to the Forfas reports ‘’Guidance for higher education providers on

current and future skills needs of enterprise’’ and ‘’Future Skills Needs of Enterprise within the Green Economy in Ireland’’, which together identify skills shortages and growth opportunities in cross-disciplinary sustainable building and design processes, and energy efficiency and retrofitting in particular. The PGCert(DAER) is a 1 year part time programme at Level 9 in the National Framework of Qualifications (NQAI). It aims to develop skills centered on digital analysis, energy performance and retrofitting of existing buildings through the medium of Building Information Modeling (BIM) and using a variety of energy design tools. The programme commenced in September 2011 with a bidisciplinary cohort of 22 professionally qualified architects and architectural technologists and will produce its first graduates in June 2012. Funding has been secured to admit a further cohort of 36 students to the PGCert(DAER) in September 2012.

231

Rhyme or Reason – that is the question? Jim Roche Review of Ethics and Aesthetics of Architecture and the Environment, a conference organised by the International Society for the Philosophy of Architecture (http://isparchitecture.wordpress. com/) at the School of Architecture, University of Newcastle, UK, 11-13 July 2012. Noting that “the aesthetic should not be limited merely to the way things look” the organisers of this conference sought “in part to address the discursive limitation in architecture and related subjects by broadening the aesthetic discourse beyond questions relating to purely visual phenomena in order to include those derived from all facets of human experience”.

he had written of its geological formation and that he had met and been influenced by Prof. James Forbes who had pointed out the correct Mont Blanc to him (he had been sketching the wrong mountain till then!). Ruskin’s polemic shows however what Ballantyne terms his fascination with the “redemptive power of aesthetics” which he wanted to share with all people. The image of Mont Blanc, has of course long since been appropriated by popular visual culture, not least by Disney’s steel construction complete with rollercoasters which Ballyntyne showed us. His talk concluded by comparing Ruskin’s study of mountains and geology with some examples of modern architecture, his most intriguing being Denys Lasdun’s National Theatre which, he claims, presents a series of plateaus and deep recesses to the viewer.

So where does etchics come in? Well, the introductory brochure noted that most philosophical trained aestheticians will say that “the aesthetic is everything” hinting perhaps of the necessity for a more haptic experience of architecture. It also drew on Wittgenstein’s quote that “ethics and aesthetics are one and the same”, and suggested questions of broader meanings that architecture has beyond purely visual stimulation, such as social or economic ideals, and their relationship to architectural form and inhabitants’ perceptions. So we were to grapple with that eternal question – what is good, ethical architecture and environmental policy and how is this embodied in societal and cultural ethical codes? The 3-day exploration and discussion covering three strands of architecture, landscape and practice with session themes of ‘Ethics-Aesthetics’, ‘Everyday’, ‘Phenomenology’ and ‘Culture and Politic’ was as wide, interesting and problematic as expected; sometimes obscure (for those without PhDs in philosophy), sometimes heated, sometimes both - as Kantian ‘free play’ almost came to metaphorical blows with Hegelian ‘end of art’ stuff. This all occurred in parallel strands with as many as 21 pap ers being delivered in 7 different sessions over each two-hour period thus reflecting the huge international interest in this field. Hence any review will by necessity be limited to certain interests of the reviewer. Morning or evening keynote addresses were attended with eagerness by the whole group of 150 or so – which added more to our questions than helped answer the philosophical quandry.

This stimulating talk challenged us to acknowledge the ways we interpret both the natural world and architecture by counterposing the analysis of the structure, science and materiality generated from within against what Ballyntyne terms our “appropriation in a picturesque way from without.” Whether the National Theatre reminds us of mountainuous landscapes or not is perhaps irrelevant, the key issue being that its true essence and value can only be understood by exploring its mysterious, spatial, cavernous form, structure and materiality from within. Prince Charles should be told.

In the opening address titled Remaking the Matterhorn the relationship between architecture, aesthetics, nature and geology was explored by Andrew Ballyntyne in his intriguing take on John Ruskin’s preoccupation with Mont Blanc, as described in Modern Painters. Ostensibly rejecting the geological studies prominent during the 1840s, Ruskin believed, at least at one stage, that he could understand the mountain by a purely picturesque study of it - that it was possible “to comprehend the visible aspect of nature” by looking at the mountain so hard he could see behind the surface of it. A peculiar obsession indeed given that

An intense second day ended with a return to environmental philosophy and the question of value with a very accessible talk by Simon James who explored how humans might develop an appropriate relationship to the natural world. His suggestion was – “by cultivating nature’s meanings”. Not as easy as may be thought as he identified three pitfalls that many nature lovers fall into. These are fantasy; finding the wrong meanings in nature, myopia; failing to find the right ones and anthropocentrism; becoming preoccupied or fetishising nature’s meanings. He felt nature’s meanings can best be cultivated by Nature Writing such

232

department of architectural technology

as J. A. Baker The Peregrine which captures the vivid sense of nature’ otherness, through Environmental History with Simon Schama’s Landscape and Memory being held up as an exemplar and through Nature Art such as that by Andy Goldsworthy which militates against romantic fantasy. For James the key issue is to recognise the “otherness of nature’s independence from romantic concerns”. This was a kind of sketch master plan for how a better appreciation of the natural world might be reached. Acknowledging the growing hostility to the perceived cushiness of those working in the Arts and Humanities – if he means by bankers and politicians, we should not worry – he noted, in somewhat of a limp ending, that we can contribute by writing about nature’s meanings. Surely we need to do much, much more to create appreciation of and preserve the natural world and be confident of the necessity for doing so? Paul Guyer gave us the Cook’s tour of philosophers from Kant and Hegel through to Burke and Ruskin whose ‘Seven Lamps’ are for Guyer a “paradigmatic sythesis and enduring benchmark for aesthetic appreciation in current architecture”. Interpreting the Power and Beauty lamp he said we should “ dislike architecture that intentionally deceives us regarding the nature of its materials.” That seems a good ethical starting point. He was less complimentary of earlier philosophers though, noting that architecture was “Hegel’s poster boy for the ‘end of art’ thesis”. A young German Hegelian in the audience challenged this interpretation. Tension permeated the hall for those in the know since the young Hegelian had earlier claimed in a parallel session that all American architecture is Hegelian, that the 9/11 attacks represented “a return of repressed violence of patriarchal law” and that “Americans should build ground level homes with generous lawns after FLW’s Broadacre City scheme” - only to be dismissed by Guyer and others as a radical romantic. Guyer’s tactful academic answer on this occasion deflected the tension. One of the interesting practice strand sessions had Martin Duchs, as read by Stefan Koller (Holland), profer that biomedical ethics, and in particular ‘Principalism’, could be a model for architectural ethics while Nic Coetzer (South Africa) outlined how the policy of an architecture for ‘the people’ as an armature of “ubuntu” (meaning humanism) in post apartheid South Africa, had somehwat backfired in its attempts to tackle the dehumanising affects of apartheid. He posited the “pathological ambition of the new architecture to disappear itself ... under an undescribable weight” as he related the story of one market project which was disassembled by locals. So the 70 projects of ‘Dignified Places’ by the new South African municipalities, most of which were intended to allow additions by the people became instead, in some instances at least, sources of raw materials for the people to use in their private spaces. This episode recalled for this reviewer the armanents filled jumbo jet stripping scene in Andrew Nicoll’s Lord of War film as the nasty war lord, played by Nicholas Cage, sits quietly helpless on a nearby rock. It also raised a fundamental question of why end users do not always appreciate design intentions - something all practicing architects have experienced. Remember the stories of Aalto’s night-time

raid to throw stones at the plastic signage on Saynatsalo Town Hall. Both of these papers generated lively discussion around the issue of the ethics of the relationship of architects and the architectural process and product to client, end users and wider society. The medical analogy was problematic for this reviewer as it really only applies to client / architect relationships on individual focused projects such as private houses which represents a tiny fraction of architectural production. How could that model be usefully applied to urban master planning or designing huge public buildings? Other concerns raised were the usefullness of so-called ‘consultation’ by archtects with potential end users and the need for post occupancy evaluation. This discussion recalled an argument put forward by Fran Speed in another parallel session that peoples objections, ostensibly for aesthetic reasons, to certain developments (in her example wind farms) can in reality be motivated by concerns over ethically suspect relationships that produce experiences of ‘alienation’, ‘exclusion’ or ‘exploitation’, an argument that weighed up the importance of aesthetics against involvement / consultation of the wider community in the process. Her message was that an ethical, all inclusive relational approach may deliver a well liked work which architect, client, end user and wider community can enjoy in part because of the good memories of the process. It could also be argued that if architecture could be treated in a more scientific, performative way and monitored, tested, analysed accordingly - which is where new environmental regulations are leading - then the experience of the results become part of a more holistic aesthetic experience, truly haptic even, that is not limited to the ‘look’ of something. How to ensure clients and end users can be more involved in the production of architecture is the challenge? One parallel session on Culture and Politics had Francesco Vitale (Italy) exploring two of Jaques Derrida’s papers that focus on the ‘other’ and the architects responsibility of “the other yet to come” i.e. future generations. Vitale explained that Derrida explicitly called for “an architecture of the event” yet for one to resist time. The theoretical movement in architecture for which Derrida is credited (or blamed depending on ones aesthetic preferences) is Deconstruction of which Gehry and Leibiskind are two of its best known proponents. Well, curvy titanium is certainly eventful and should last the ravages of time but there are other major ethical concerns about its use. The attempt by architects to transfer or interpret abstract literary theories into architecture has not always suceeded. Pondering this issue recalled a clever putdown to architectural Deconstruction, given by Dense Scott Brown, somebody, along with hubby Robert who was not averse to the odd theoretical flight of fancy herself, at a lecture in London in the late 1980s when she said: “Well, I think Decon might work better for urban planning than for buildings, because buildings have to keep the water out” – a valid jibe at Decon’s predilection for awkward difficult to detail junctions. Derrida’s concerns for “the others to come”, which

233

seemed ethically motivated as presented here, may not have been well served by the proponents of architectural Decon. At the same session an architectural response to perceived dangers of a radical otherness was explored by Peter Mortenblock and Helge Mooshammer, in a paper titled The Architectural Aesthetics of Counter-Terrorism. The radical otherness in this case being possible Islamic bombers inspired by the jailed Iman of the Finsbury Park Mosque, Abu Hamza al-Masri,

and the architectual response being that of the nearby newly completed Arsenal football stadium. Once centered at the heart of the community the Gunners Club ground, was a “cathedral of football” whose games had moved on from initial celebrations of “displays of the homeland” to genuine community and family celebrations so vividly captured by Nick Hornby’s Fever Pitch. Indeed this non-football enthusiast reviewer remembers the family atmosphere on winter Wednesday evenings in the early 1990s as he cycled home through throngs of supporters of all ages and gender.

Counter Terrorism Security Office (NaCTSO). Certainly the most politicised presentation of the conference, it was a scary study of the appropriation of aesthetics in a sinister liaison between architecture and militarism. While not entirely new, such liaison will surely only lead to a creeping militarised, dystopian urban landscape that is exclusivist, alienating and ultimately counter productive. The stated aims of Governments’ interest in this architectural and planning arena - ostensibly to protect the citizenry - might be better met by a more ethical, diplomatically preventative and less aggressive foreign policy. The young German Hegelian did not agree with that suggestion noting instead that he would feel safe inside this stadium. Help! On a less scary note David Leatherbarrow, in his ending keynote speech entitled Sharing Sense – or how ethics might be the subject matter of architectural aesthetics, struck a cautionary note on over reliance on technology and posited that “architecture has been brought into a technological arena with no regard to place” and that ethical considerations must “invite us to posit aesthetical solutions”. Analysing the origins of the word ‘ethos’ he posited that correct interpretation of the “habits of living that are deemed to be good”, could give us built works “of durable dimensions and expression”. For him relevant ethics could be exemplified by the shared activity of enjoying a meal – “a division of sharing and consumption” – where “table top economy represents a fairly good portrait of ethics”. Illustrating this with analysis of two examples: Hopper’s painting of a restaurant scene and Sverre Fehn’s only written paper - on Moroccan villages, where there is much on the ceremony of eating meals - and the dining table area of one of Fehn’s designed houses, he concluded by claiming that Fehn’s aesthetic shows “how we might all share in a sense of the world.”

The new Arsenal stadium is however a highly militarised munument to consumersim, sponsored rather ironically, by the Emirates and described by a British Government official as a “prime example of elegant counter terrorism design”. The giant concrete capitalised letters spelling ARSENAL, two ultra heavy cast iron guns on garrison carriages and camoflaged concrete planters are some of the elements designed “to block vehicle borne bombs”. This aesthetic deceit is only let slip in the proud but ironic naming of the fan shop as ‘The Armoury’. Never has The Gunners home ground being so associated with its nickname and historical past since the club was first founded by workers at the Royal Arsenal in Wollwich in 1896. Mortenblock and Mooshammer presented this and certain design elements of Canary Wharf as examples of the “liaison between military organisation and urban aesthetics” a kind of frenetic rush to create the ultimate defensible spaces against possible terrorist attack in the wake of 9/11, 7/7 and other attacks and perceived threats. The extent of appropriation of the architectural profession in this pursuit is further represented by the RIBA’s ‘Public Spaces – Safer Places’ student competition of 2008 in association with the Home Office and the National

234

Though thoughtful and nicely mellow as an ending presentation, and at last one of the keynote speakers talking about the materiality of a real architectural work, i.e. Fehn’s house, it was

department of architectural technology

limited by its focus on a domestic scenario. Leatherbarrow ended with one of the most enlightened and memorable quotes of the conference: “Design is bloody difficult – compromises are not a fall from grace. Ethos is brought into visibility ..... as the conflictual dimension of ethical decision making is at the core of the design process” – a hearty boost to all practitioners in the hall who had struggled getting their ethical design ideas (hopefully) realised in built form through all the bureacratic and technological hoops. We could add that getting the ethical design built is even more “bloody difficult”. Pure philosophers please take note! The conference ended with brief reflections from Andrew Ballantyne supporting the final speaker’s views on how houses grow around the spaces we create through generation of habit. All a bit left hanging in the air as the three female organisers were presented with bouquets of flowers by David Leatherbarrow – a nice touch for a job well done. Then it was off to lunch and a visit to historic Belsay Hall and Gardens, or for a smaller group of us, a special guided tour by Hendrik Louw of Ralph Erskine’s Byker Wall Housing – a fitting return to social reality after three heady days of much idealist speculation.

While this big ideas fest with its rich multiple choice menu was stimulating on many levels a more focused programme might have allowed more communal time for deeper discussion and reflection - although it is unlikely certain conflicting philosophical interpretations would have been resolved. It seems one of the predelictions of philosophers is to continually disagree with each other - politely of course. It would also have been useful to have had the practice strand addressed in the keynote speechs. Ideas are fine – but someone has to get it built. There was much circular speculation on particular philosophical problems related to architecture and the environment without due consideration of all the agencies and facts that impinge on the problems. There was a distinct lack of reference, especially in the keynote speeches to the material, real life, practice, economics & politics (despite the promise in the brochure) and the issue of

agency - as if philosophical ideas somehow exist in a hermetically sealed ideological vacuum. There was little acknowledgement that as David Mc Kay notes, in his book Sustainability without the Hot Air (2009) that “ethical discussions must be founded on facts”. Terry Eagleton has observed in his book The Ideology of the Aesthetic that “the call for an aesthetics in eighteenth-century Germany”, is among other things a response to the problem of political absolutism. Germany in that period was a parcellized territory of feudal-absolutist states, marked by a particularism and idiosyncrasy consequent on its lack of a general culture.” He thus proffers a clear connection between the development of the philosophy of aesthetics and social forces, a connection not allowed due credence at this conference. He also presents aesthetics, after Baumgarten, “as a kind of lowly prosthesis for reason” thus putting it somewhat down the importance ladder. Speakers seemed reluctant throughout the conference to make value judgments, the friendly Hegel / Kant feud excepting, about what exactly is ‘good’ for architecture and the environment. No ulterior motives or belief systems acknowledged as most speakers presented themselves as neutral observers. No acknowledgement of how the challenging technological developments, say in building products, ever changing computer programmes and the new noisy kid on the block - Building Innovation Modelling (BIM) - are presenting serious ethical, practical and aesthetic challenges to the production of architecture and the environment? Or of the different ways that architecture is and might be produced? Likewise of the affects on ethics and aesthetics of the current global economic uncertainty and the resultant tumultous social struggles – both of which are impacting on the architectural profession and education, not least throughout Europe? The issues raised by this conference beg the question as to who exactly the multivaried theories of ethics and aesthetics are for and what grouping in society most influences both the ethical and aesthetic ideas of the general public? They also expose a danger that prepondering on philosophical ideas and over-reliance on aesthetic pleasure for both enlightenment and gratification will numb us into sophorific passivity. As one philosopher, whose ideas were strangely absent here, given the tumultous social times we are in, famously noted: “Philosophers have hitherto tried to understand the world; the point is to change it”.

References for images: John Ruskin - preraphaelitepaintings.blogspot.com Mount Blanc - californiaalpineguides.com Arsenal - karllusbec.wordpress.com, architectureofeurope.blogspot.com and dailymail.co.uk Hopper’s restaurant scene - hyperallergic.tumblr.com David Leatherbarrow - xxivcpa.com.br Walt Disney Concert Hall by Frank Gehry - en.wikipedia.org Georg W.F. Hegel - en.wikipedia.org National Theatre, South Bank by Denys Lasdun - london-se1.co.uk Byker Wall Housing by Ralph Erskine – Jim Roche RIBA Counter Terrorism Student Competition - www.worldarchitecturenews.com/index.php?fuseaction=wanappln.

235

gullwing-RETROFIT: Simon McGuinness It’s funny how the practice of architecture often brings the ordinary practitioner face to face with deep questions about moral philosophy and the future of civilisation. Even with the best intentions these are not always easy decisions to get right. Decisions made today with utmost intellectual rigour can be ridiculed by future generations as crass and self-serving. Reputations hard won in a lifetime of dedicated endeavour can be torn to shreds in seconds by some young upstart with a better system of measurement and near instant access to vast amounts of information. Technology has given us forensic tools of analysis never before applied to the measurement of buildings. And with the growth of building forensics has come a new criticism of architecture, and of architects. “How much does your building weigh, Mr Foster?” is much more than the title of a 2012 film by Spanish directors Norberto López Amado and Carlos Carcas, it is evidence, for those willing to listen, of the new Zeitgeist. Buildings will be measured and they will be measured forensically. The tools provided by science will not be uninvented; they will just get better and cheaper. The question for those who design buildings, (fewer than 10% of whom are architects) is will your building be measured by you or by someone else, and will it be measured before or after the design is complete? For those who commission building projects the question is more immediate. In deciding to invest hard won cash in a building project, can they really afford to leave the retrospective analysis of their developments to future students of measurement, the results of whose academic research could determine that their building is worth less than its competitors on the resale market? How different is the return on an investment when the fixed asset is depreciating

236

in value over time relative to one that is holding or increasing its value against the market average? This is not an academic question. This is a question of due diligence. It is especially so, for financial institutions all but bankrupted by lack of due diligence in relation to building projects, in the all too painfully recent past. Beyond capital cost, there is also the more easily quantifiable issue of running costs and maintenance. We are all familiar with the measurement of space heat demand and the cost in kilowatt hours for heating (and/or cooling) these buildings. But equally important is the cost of maintaining and replacing expensive mechanical plant which can cost 30% of build costs and needs to be replaced every 20 years. Can any investor afford to pay the price for substandard design and a lifetime of maintenance, excessive energy bills and costly decommissioning? The evidence suggests that they are cannot. This has the most profound implications for all those involved in advising investors in buildings. The world is awash with systems of measurement, and investors in property are using them to future-proof their investment decisions. Due diligence demands nothing less. But which metric should we choose? It is a decision not to be taken lightly. All have their advantages and disadvantages. What is clear is that we are only at the beginning of a culture of measurement of building performance. For their main retrofit project, the DIT PGCert (DAER) Springboard students were required to make proposals using a range of digital and analytical tools, for deep energy retrofitting of a Dublin City Council multi-unit residential flat block, aka the ‘’gullwing’’ blocks, with a performance target of BER A3. Their investigations found that these iconic buildings had been designed by an architect at the top of his game, leaning on the latest international trends, with the time to invest in robust detailing and specification. They were a major improvement on the

living conditions of their time. They had advanced coal fired stoves, indoor plumbing and generous room sizes by the standards of the time. According to Ellen Rowley, architectural historian, they were based on a contextualized modernism with links to CIAM 6, the work of the GLC and even Le Corbusier’s Unites des Habitation. In short, they ticked all the boxes of commodity, firmness and delight. Yet, fifty years later, our students can pronounce them sick buildings. And prove it with measurement. And show that the fault was not with the tenant and how they used them, or with the council and how it maintained them, but with the very design of the form, the one area where the architect has full jurisdiction. There was nothing that could have been done in engineering terms to compensate for the deficiency in form, and anything that was done was correct in engineering terms (with the exception of the addition of insulation which in most instances has made the problem worse). The very nature of the thermal envelope led to condensation, mould growth, bitter draughts and inadequate heating, even in times of plentiful, cheap energy. What architect wants that assessment posthumously posted on his or her CV? There is only one way to avoid it: learn how to measure your own buildings. If you don’t, you’ll have to pray that no one else does. Ever.

department of architectural technology

D D E (S F

P R A D E A E B M T L

A W b a c e s c o d te g u c a p

sed

It th A u in

P T m fo a re 1 h

T o a d b g in s a

N d a th w s

P T ra d s a v te Ir a b e â&#x20AC;&#x2DC;â&#x20AC;&#x2122;M D th in re

In T p T T T

T w a b in p e e re a a G

T a C b p

237

Haley Jovi Cazarini Bueno Susan Cogan Neil Fanning Padraig McHugh

Design approach The brief posed was to carry out a deep retrofit of a Dublin City Council 1960s built multiunit social housing block with the added restriction that tenants would be in situ and works would have to be planned around empty units as they arose. The required outcome was that the building would achieve compliance with Irish Building Regulations Part L 2011 with an overall A3 BER rating. A challenging brief but if achievable would open the way for DCC to carry out deep retrofit of existing stock without the obstacle of waiting until blocks are empty or re-housing tenants en mass. Key decisions made at the outset included; Existing walls would be externally insulated as one operation, meaning that existing windows would be replaced from inside in all apartments. Existing window sizes were therefore to be maintained with the exception of the south facing balconies where the upstands would be removed in sections allowing larger ‘french doors’ to be installed.

19 46

1 : 200

Type B

Existing south facing recessed balconies would be incorporated into the plan to increase living areas and new external balconies would be provided in their place. Nb need note somewhere re how fixings are minimised etc.

Roof Plan 1 : 200

Type D

A new access deck would be installed to the north at the outset thereby allowing independent access to each unit. The existing access decks could therefore be incorporated into the internal layouts as the work progressed, increasing floor areas but more importantly removing a significant length of problematic thermal bridge by simplifying the building envelope. (SEE SKETCH SECTION; RED AND BLUE LINE)

The existing stairwell in this building type (with minor modifications) meets the requirements of an ambulant disabled stairs, therefore a lift was not required. Moreover, it was felt that to remove such a substantial structure was potentially a dangerous operation and unrealistic given that significant numbers of tenants were living in close proximity.

Second and Fourth Floor - Existing

Second and Fourth Floor

1 : 200

Type B

1 : 200

Type D

In addition to improving the energy rating, improvements to the internal layouts were required to bring the units in line with DCC Development plan standards. In as far as possible these have been met (see table 1), although the scope for increasing internal areas was limited. Having got this far some fundamental problems still remained. Ø The patchy appearance of the building for a potentially prolonged renovation period, with infilled sections appearing randomly on the elevations.

Ø The improvements to the internal layouts meant that in the short term, drainage from the new bathrooms would be problematic.

First and Third Floor - Exisiting

First and Third Floor

1 : 200

Type A

Section 3D

Type A

Type C

Ø Control of temporary junctions between upgraded and existing units and the potential for short term worsening of heat loss and condensation between them. As the project progressed, this was reviewed and it was decided that one or two vertical bays could be vacated initially so that the retrofit works could roll out in a sequential manner. In addition to solving the above problems, the renovation works could now be fully completed within a defined timeframe

View 1 - Ghost - Existing

3721

Section B - Existing 1 : 200

East Elev. - Proposed 1 : 200

Ground Floor - Existing

Ground Floor

1 : 200

North Elev. - Proposed

1 : 200

South Elev. - Proposed

1 : 200

Section B - Proposed 1 : 200

West Elev. - Proposed 1 : 200

Bedroom 2 11 m²

11 m²

1576

1440

1000

Type B

3721

Bedroom 2 705

1050

Corridor 2250

4 m²

Bathroom 95

4 m²

600

Bedroom 1 11 m²

600

1253

2007 3861

PRODUCED BY AN AUTODESK STUDENT PRODUCT

The Retrofit Technology Project module is the core module of the PG Cert (DAER) programme. It provides for the application of energy performance analysis and design strategies at macro and micro levels for a retrofit technology project, in this instance a typical 1960s built Dublin City Council multi-unit social housing block based on the iconic “gull-wing” flats. The speculative retrofit project involves the creation of a detailed digital model of an existing building with a thermal, energy and retrofit performance brief, the development of environmental design interventions based on dynamic simulation data, and the generation of a comprehensive construction information package describing retrofit construction solutions using a Building Information Modelling application. Not only were students asked to reduce energy demand to near Passive House levels, but to do so in a way to holistically solve the very substantial linear thermal bridge and condensation issues associated with such interventions into concrete framed structures.

Roof Plan - Existing

Ap Type D - Lower

Ap Type D - Upper

Retro fit wall spec.: Proprietry EWI system by WEBER with breathable render and 200mm phenolic insulation TC .013w/mk mechanically fixed and bonded to 100mm brick outer leaf. Allow for EPS cavity infil into existing 40mm cavity. Allow for Intello Air tight membrane tape at junction of existing plaster. .Allow for service duct to inner wall with 12mm foilbacked plaster board on 25 x 32mm treated s/w battens at 600mm cts . U value = .13 W/m2k

42 C01

Detail Plan at Party wall and existing wall

Bay - Second and Fourth Floor 1 : 50

Kitchen and Living Room

Kitchen and Living room

22 m²

Store

2 m²

Entrance Lobby 4 m²

Toilet

Entrance Lobby

3 m²

2 m²

4 m²

32 42 C01

Bay - First and Third Floor

1 : 50

C 1/50 - North

1 : 50

C 1/50 - South 1 : 50

Bedroom 1 13 m²

Living and Dining 21 m²

Bedroom

15 m²

Storage

Kitchen/Living

1 m²

18 m²

Kitchen/Living

21 m²

Kitchen and Living room

Kitchen/Living

21 m²

22 m²

21 m²

Closet 2 m²

Bathroom

Closet

6 m²

2 m²

Store

3 m²

Corridor 8 m²

Corridor

Berdoom

5 m²

15 m²

Corridor

Bedroom

Corridor

5 m²

18 m²

5 m²

Bathroom

6 m²

Bedroom 2 13 m²

Dep 1/50 - 1 - Slab Level Ground Floor 1 : 50

Ap Type A

Ap Type B - Ground Floor

Ap Type C - Ground Floor

7HDP$+DOH\-RYL&D]DULQL%XHQR6XVDQ&RJDQ1HLO)D

238

department of architectural technology

PRODUCED BY AN AUTODESK STUDENT PRODUCT

'8%

$5&

3RVWJUDG 'LJLWDO$QDO\

,Q3DU '8%/,1 &LW\$UFKL

tion B - Proposed

683

st Elev. - Proposed

Existing 215 conctete party wall with 15mm plaster each side. Existing 215 conctete party wall with 15mm plaster each side.

Allow for Intello Air tight membrane tape at junction of existing plaster corner. Service duct to inner wall with 12mm foilbacked plaster board on 25 x 32mm treated s/w battens at 600mm cts . Allow for Intello Aior tight membrane tape at junction of OSB and 3xisting plaster. .

Allow for Intello Aior tight membrane tape at junction of OSB and existing plaster. . 12mm foil backed plasterboard on battens with 20mm Phenolic insul. between battens on 9mm OSB fixed to end of conc wall.

12mm foil backed plasterboard on battens with 20mm Phenolic insul. between battens on 9mm OSB fixed to end of conc wall.

Allow for Intello Air tight membrane tape at junction of window frame and surround.

3URM

125

Allow for Intello Air tight membrane tape at junction of window frame and surround.

30 30

Ap Type D - Upper

Detail Plan at Party wall and existing wall

Window frame of Nordan Ntech window fixed back to inner leaf with galv steel cleats. NB Note overlap of external insulation . Vertical DPC bonded brickwork and window . Allow for sealant between window and DPC. Powder coated prewssed metal sill fixed to bae of window frame

Retro fit wall spec.: Proprietry EWI system by WEBER with breathable render and 200mm phenolic insulation TC - .013w/mk mechanically fixed and bonded to 20mm WP Ply on breather membrane fixed to studs at max 900mm cts with 140mm Phenolic insulation with 20mm OSB, joints taped with Intello Air tight membrane tape.Allow for service duct to inner wall with 12mm foilbacked plaster board on 25 x 32mm treated s/w battens at 600mm cts . U Value = .12 W/m2k

Window frame of Nordan Ntech window fixed back to inner leaf with galv steel cleats. NB Note overlap of external insulation .

Dublin School of DT774 Postgradua Energy Retrofitting (Special Purpose A Framework of Qua

Vertical DPC bonded to OSB board and window . Allow for sealant between window and DPC. Powder coated prewssed metal sill fixed to bae of window frame

Programme team Retrofit Technolog Arch, B Arch Sc, M Designer,.. Energy Analysis fo Architecture-Energ Ed Des Tech, PG BIM for Retrofit: Malachy Mathews Tech, NUI Dip Com Learning & Teach

Detail Plan at Party wall and new infill wall

AEC Industry Con With the growing i building arising fro and the failure of e current building re existing building st significant market coming years. The of the building des demands on archi technologists, with greater than would undergraduate edu concern for both e analysis combined practice experienc

View 1 - Ghost - Proposed

It is in this context the DT774 program Activation ‘’Spring unemployed and u in emerging techn

Project descriptio The Retrofit Techn module of the PG for the application and design strateg retrofit technology 1960s built Dublin housing block bas

The speculative re of a detailed digita a thermal, energy development of en based on dynamic generation of a co information packa solutions using a B application.

Not only were stud demand to near P a way to holisticall thermal bridge and with such interven structures.

Project aim The project aims t range of digital mo development of a satisfies the energ analysis and retrof various building, e technologies requ Irish Building Regu applied to a “deep building energy ra energy rating softw ‘’Means of Escape Disabled’’ togethe the 2011-2017 Du including minimum required.

Individual Team s Team A: Insitu Re place) Team B: South fac Team C: North fac Team D: East/We

The spread of sub with a comprehens applicable to each buildings all acros integrated, cross-d poverty, climate ch energy conservatio employment, skills regeneration on an application interna all of this at zero n Government polici

The Dublin Schoo acknowledges the City Architect’s Div brief, survey inform playing.

6XVDQ&RJDQ1HLO)DQQLQJ3DGUDLJ0F+XJK

'XEOLQ&LW\&RXQFLO

$3$570(17%8,/',1*5(752),7 239

PRODUCED BY AN AUTODESK STUDENT PRODUCT

Project Aim The project aims to develop an ability to apply arange of digital modelling and analysis skills in the development of a technical design proposal which satisfies the energy modelling, condensation risk analysis and retrofitting requirements of the brief. The various building, environmental and energy technologies required to achieve compliance with Irish Building Regulations Part L 2011 are explored, as applied to a “deep” retrofit project with a desired building energy rating of A3 or better using DEAP energy rating software. Compliance with TGD Part B ‘’Means of Escape‘’ and TGD Part M ‘’Access for the Disabled’’ together with adherence to the principles of the 2011-2017 Dublin City Development Plan, including minimum space requirements, was also required. Design approach The brief posed was to carry out a deep retrofit of a Dublin City Council 1960s built multiunit social housing block with the added restriction that tenants would be in situ and works would have to be planned around empty units as they arose. The required outcome was that the building would achieve compliance with Irish Building Regulations Part L 2011 with an overall A3 BER rating. A challenging brief but if achievable would open the way for DCC to carry out deep retrofit of existing stock without the obstacle of waiting until blocks are empty or re-housing tenants en mass. Key decisions made at the outset included; Existing walls would be externally insulated as one operation, meaning that existing windows would be replaced from inside in all apartments. Existing window sizes were therefore to be maintained with the exception of the south facing balconies where the upstands would be removed in sections allowing larger ‘french doors’ to be installed.

Roof Plan - Existing 1 : 200

Type B

Roo

1 : 20

Type D

Second and Fourth Floor - Existing 1 : 200

Type B

Sec

1 : 20

Type D

Ø The improvements to the internal layouts meant that in the short term, drainage from the new bathrooms would be problematic.

Section 3D

First and Third Floor - Exisiting 1 : 200

Type A

Firs

1 : 20

Typ

240

View 1 - Ghost - Existing

Section B - Existing 1 : 200

East Elev. - Proposed 1 : 200

Ground Floor - Existing 1 : 200

North Elev. - Proposed 1 : 200

Gro

1 : 20

Sou

1 : 20

p Type D - Upper

125

30 department of architectural technology

Detail Plan at Party wall and existing wall

Window frame of Nordan Ntech window fixed back to inner leaf with galv steel cleats. NB Note overlap of external insulation . Vertical DPC bonded to OSB board and window . Allow for sealant between window and DPC. Powder coated prewssed metal sill fixed to bae of window frame

Detail Plan at Party wall and new infill wall

View 1 - Ghost - Proposed

241

department of architectural technology

ASA Events