MArch DR Report by Paul Gorzelak

Pr o j e c t :

Museum of Communications ‘ Th e S t o ry o f th e Tr a n s -A tla n tic Ca b le ’ Lo c a t i o n :

E n d e r b y Wh a r f _Gr eenwich_L ondon [ ARCT 1 0 6 3 ] De s i g n R eal i sat i o n [ ARCT 1 0 6 1 ] Bu i l d i n g D esi g n D ev el o p m en t [ TO W N 1 0 3 6 ] Ur b a n D esi g n

B y Pa u l G o r z e l a k Unit 19 Ne il Spille r & Phil Wa tson Stude nt Numbe r: 000788987 M.Arc h Arc hite c ture Unive rsity of Gre e nwic h

Contents This document records the development through the design and construction stages of a Museum of Communications for Enderby Wharf in Greenwich, London.

1.0 Building Context

4.0 Building Construction 1.1 Client 4.1 Site Location Plan 1.2 Brief 4.2 Site Plan 1.3 Site Location 4.3 Enabling Works 1.4 The Site 4.4 Site Office and Phasing 1.5 Site Photographs 4.5 Construction Sequence 1.6 Urban Building Context 4.6 Setting Out Diagram 1.7 Urban Connections 4.7 Proposed Schedule of Areas 1.8 Urban Cultural Context 4.8 Ground Floor Plan 1.9 Solar Analysis 4.9 First Floor Plan 1.10 Flood Analysis 4.10 Second Floor Plan 1.11 Enderbyâ&#x20AC;&#x2122;s Wharf: History of Communications 4.11 Third Floor Plan 1.12 Enderby House 4.12 Fourth Floor Plan 1.13 Museum of Communications: Portcurno 4.13 Roof Plan 1.14 Museum of Communications: Our Collection 4.14 Section A 1.15 Concept Form Development 4.15 Section B 4.16 Section C 2.0 Precedent Studies 4.17 Section D 4.18 Primary Structure 2.1 Media TIC_Cloud 9_Barcelona 4.19 Structural Analysis 2.2 Rurh Museum_OMA_Essen_Germany 4.20 Sectional View 01 2.3 ExCel Phase 2_Grimshaw_London 4.21 External View 01 2.4 Sainsbury Centre_Foster + Partners_Norwich 4.22 Sectional View 02 2.5 Landschaftspark_Latz + Partner_Duisburg Nord 4.23 Internal View 01 2.6 Horno 3_Grimshaw_Monterrey_Mexico 4.24 Facade Analysis 4.25 Changeable Facade 3.0 Building Delivery 4.26 Material Study 4.27 Section E - Construction 3.1 Project Objectives 4.28 Detail E-01 3.2 RIBA Plan of Work 4.29 Detail E-02 3.3 Spatial Zoning Diagrams 4.30 Detail E-03 3.4 Team Structure 4.31 Detail E-04 3.5 Planning Considerations 4.32 Detail E-05 3.6 Planning Considerations 4.33 Detail E-06 3.7 Fee Structure 4.34 Detail E-07 3.8 Project Budget and Funding 4.35 Detail E-08 3.9 Two Stage Tender Traditional Procurement 4.36 Detail E-09 3.10 Split Contract Option - Traditional and Design and Build 4.37 Detail E-10 3.11 Project Programme 4.38 Detail E-11 3.12 Design Risk Assessment 3.13 Construction Risk Assessment 3.14 Health and Safety

5.0 Building Performance 5.1 London Climate Analysis - Temperature 5.2 London Climate Analysis - Rainfall 5.3 London Climate Analysis - Daylight 5.4 London Climate Analysis - Wind 5.5 Heating Strategy 5.6 Heating Section 5.7 Underfloor Heating Detail E-12 5.8 Ground Source Heat Pump 5.9 Cooling Strategy 5.10 Night Purge Cooling 5.11 Ventilation Strategy 5.12 Mechanical Ventilation Plan 5.13 Solar Information 5.14 Solar Gain 5.15 Artificial Lighting 5.16 Solar Study 5.17 Equal Access 5.18 Public Circulation 5.19 Fire Strategy 5.20 Smoke Strategy 5.21 Drainage Strategy 5.22 Maintenance Strategy 6.0 Appendix 6.1 The Alternate Scheme 6.2 Structural Truss Analysis 6.3 Future Development - Vertical 6.4 Future Development - Horizontal 6.5 Future Development - Car Parking 6.6 Future Development - Potential Site Sale 7.0 Bibliography 7.1 Bibliography

Building Context

1.1 Client

In collaboration with the Science Museum, the Greenwich Society have invested in a small section of the Greenwich peninsula development. A site on the edge of East Greenwich, which is full of historical importance. Their aim is to provide a Museum of Communications within the heart of Greenwich, in an effort to increase awareness of the history of Greenwich and the Communications industry based there. Currently the Greenwich Society is run be a selected committee with the following aims; “To make Greenwich a better place for all who live, work and study there, To protect the town’s heritage and improve its amenities, To make it attractive for visitors. “ The Greenwich Society appreciates new developments which; That are in harmony with the spirit of the area, That bring regeneration from dereliction and decay, That bring sustainable new jobs. Greenwich Society. 2014. Available at: http://greenwichsociety.org.uk/ (Accessed on 04 November 2014)

The Greenwich Society is a registered charity with a successful track record for over 40 years, organising social and other events for its members throughout the town. The proposal by the Greenwich Society has been presented to the community by current chair Richard Baglin and supported by Ian Worley, head of the Enderby Group. Who are working along side partners the Science Museum, to add to their existing portfolio of information age museums. The science museum are currently undergoing increased development, and are looking to add a Greenwich based branch to their collection. This is due to the significant historical importance of East Greenwich, in particular Enderby House. All three groups involved; The Science Museum, Greenwich Society and the Enderby Group, work off charitable donations. This means of funding for the project will need to be factored in to any proposed program. The project has been envisaged as highlighting the 150th anniversary of the first transatlantic cable which will occur in 2016, however the proposal is unlikely to be opened until 2018.

1.2 Brief A space which best enables the cultural heritage of the community of Greenwich, in particular relation to the communication age, to be explored, understood and celebrated. The Greenwich Society look to preserve the history and knowledge that lies within East Greenwich, Enderby’s Wharf being a particular hotspot due to its 150 year history with communications, submarine communication cables and associated equipment. It is one of the most important sites in the history of modern day communications. Enderby’s Wharf and the adjacent industrial site are key to the current position of communication technology, due to being where the worlds first and since, most, telegraph, telephone and now internet network cables were produced. The exhibits in the museum will provide the visitor which a background of the importance of Enderby’s Wharf to technology as they know it. It will also offer a glimpse into the perceived future of communications. The concept of the museum is based around aiding communications and creating a forum for discussion between all visitors of the complex. This means the proposal will set up a number of communication tools to aid discussion, the museum of the future will not only be a place to view exhibits but a place where people from every walk of life come to discuss the past, present and speculate on the future. The museums focus on creating discussions, and interactive spaces, links back to the heritage of the site. Enderby Wharf the home of the trans Atlantic cable. Any proposal will use this heritage to influence the built design. Cables therefore incorporated within the facade, interior and structure. The proposal is made possible due to the collapse of current plans for housing and a cruise liner terminal on Enderby Wharf. In this alternate reality, the proposed schemes lost funding and were not realised leaving a cleared tabula rasa, on which the museum and community structure can be realised. The project has been envisaged as highlighting the 150th anniversary of the first transatlantic cable which will occur in 2016, however the proposal is unlikely to be opened until 2018.

Proposed Space

Minimum Area (m2)

Foyer - entrance/reception/tickets WCs and cloakroom Cafe with kitchens Office Space; including distinct space for Director,

200 150 100 (based in Enderby House) 170

2000 500 200 400 200 50 50

Collection Bay

100

Net Total

4120

Plant 5% Circulation - vertical and horizontal 20%

206 824

Totals

5150

The initial requirements of the proposal as laid out by the Greenwich Society were; • • • • • • • • • • •

Large / Interactive Exhibition Spaces Welcoming Reception zone Educational Facilities with the possibility for workshops and/or lectures Exterior Public Space with a connection to external exhibitions with a connection to aiding communication with a possible cafe/shop/restaurant area Offices and Staff Zones Museum Shop Auxiliary spaces including Toilets, Stores and Cloakrooms

At the start of the design it was identified that the proposal must have a strong connection with not only the community it is within, but also the site it sits upon. The proposal should interact with the River Thames and make full use of/or if possible enhance, the Thames Pathway. Any external space should gather people, and aid the communication between individuals experiencing the site. This can be achieved through external exhibition areas, theatres, seating and interactive experiences. The internal exhibition areas were conceived as a part of the technological machine of which the museum looks to explain part of the journey Greenwich has played in the communication age. The exhibition areas should show a visible connection between internal and external exhibits whilst not taking away from the importance of existing features such as Enderby House.

Curator and Chief Administrator

Public galleries for permanent exhibits Public galleries for temporary exhibits Lecture Theatre Education centre workshops Archives Shop Stores

1.3 Site Location

Enderby Wharf will be the site for my proposal in the heart of East Greenwich, London. Access to Greenwich includes multiple forms of public transport, buses, DLR, South Eastern Rail Services and a possibility to extend the London Clipper service. The site is placed within an historic Industrial part of Greenwich, however the local area is undergoing a vast amount of development, under â&#x20AC;&#x153;Knight Dragonsâ&#x20AC;? development plan, the Greenwich peninsula will be fully developed into an array of housing, offices and leisure facilities. Development has already started in various zones of the peninsula including on the near by Lovels Wharf. Due to the increase development the local demographic is changing, from the current less affluent industrial past, to the new high-end deployments proposed for the bankers of Canary Wharf.

1.4 The Site

The site at Enderby Wharf is approximately 3.6 hectares. 1 - Proximity to the Thames This offers plenty of possibilities ranging from; Transport, Energy Generation, Visible Presence. 2 - Access from the Thames footpath, creates a link between the site, the East Greenwich area, Maritime, and Peninsula development. 3 - Access from Blackwall Lane, and Christchurch Way offer vehicle access and notable presence for a large amount of passing traffic.

5 2

4 - Residential Area, Christchurch way, Mauritius Road and nearby streets are relatively quiet terrace roads, with a mixture of houses and flats of no more than 3 storeys. 5 - Protected Wharf to the North, this may limit the development potential of the site. 6 - Proposed development sites to the south, currently a ship breakers industrial site.

7 - Enderby House, Listed building in the heart of the site.

8 - A number of cable equipment still remains on the Wharf. 9 - Current Alcatel Site, where communications manufacture and research still takes place today.

10 - Site Geology due to its location to the Thames, of â&#x20AC;&#x153;Loamy and sandy soils with naturally high groundwater and a peaty surfaceâ&#x20AC;?, mean any foundations will need to be piled around the building footprint, with the excess water pumped out. http://magic.defra.gov.uk/MagicMap.aspx

Sun Path

N Not To Scale

1.5 Site Photographs

Cable Equipment, Enderby Wharf, 2014

Alcatel Ferry Steps, Richard Lawrence, sculptor, 2001

Enderby House, Building Site, 2014

1.5 Site Photographs

Site Panoramic, Enderby Wharf, 2014

1.6 Urban Building Context

The Peninsula and neighbouring East Greenwich are undergoing development at a fast rate. The adjacent plan shows how the south part of the peninsular is traditional terrace houses, dating from the Victorian era. As you progress down the peninsula, the old industrial companies which populated the many wharfs, are slowly shutting down and being developed by â&#x20AC;&#x153;Knight Dragonâ&#x20AC;? into a series of apartment blocks, offices and leisure facilities. As the map shows this process has already begun around the Millennium Dome, over the next 20 years the peninsula will look contrasting different from today. Enderby Wharf, highlighted, is on the edge of the development plan for the Greenwich Peninsula. It is therefore an ideal site for a museum of communications, focusing on the history of the area, particularly the manufacture of the cable which lead to the information communication age as we know it.

Residential Educational Commercial

Industrial Other

Not To Scale

Proposed Site

1.7 Urban Connections

The access to Enderby Wharf comes from 3 sides, with good vehicle and pedestrian connections to the rest of Greenwich. Historic Greenwich is a 20 minute walk away, whilst the site also has great connections to the DLR, London Underground and South East Rail stations. Cutty Sark DLR is 25 minutes walk, North Greenwich Tube Station is 22 minutes walk Maze Hill Rail Station is 15 minutes walk, and Westcombe Park Rail Station is 20 minutes walk.

Blackwall Tunnel

The Thames path runs directly through the proposed site, and will need to be maintained throughout the development as well as being incorporated into any proposal. Vehicle access for the site is via the residential Christchurch Way, however more likely from Blackwall Lane, which connects with the A102. The A102 offers connections via the Blackwall tunnel to East London, as well as out of London to the south. The Thames Clipper currently runs past the site, and this offers the possibility to connect Enderby Wharf to the rest of London by boat. Due to the depth of the Thames Enderby Wharf could be proposed as a Cruise Liner terminal site, for London to connect to the rest of the World. This could be a suitable site, due to Enderbys Wharf connect which connecting the world through cables, telecommunications and Internet.

Thames Path Pedestrian Route

A102

Thames Clipper A2203 Blackwall Lane

N Mauritius Road

Not To Scale Christchurch Way

1.8 Urban Cultural Context Richard Rogers “Millenium Dome”

Enderby’s Wharf finds itself in the middle of the two cultural centres of Greenwich. The historic Centre of Greenwich featuring artworks alongside the Old Royal Naval College and Royal observatory and the new arts centre surrounding the Millennium Dome. These sites are connected by the Thames Pathway which at the current time, is an under used resource that needs improving and developing.

Richard Wilson’s “Slice of Reality”

The site could act as a link between these two centres, enhancing the journey and increasing the cultural importance of the area.

Antony Gormley’s “Quantum Cloud”

Enderby Wharf has started to be seen as a key link between the zones of Greenwich, and this can be seen by the inclusion of the sculpture “Alcatel Ferry steps” by Richard Lawrence. Any proposed Urban strategy will look to take full advantage of the Thames Pathway, enhance it to its fullest and increase the cultural centres around Greenwich. The Museum of Communications proposed for Enderby’s Wharf will lead to a development of cultural sites across the Thames Path. These sites will offer platforms for exhibitions, music venues and permanent sculptures which will site alongside the growing cultural centres of Greenwich.

Richard Lawrence ‘s “Alcatel Ferry Steps”

Old Royal Naval College

Yinka Shonibare’s “Ship in a bottle”

Christina Garzia’s “Prime meridian marker” Not To Scale

1.9 Solar Analysis

The following solar analysis shows shadows across the proposed site in April at an array of times. As the site has recently been cleared except for the listed Enderby House, the sight is hardly over shadowed. To the site being expansive, with no over shadowing, there is potential to incorporate solar harvesting into the project.

Solar Shadow Study - April 9am

South facing facades could include photovoltaics to collect sunlight and produce energy to power the building, they could also be used as a base for algae growth. Algae can be burnt and offer heating for the proposal, the only waste given off in this process is Carbon dioxide, which can be released into the surrounding landscape to help plants photosynthesis. There could also be a problem with overheating throughout the building, due to the amount of sunlight any south facade will get. A flexible facade will therefore control the amount of light that can enter a building. This could be dependant on a variety of things, such as building temperature, time of day, but also the exhibits within the proposal. Certain exhibits will require different amounts of lighting to be viewed. Digital or screened exhibits will need a degree of shading to prevent glare, whereas some sculptural exhibits may require a harsh direct light, to best explore the piece and shadows thrown off.

Solar Shadow Study - April Midday

Solar Shadow Study - April 5pm

Not To Scale

1.10 Flood Analysis

The current level of the majority of the site is set at a level of 2.1m above ordinance data, whereas the Thames Path, which separates the site from the river is at approximately a level of 4.5m above ordinance data. The site is currently protected by the Thames Barrier further down the river, however also has its own secondary line of defences which form the western boundary of the site. This is a wall of masonry or concrete construction which meets the statutory defence level of 5.23m AOD. The existing defence line is set back between 1.8m and 5.3m from the top of the bank of the Thames. Any proposal for developing the site, will need to maintain or possibly strengthen these flood defences, meaning a wall or defence to the height of 5.23m being maintained along the western boundary of the site. Due to the current level of flood defences for the site, the environmental agency have no records of the site flooding previously. With climate change and global warming being a key issue, in the protection against floods, the height for defences set at 5.23m AOD is assured by the Environmental Agency to include climate change up to the year 2107. As a precautionary method, it is recommended for any development to maintain a ground floor level higher than the 5.23m recommended. This will have a large impact on the development and existing site levels. Environment Agency. 2014. Available at: http://maps.environment-agency.gov.uk/ (Accessed on 04 November 2014)

Map showing Enderby Wharf within flood zone 3, meaning there is a low risk of flooding. This is due to the site benefiting from flood defences.

Soil Information Map. 2014. Available at: http://magic.defra.gov.uk/MagicMap.aspx (Accessed on 04 November 2014) London Flood Analysis Map. 2014. Available at: http://maps.environment-agency.gov.uk/wiyby/ wiybyController?x=531500.0&y=181500.0&topic=floodmap&ep=map&scale=8&location=Lon don,%20City%20of%20London&lang=_e&layerGroups=default&textonly=off (Accessed on 04 November 2014)

Map showing Enderby Wharf with soil structure of sand, silt and clay, therefore the chance of a minor aquifer.

1.11 Enderby’s Wharf:

History of Communications

Enderby’s Wharf in Greenwich has been a key home for communications since 1850. More than 160 years after the first cables for world wide communications were made there, a factory behind Enderby Wharf still makes vital equipment for subsea cables, helping to connect the world via the internet. Enderby Wharf was where the worlds first telegraph cables were made, the pioneering technology that for the first time allowed people to send and receive messages in minutes rather than days or weeks. In its first 100 years the Enderby Wharf factory made 82% of the worlds subsea cables, 713,000km of Cable. The site at Enderby Wharf has been owned by many companies and groups since its first foray into communications. It is now the oldest, continuous operating telecommunications factory in the world, the place which has built the information revolution we are still living through. In 1850 the first telegraph cable was manufactured and laid between England and France, This was the beginning of cable manufacturing in Greenwich, the last cable was made here in 1975. Some of the equipment still in place on Enderby Wharf, were used to load cables onto this ships which docked here. The first trans-Atlantic cable was successfully laid in 1866, this had a lasting affect in history through communications. People could send news from America to the United Kingdom in seconds, This has developed into connecting the worlds phone network followed from the 1990s onwards by the internet. A Century after Telcon made the first cables in Greenwich, in the 1960’s a student of the University of Greenwich, Charles Kao, came up with the revolutionary idea that hair-thin strands of glass could carry information in the form of laser light. In 2009 Sir Charles Kao, as he now is, won the Nobel Prize for physics for the work he started here in what’s now the Royal Borough of Greenwich. 1890 site plan

Scale 1:2500 0

Historic Map: 1860

100

120

Scale 1:2500

Sep 25, 2014 21:29 140

160

180

200 m

Andrew Brown University of Greenwich

Historic Map: 1890

100

120

Scale 1:2500

Sep 25, 2014 21:32 140

160

180

200 m

Andrew Brown University of Greenwich

Historic Map: 1910

100

120

Scale 1:2500

Sep 25, 2014 21:35 140

160

180

200 m

Andrew Brown University of Greenwich

Historic Map: 1950

100

120

Sep 25, 2014 21:37 140

160

180

200 m

Andrew Brown University of Greenwich

1.12 Enderby House

Enderby House was first built in the early 1840’s and refurbished after the major fire of 1845. Entrance to the house is from the Thames footpath, onto the first floor of the building. The ground floor entrance hall is in an attached lower block, and the stair rises from the far end of that hallway to a central first floor hallway that is partly circular. The plan of the main part of the building at each level consists of four separate rooms arranged around this central space, with two larger rooms to the north and two smaller ones to the south. The most important room in the house is that in the northwestern corner of the plan at first floor. It is octagonal in shape and was the room in which Charles Enderby entertained and did business. It is richly decorated when compared with other rooms in the building, and has a bay window which also exists at the other two levels. Though it has been altered by later changes, the ‘octagon room’ retains its historic character, even if some of the decorative treatment appears to be relatively modern. The rest of the building, however, does not. Both internally and externally, it has been heavily altered, and there is very little of any historic or architectural interest that survives in the building. The plan remains legible, but nearly every element elsewhere in the building, apart from a certain amount of joinery and some cornicing in the first floor hallway and elsewhere, has been altered or replaced in recent decades. Apart from the octagon room and the hallway, the interior of every other space is entirely modern. Externally, decorative detail and windows have clearly been recently replaced. It is highly likely that the bay window structure is of a relatively recent date. While the river elevation is approximately authentic in terms of how a building of Enderby House’s age should appear, the other elevations are far less intact, and the building is connected by a first floor bridge to the modern office building to the north.

Photos of Enderby House, from various recent years.

1.13 Museum of Communications:

Porthcurno The proposed museum will have a permanent focus on Enderby Wharf, and the history the site contains. This includes physical exhibits surrounding the transatlantic cable, there is a close link which the museum will look to establish with the Telegraph Museum in Porthcurno, Cornwall. After cables had been manufactured in Greenwich and transported onto ships docked at Enderby Wharf, they were first laid in from Portcurno, in “1870”. Portcurno “grew to house the world’s largest and busiest submarine telegraph station”, and as such became home to the internet “cable and wireless training college”. Portcurno alongside Enderby Wharf are known as fore-runners of the internet, creating and laying the cables which shaped the modern era, including having vital strategic importance during World War 11.

Collection of Photos of the collection at Porthcurno

Portcurno Telegraph Museum. 2014. Available at: http://www.porthcurno.org.uk/index.php (Accessed on 04 November 2014)

Incoming/Outgoing Cable Hut Exterior

Incoming/Outgoing Cable Hut Interior

1.14 Museum of Communications: Our Collection

The Proposal will become a place displaying the heritage of East Greenwich and the local community. The Gallery will be split three overlapping areas, as follows; Enderby House: The History of the Site The Cable: Mapping cable development, with a focus on Transatlantic Communications. The Web: How the cable created modern communications. These exhibits will show the importance for the world as we know it, completely connected, and the role Enderby House had in achieving this. These exhibits will be a variety of digital, interactive and analogue displays. The main physical displays will show the equipment used in the making of the transatlantic cable, shown below. These exhibits will become focal points throughout the museum. As an aim of the museum is to showcase the digital age, whilst remembering the past that launched it, a large amount of the displayed collection will be digital. This means, the museum will need to incorporate digital displays along side digital interaction facilities, such as manipulating holograms and virtual technologies.

Collection of Equipment showing the history of the site.

1.14 Museum of Communications: Our Collection

The Cable - A section on the museum will focus on the cable, Enderby Wharf is highlighted as the birth place of the Transatlantic Cable. This first cable could carry only one line of communication, whilst fibre optic cables can carry several million. A selection of cables and fragments were found on the Enderby Wharf site, before development. Alcatel who are still located to the rear of Enderby Wharf, have also supplied a number of historic samples for inclusion in this rare collection, tracking the history and development of the cable. From beginning to near wireless world we live in today. A feature of the progression from rope making, simple cable communications to the explosion of the world wide web, can all me made sense of through the tools used to complete the daring cable laying missions, specifically the transportation. The SS â&#x20AC;&#x2DC;Great Easternâ&#x20AC;&#x2122; as pictured, was the largest vessel afloat until she was broken up in 1888. This famous steamship was designed by Isambard Kingdom Brunel, was 692 feet long and had accommodation for 4000 passengers. She was not a commercial liner, but specialised in the laying of submarine cables, including the first transatlantic cable. The Model as a feature piece of the gallery was made in 1858. The model will tie a number of exhibits together but particularly focus on the progression of mapping the cables journey.

A Sample of equipment found at Enderby House

1.15 Concept Form Development

1_The Existing Site Due to the site being cleared for development, the only notable features which remain are; Enderby House and some remains of Cabling Equipment.

4_Enderby House at the Centre Using Enderby House as the focal point to the site, creating a series of zones, circulating the building across the site, these will be used to define areas, buildings and landscape.

2_The Thames Pathway Acting as a key link between the developing peninsula and historic maritime Greenwich, the Thames pathway will becoming integral to the proposed scheme.

5_Enhancing the Pathway Using the Lines of Axis created, the Thames Pathway and essential pedestrian route to the proposal becomes defined. The Pathway along the whole peninsular offers opportunity for external exhibitions, pavilions and community zones.

3_Setting Up Axis Using specific viewing angles captured from inside Enderby House to Notable featured landmarks, such as Maritime Greenwich, Canary Wharf and the Dome.

N Not To Scale

6_The Building Form The building form becomes defined by the radial zones and key view Axis. The shape created offers the opportunity for key views from the proposal back towards Historic Greenwich.

1.15 Concept Form Development

7_Stretching into the Water Using the guides created the proposal can link into the River Thames, creating a dock for the Thames Clipper, offering access to the site and proposal. The created pier also offers opportunity for external exhibition spaces.

10_Articulating the Facade The North face of the proposal can be used as offices, staff ‘back of house’ and storage zones.

8_The Open Warehouse The guidelines set up proposed internal spaces including the ‘warehouse’ a large industrial floor key to exhibiting cabling machinery. Along with the proposed museum the; Thames Path, pier and site landscaping can be inhabited as external exhibition spaces.

11_Slicing Through Walkways and exhibition platforms penetrate the warehouse structure, ending at observation platforms and designated floor areas, ranging from; exhibition zones, staff zones or rentable floor space.

9_Breaking the Form The proposal can be enhanced to increase south facing facades to aid solar gain, but also offer median spaces of external and internal inhabitable zones.

N Not To Scale

Precedent Studies

2.1 Precedent Study Media TIC_Cloud 9_Barcelona Structural Strategy Precedent Media TIC by Cloud 9 Architects uses a hanging bridge structual system. This works by the load being carried by the large trusses which span the length of the building. My proposal will look to benefit from a similar structural technique, enabling increasing large spans and limited obstructing columns within the floor plate. Media-Tic Architect: Enric Ruiz Geli, Cloud 9 Location: Barcelona, Spain Year of Design: 2007 Year of Completion: 2010 Floors: 8 Floor Area: 3,572m2 Built up area: 23,104m2 Cost: â&#x201A;Ź 20,791,486 http://issuu.com/actar/docs/media-ict

Diagram of axial forces in the triangulated area bracing the facade.

Diagram of axial forces on all bars belonging to the triangular scheme serving as bracing.

Diagram of deformation on basic frame.

Diagram of axial forces corresponding to the basic frame.

Diagram of moments corresponding to the basic frame.

Diagram of axial forces corresponding to the facade frame.

2.1 Precedent Study

Media TIC_Cloud 9_Barcelona

http://www.panoramio.com/photo/32402799

2.2 Precedent Study

Rurh Museum_OMA_Essen_Germany Materiality and Contextual Precedent Rurh Museum by OMA uses an industrial material pallete a pre-existing site equipment to enhance the proposal. It create the feeling of the museum taking over a working factory, this is a similar strategy to one the museum of communications will look to employ. Capturing the essence of the site within its industrial heritage. Client: Stiftung Zollverein, Essen (Germany) Exhibition area: 5000 sqm Design phase (beginning and ending month, year) 09/2006-02/2009 Construction phase (beginning and ending month, year) 03/2009-01/2010

2.2 Precedent Study Rurh Museum_OMA_Essen_Germany

2.3 Precedent Study

ExCel Phase 2_Grimshaw_London Expansive Areas Precedent ExCel Phase 2 by Grimshaw Architects, created a proposal for ExCel which incorporates large floor to cieling heights. How they dealt with this and the environmental and constructional constraints this brings with it, need to be analyised and optimised for the Museum of Communications. Project : ExCeL Phase 2 Project Type: Retail/Exhibition/Trade Fair Contract Value: ÂŁ160m Area 36,000sq m exhibition space Design Start Date: May 2006 Site Start Date: August 2008 Completion Date: April 2010 Client: ExCeL

http://www.dezeen.com/2010/07/09/excel-phase-ii-by-grimshaw/ http://www.edmundsumner.co.uk

2.3 Precedent Study

ExCel Phase 2_Grimshaw_London

2.4 Precedent Study

Sainsbury Centre_Foster + Partners_Norwich Environmental and Structural Strategy Foster and Partners, Sainsbury Centre use the space frame structure as the services core, enabling a large expansive floor plate to be undestirbed. This is an approach the Museum of Communications will look to tackle, to create the large warehouse gallery floor proposed within the design. Project : Sainsbury Centre for Visual Arts Project Type: Art Gallery / Art Centre Location: Norwich Area: 6186m2 Height: 10.3m Design Start Date: 1974 Completion Date: 1978 Client: University of East Anglia

http://www.fosterandpartners.com/projects/sainsbury-centre-for-visual-arts/ http://www.greatbuildings.com/buildings/Sainsbury_Centre.html

2.4 Precedent Study

Sainsbury Centre_Foster + Partners_Norwich

2.5 Precedent Study

Landschaftspark _ Latz + Partner_Duisburg Nord Landscape Precedent Landschaftspark offers a landscape proposal in an incredibly industrial setting. It is this approach to creating varied landscapes and opportunities which collide and interact with the industrial heritage of the site, which will look to be exploited within the Museum of Communications.

2.5 Precedent Study

Landschaftspark _ Latz + Partner_Duisburg Nord

2.6 Precedent Study

Horno 3_Grimshaw_Monterrey, Mexico Contextual and Material Precedent Grimshaw Architects transformed the old steel works into a visitor attraction and museum, whilst maintaining the heritage, material pallete and industrial feel of the site. It is this challenge which the Museum of Communications will need to overcome. Architects: Grimshaw Location: Monterrey, Mexico Specialist Structural Engineer: Werner Sobek New York (NY) Environmental Design: Atelier Ten (NY) Exhibit Design: Aldrich Pears (Vancouver) Landscape Designer: Claudia Harari (Monterrey) MEP Engineer of Record: Asesoria y DiseĂąo (Monterrey) Structural Engineer of Record: Sistemas Optimos Constructivos, SOCSA (Monterrey) Acoustics, ICT and Fire: Arup (NY) Project area: 6,500 sqm Project year: 2005 â&#x20AC;&#x201C; 2007

2.6 Precedent Study

Horno 3_Grimshaw_Monterrey, Mexico

Building Delivery

3.1 Project Objectives

Functionality

Organisation and layout

Form and Orientation

The Museum facilities are to be designed to suit all their intended uses and provide an environment appropriate for interaction and learning. The users experience should include a walk through industry, focusing on the manufacturing on the cable.

The layout of the proposed museum offers a clear and ordered route through the series of exhibitions and interactive areas, giving the user every opportunity to explore the entirety of the museum. Some exhibition spaces will be designed in such a way to be able to be separated and therefore offer private or ticketed areas, along side the permanent exhibition zones. All axillary spaces will be clearly accessible from any part of this journey through the proposal, as such giving the museum user flexible use of the facilities offered. There will also be a clear separation between public and private spaces, giving staff quick access to public zones.

The proposals form and orientation respond to the needs of the building, with south west facades being open to enhance solar gain and natural vent intake. Whilst to the north east of the proposal sits staff and private zones, which can become more controlled zones and as such not need the increased amount of natural daylighting.

Site

Environmental requirements The key environmental criteria are as follows:

Health and safety The layout and design of the Museum and grounds must provide a safe and secure environment for staff and visitors, including people with disabilities, some of whom may use mobility aids or have a visual or hearing impairment. The building maintenance strategy (covered later in the document) lays out how the design of the building makes maintenance easier; such as laying out services and lighting from a accessible gantry to prevent hiring of a cherry picker.

Future-proofing The design and construction of the proposed communications museum, is done so in such a way to accommodate future change. The large warehouse sections has been designed to be adaptable and therefore accommodate an increasing variety of exhibition layouts alongside an array of possible performance spaces. The structure of the proposal; using two structural systems (one for the exterior and one for the interior) enable future change to the use and usability of the design. The internal frame can offer future segregation of spaces, enabling multiple companies to occupy the development and alter the environment to suit their specific needs.

Sustainability The proposal will offer a sustainable approach to design and construction: • Offering a controlled environment by the use of; Natural ventilation, passive solar gain and the use of thermal mass to regulate temperature. • Use rainwater harvesting to optimise waste and minimise the need for external supplemented systems.

The design proposal will sit on the site, as to best enhance the urban fabric. It will be focused around the existing Enderby House, creating internal and external areas, for public, semi public and private use. The proposal will be built and located to enable future expansion as required, whilst setting out a clear, define form. The site landscaping will consist of clear marked public routes to the proposal and across the site, to other key locations along the Thames pathway. The site and proposed landscaping, will be enhanced for pedestrian use, giving notable balance with the needs of cyclists. Due to the sites location, use of the Thames as a mode of transport with access to the site via the new docks, provides a sustainable route to and from the site. Vehicles will be limited on site, however possible routes have been design to enable service vehicles, disabled parking and routes through into the newly designed urban fabric. Key features of the new landscaping include sections of public lawn, which aim to enhance the urban condition offering local residence an area, to gather, relax and enjoy the outside space; this is especially key in an area such as the peninsula which is becoming overly populated

The industrial warehouse feel for the main gallery zones, becomes enhanced and emphasised by the increased openness afforded by the natural daylighting.

• Increase use of natural daylighting where possible to minimise supplemented electrical lighting. • Summertime overheating will be prevented through the use of cross ventilation, the stack affect, an increased thermal mass and the possibility of night cooling. • Wintertime heating will be accomplished through underfloor heating powered by the ground source heat pump, which will then be recovered through a heat recovery system

Operability and maintenance The building will be maintained and operated by a building management system. This will control the intake and extract vents, the position of the external louvres alongside the electrical lighting systems. The proposed museum will be built in a way which means maintenance and cleaning shall be straightforward. All building services and lighting will be suspended from the high level gantry, making the maintenance of such systems easy to be carried out by staff members.

3.2 RIBA

Plan of Work

Stage 0 Strategic Definition Key project team members will discuss the initial brief proposal with the client, and define a more concrete final brief. In this project specifically â&#x20AC;&#x2DC;The Science Museumâ&#x20AC;&#x2122; would determine if the site chosen was right for their investment. Initial finances and programme are discussed to determine wether the project is viable for all parties involved. The possession of the site (if not already owned) will be secured by the client and his representatives. Stage 1 Preparation and Brief Once the final brief has been determined by the client, the Architect will undertake a series of feasibility studies based upon what they believe are the clients requirements. The suggested project outcomes will be finalised between client and architect, this includes the level of sustainability the client wishes to achieve alongside a more fixed budget and programme. In house the architect will determine a fee structure and team structure to help determine the scale of the job for the practise. Specifically for this project a number of staff members will be allocated either full time or part time to the job. This project will require 1 Director (to oversee the project), 1 Architect (to run the project), 1 Technician (to aid in the technical aspects of the project), 1 part II qualified assistant (to aid in the design and production of drawings) and a part I assistant to assist throughout with production of drawings and visuals. The Architect should begin to approach a number of survey companies to receive quotes to obtain the key information needed to progress a design. A delay with this information will mean a delay in the project. The Architect should also begin preliminary calls to other members of a potential design team, and other possible consultants. Stage 2 Concept Design The Architect will have received the final feedback on all feasibility studies and should have been given a clear direction from the client in which way to proceed. The concept design will involve a more thorough design, including initial ideas around environmental and structural systems. At this point the client will appoint the other key members of the design team, Structural Engineers, Mechanical and Electrical Engineers and a Quantity Surveyor following the Architects suggestions. The design team will hold a number of meetings to determine the direct of the concept design, making sure all disciplines are included in the design process.

Upon client approval of the concept design, the architect will produce a Design and Access Statement and submit it to the planning consultants, who depending on the project may wish to make a pre-application to the planning authority. The Architect and design team will update drawings to a standard suitable for a planning application, following comments from the planning consultants. For the project in particular a planning application as well as a listed building application will need to be submitted to the local authority, this will take a minimum of 13 weeks. The planning application will include a number of drawings detailing the proposal, a design and access statement and a heritage statement showing the importance of the listed building and how the proposal will impact on it in a positive way. During this 13 week period the project may be halted to prevent risk to the client, however the client may direct the design team to continue developing the proposal to the next stage, meaning the client has to carry the risk. Stage 3 Detailed Design Whilst the planning drawings are being reviewed by the local authorities, the design team will continue to produce the drawings containing the next level of detail. Bespoke items within the design will be highlighted and if needed specific consultants will be hired to design the required items. Handover, maintenance and operational strategies will be reviewed by the client. Stage 4 Technical Design During the technical design stage, the design team produce drawing packages in preparation for tender. All drawings will contain detailed information about materials and quantities for review by the Quantity Surveyor. The Tender package will then be issued a series of contractors firms within the Greenwich, London area. These firms will have the relevant experience working on similar projects. In a design and build contract, the contractor will then work with the design team to perfect the design, before all drawings are issued for construction. The main contractor will then be head of the construction phase, managing all appointed sub contractors. The programme will also be reviewed and agreed by the client. Information including the site management details, site office locations, delivery routes, operational hours, internal and external hoarding strategies and final program will need to be developed and agreed upon.

In a traditional contact, the appointed contractor will work with the assigned tender package. Working for a fixed price which means the contractor will carry more risk. If the tender package is incomplete however the programme may be delayed as the contractor can not take responsibility for design, and the client will have to resolve the arisen issues. It is worth noting the client may wish to appoint the architect till completion to assist in managing the contractor is any problems arise. Stage 5 Construction In a design and build contract, on site meetings will be imperative for discussions relating to detailed design queries. Contractors may make specific choices to progress the work on site, without having to delay the project for architects approval. In a traditional contract the architect will be required to maintain regular on site meetings, to prevent delays within the project. Stage 6 Handover and Close Out Architects will review completed works for handover with completed documentation from all relevant parties. All parties will produce snag lists to document any issues of outstanding items. Stage 07 In Use Upon handover the building will be used to train all new staff prior to opening. Staff will familiarise themselves with the building and its proposed layouts. The museum curator will assign the exhibitions and organise the museum, this will involve the shipping and distribution of all exhibits.

3.3 Spatial Zoning Diagrams

Initial adjacency diagrams have been worked out to determine the possible positioning of each element within the proposal, as well as suggesting circulation routes for all users.

Plant Thames Path Towards Greenwich Peninsular

Possible access areas can be defined, including public access into the main reception from the Thames Path, Staff and delivery access from less prominent positions.

Areas can be separated off for different exhibits, temporary galleries or ticketed areas. All educational facilities can be accessed through the main reception space. The educational facilities are invite only areas, semi-public spaces which visitors would only access, if that was the purpose of their visit.

Workshops Archives Lecture Theatre

The main entrance to the public, is from a large reception which contains direct access, to temporary and permanent exhibition spaces. The reception acts as a central point for the museum, in which all public space revolves around. The main exhibition space acts as a circulation route through the experience of the museum. There are staff zones, accessible either of the reception or exhibition spaces, which contain staff rooms, toilets and offices.

Delivery Entrance

Stores

Education Centre Museum Shop Temporary Exhibition Space

Reception

Cafe Main Entrance

Permanent Exhibition Space

Stores Staff Areas

Enderby House

Plant

Stores Toilets

Offices

Staff Entrance

Thames Path Towards Greenwich Maritime

Museum Proposal

Offices

3.4 Team Structure Client: The Greenwich Society Chairman: Richard Baglin Contact: chairman@greenwichsociety.org.uk Due to the nature of the project and the proposed client, a joint client trust â&#x20AC;&#x153;The Museum of Communications Committeeâ&#x20AC;? has been formed. The committee will be made up of a series of elected individuals from all client groups. As the main funding partner The Science Museum will put forward four representatives, this will include the committee chairman, the Greenwich society will supply three members and the Enderby Group two members. This committee of nine will act as the voice for the three client groups, they will be the point of contact for the architect and design team. The layout of the design team will vary depending on contract type, the level of complexity of the project and The Architects role in the design team, varies depending on procurement and form of appointment. In the standard design team, the client employs the services of the architect as head of design. The client also appoints a the other members of the design team and appropriate contractors, as shown. The Architect is the point of reference between client and design team and ultimately serves as project manager. However in some cases, where a project is particularly complex the client can choose to appoint a project manager to become head of the design team. For the museum of communications, due to the complex relationship between the clients; The Science Museum, Enderby Group and Greenwich Society and their committee, the Chairman of the Greenwich Society has been appointed as point of contact between the Architect and the Client groups.

Client: The Science Museum Director: Ian Blatchford Contact: I.Blatchford@sciencemuseum.ac.uk

Client: The Enderby Group Chairman: Alan Burkitt-Gray Contact: chairman@EnderbyGroup.org.uk

Client: Museum of Communications Committee Contact: Info@museumofcommunications.ac.uk Museum Curator: TBC Project Manager

Architect: Studio PG Project Lead: Paul Gorzelak Contact: paul.gorzelak@studiopg.co.uk Structural Engineers Main Design Team Including;

M and E Engineers Quantity Surveyor Landscape Architect CDM

(Role Altered after April2015)

Planning Consultant

Consultants Including;

Fire Engineer Acoustic Consultant Interior Design

Other Expertise needed;

Exhibition Design Lighting Design Lighting Design Ecology

Other Consultants needed;

Archaelogical Highways Flood Risk

3.5 Planning Considerations

Through consultation with the local planning authority for developments on the peninsula there are a key number of considerations that need to be taken into account, they can be found on the Greenwich Planning Portal, Under Enderby Wharfâ&#x20AC;&#x2122;s current housing development application. For the proposed Museum of communications there are a number of aspects which need to be considered; 1) Whether the proposal benefits the local area. 2) The proposals relationship with the River Thames. 3) The proposals environmental impact. 4) The proposals relationship with the Thames Pathway. 5) The proposals relationship with Enderby House (a listed building).

1) Benefits to the community. - A community lead proposal, run by the Greenwich Society, - Enhancing an otherwise empty, disused site, - A contrast to the housing being proposed throughout the peninsula, - An increase in local publicity, - An increase in local jobs, - Maintaining and celebrating the site and Greenwichâ&#x20AC;&#x2122;s Heritage, 2) Relationship to the River Thames. - Used as a key transportation link to the proposal, - Enhancing the view from Canary Wharf towards Greenwich, - Framing views out of Enderby Wharf towards Maritime Greenwich, 3) Environmental Impact. - Considerations taken in the proposal for use of the following; - Natural Cross Ventilation - Stack Affect Ventilation - Solar Gain - Photovoltaic solar gathering - Rain water collection - Surface run off storage - The proposal ability to be adapted for use, through the construction of an internal and external frames, mean segments of the proposal can be manipulated and adapted over time to suit the user. 4) Relationship with Thames Pathway. - The Thames Pathway acts as a key link to and from the proposal linking the Museum of Communications to Maritime Greenwich and the Peninsula - The Thames Pathway will evolve alongside the urban strategy, to develop and link Greenwich with the Thames. The Urban strategy defines the developed Thames Pathway as an exhibition theatre space, offering chances for community use, art exhibitions or even music concerts. 5) Relationship with Enderby House - Enderby House is central to the proposal, the design is based around the house as an historic monument. - The House is a clear link to the heritage and purpose of the museum. - The house will be renovated to accommodate a series of mixed uses, whilst maintaining and restoring the historic importance of Enderby House and the Octagonal room. - Enderby House and the Proposal will help lead a more historic importance, Greenwich focused development of the peninsula edge, rather than the generic housing proposed for the majority of the peninsula.

N ote:A ll inf or mation r egar ding planning cons ider ations and Lis ted building I nf or ma tion, is gener alis ed. F or detailed inf or mation pleas e r eview inf or mation w ithin; The London P lan ( adopted 2011) and The S aved P olicies of the G r eenw ich U nitar y D evelopment P lan ( U D P adopted 2006) The G r eenw ich P enins ula Wes t M as ter plan The N ational P lanning P olicy F r amew or k ( N P P F ; 2012) Emerging P lanning P olicy F r amew or k Cons ultation w ill be r equir ed w ith the RBG ( Royal Bor ough of G r eenw ich) , GL A ( G r eater London A uthor ity) , Local public cons ulatations

3.6 Planning Conside rations

Archaeolo g i c a l Are a s o f I m po r t a nc e , Lo ca l Vi ew Z o n es, L i st ed B u i l d i n g s & C o n serv a t i o n A rea s.

The Adjacent maps dissect the Greenwich area into key points to consider. 1. The Archaeological Areas map shows that Enderby Wharf may have some archaeological importance due to its location on the river Thames. This adds further arguments to the possible unique history of the site which will need to be remembered and used throughout any proposal. 11. The Conservation Areas map shows how Enderby Wharf is not part of a predefined conservation area, and as such means development in the area is possible. The map highlights the peninsular as an area for redevelopment. 111. The map of view zones shows how Enderby Wharf is in the line of three possible key views. This could potentially mean that any building has to consider the height and impact of this height on the existing surroundings. 1v. The map of listed buildings shows how Enderby House, is located in the heart of the proposed site. Any proposed design will have to be considerate of Enderby House, and possibly bring the house up to standards using it as a unique historic feature of the proposal. The East Greenwich Conservation Area is the closest to the Enderby site, located to the south, and bounded on its northern edge by Ballast Quay, Lassell Street, Banning Street, Pelton Road and Christchurch Way. The Enderby Wharf site is not in a conservation area.

Image: Top Left - Map of Archeological Areas From Greenwich Unitary Development Plan 2006 Bottom Left - Map of Conservation Areas From Greenwich Unitary Development Plan 2006 Top Right - Map of Listed Buildings and Landmarks From Magic.gov.uk Bottom Right - Map of View Zones From Greenwich Unitary Development Plan 2006

3.7 Fee Structure RIBA Plan of Work 2007 Work Stages

Traditional Fees

Traditionally, there are three approaches to calculating fees; single quoted lump sum, a percentage of the construction cost (typically between 8-12% for the entire project or 3-5% up to planning) and by an hourly rate.

Preparation

Fee as a lump sum is a structure what is associated with small scale projects or bespoke individual project details. Lump sum fees are preferable when the project has a fixed cost, which is unlikely to change. This cost may be fixed due to the timescale involved and scope of appointment. If the project changes then the fee may need to be re-negotiated. Fee as a percentage of the construction cost is the standard format for large scale construction projects. If the budget for the project changes throughout the RIBA work stages, then the amount charged would change in conjunction.

The fee basis for the project will be assessed by considering the following principals: the size of the project, scope of services, its complexity (projected delivery time), need for other consultants, possible client risk, expenses and the state of the market.

Design Brief

Concept

Design Development

Technical Design

Construction

Production Information

Tender Documentation

Tender Action

Mobilisation

Construction to practical completion L1

Use

Staff have yet to be appointed but the following figures are indicative of possible hourly rates: Principal Partner: £400 Senior Architect: £200 Junior Architect (part II Assistant): £100 Senior Technician: £160 Interior Designer: £100 Architectural Assistant (part I): £60

Appraisal

Strategic Definition Hourly Rate

Hourly Rate

Appraisal

10 - 15 %

Concept Design

15 - 20 %

Developed Design

Technical Design

Specialist Design

Construction (Offsite and Onsite)

20 %

Use and Aftercare

20 % 35 %

The architectural services for the Enderby Wharf project for example will be broken down into stages of work and the projected cost will equate to approximately 10% of the construction cost. Hourly rates will be based upon salary costs, overheads and profit. All quoted fees will clearly state in the schedule of fees that they are not inclusive of VAT or reasonable disbursements which will be charged at an additional 8% of the fee basis. All fees must strictly be paid within 14 days and queries must be directed to Studio GP within seven days of the invoice date. Overdue accounts will be subject to interest at 5% monthly and suspension of further work, without notice. Benchmarking fees against other practices as well as past projects will keep Studio GP’s Architecture prices competitive.

Bim Fees

40 % Design

An hourly rate fee is used when the project is either in its early stages, or the scope of work has yet to be finalised. Hourly fees are generally capped to a pre agreed maximum charge. It is key that a detailed record of hours work is kept to justify the charge.

RIBA Plan of Work 2013 Work Stages

L2 L3

20 %

25 - 35 %

Post Practical Completion

Diagrams reference but drawn by author

(BHB, n.d.)

Hourly Rate (Orell, 2013)

3.8 Project Budget and Funding

The proposed Museum of Communication, at Enderby Wharf will not only act as a focal, central point for the community. It will also look to feed back any profits into the local community to maintain East Greenwich and the Greenwich Peninsular as community central areas. The museum will run as a registered charity, accepting donations and grants to help with the running of the museum. As a subsidiary of the Science Museum; they will be in charge of the everyday running and maintenance of the Museum. Involved in the hiring of staff, curating of exhibits and day to day tasks. They will maintain a close relationship with the Greenwich Society who would be involved in important decisions regarding the running of the museum. The Greenwich Society would maintain priority over the booking and use of flexible spaces, educational facilities and temporary exhibits; maintaining the important aspect of location, community and charity within the museums ethos.

Public Donations help finance the maintenance and running costs of the museum Science Museum Funding

Science Museum Funding Fundraising Period in Program led by Greenwich Society National Lottery Fund

The museum will charge entrance fees, and sell goods from within its shop and cafe. This will help the museum in running costs and potentially create a revenue stream where the Greenwich community can benefit.

National Lottery Fund

The running costs of the museum, will be less than first anticipated due to the clients commitment to renewable energy and sustainability. The inclusion of sustainable measures as previously mentioned will help maintain profits for the museum. The project will be funded primarily by ‘The Science Museum’, who being a registered charity, run their museums from donations and grants. The Greenwich society will also help fund the project, through fund-raising and sponsorship. Due to the project being funded by sponsorship, there will need to be a period within the contract where fund-raising can take place, a good time for this is when the project is being analysed by the local planning authority. It is likely that a project of this scale which benefits the community would be of interest to the ‘National Lottery Fund’ and therefore it is not uncommon for them to match any fundraised donations. The fund-raising period in the program could be any length of time, depending on how quickly the client feels funds can be raised. The initial fees and costs are being covered by ‘The Science Museum’ and funds they have already set aside from previous donations.

Project Inception 2014

Architects and Consultants Fees

Initial Construction Costs

Ongoing Construction Costs

Funding Target 2017 / 2018

Ongoing Museum Costs

3.9 Two Stage Tender Traditional Procurement

Selecting a procurement route and contract must be assessed in respect of the most economic strategy for the client; to take a risk or to pay the contractor would be up to The Greenwich Society and The Science Museum. Contract risks can be considered in terms of default, delay and quality. For the purpose of the Museum of Communications, Enderby Wharf the proposed procurement routes are as follows; Two-Stage Tender Traditional Contract. I would suggest a traditional Two-Stage Tender based procurement approach and contract. Using a traditional contract means the roles and responsibilities of all consultants and contractors are well understood. Using a two stage process would mean the main contractor is added to the design team at an early stage to assist with the design of the project. The contractor would lend their expertise to the specifics of the projects. This may be particularly useful considering possible challenges revolving around the Enderby Wharf Site, such as ground conditions and proximity to the River Thames. In the first stage, a limited appointment is agreed allowing the contractor to begin work and in the second stage a fixed price is negotiated for the contract. “The basis of the appointment for the first stage may include: • A pre-construction and construction programme. • Method statements. • Detailed preliminaries including staff costs. • Agreed overheads and profit. • A schedule of rates to be applied to the second-stage tender. • Agreed fees for design and other pre-construction services. • CV’s for proposed site and head office staff. • Tendering of any packages that can be broken out and defined. • Agreed contract conditions to be applied to the second-stage construction contract.” This early involvement of the contract means the buildability and costcertainty of the design is improved. The second stage of the tender would be a mathematical exercise using the pricing criteria agreed in the earlier stage. The main contractor would then negotiate the contracts and manage the required sub contractors. A positive of the two-stage tender means the design risk is passed from the client to the contractor at an early stage, however the client loses cost leverage as the contractor becomes an integrated part of the design team, meaning a cost may be slightly higher than a traditional tender, the risk associated with the works would be minimised.

Client

(Lead Designer & Project Lead)

Other Directly Employed Contractors

Architect

Quantity Surveyor

Structural Engineer

Added to the design team at an Early Stage

Main Contractor

Mechanical and Electrical Engineer Sub-contractors Other Consultants Suppliers Clerk of Works

Contractual Links Functional Links Designing Buildings Wiki. n.d. Two Stage Tender. Available at: <http://www.designingbuildings.co.uk/wiki/Two-stage_tender> [Accessed on 22 January 2015].

3.10 Split Contract Option Traditional and Design a nd Build Two Contracts; Design and Build and Traditional An Alternate to the two-stage tender would be to split the works into two(or more) contracts. A possibility would be to offer the enabling works, foundations, steel frame, facade and curtain walling as a design and build contract. Essentially creating an building frame, sealed from the elements. The nature of having this as design and build means costs can be kept to a minimum whilst the time frame can be shortened due to using contractors to their full potential within design and minimising the tender documentation required. In order for the client and architect to maintain some design control over the exposed detailing and finish of the building fabric, clauses can be included in the design and build control which included; the architect having weekly site visits, or included in key onsite events to oversee and specify the detail required, this may include producing more detailed design drawings. Included in the agreed contract would be a fixed price for the work, and clauses for over running on time. The contractor would be eligible to pay liquidated damages to the client in the event of a breach in contract. The second contract would then be a specific traditional contract agreed with each specialised contractor. For instance the internal exhibition design can be carried out using a traditional contract, where all details are designed to the highest standards and worked upon by the required consultants. This would mean, internal details or additional design elements can be built and proposed once the base museum is up and running. The museum could be running and charging funds for entry into the gallery and exhibits, whilst raising money to carry out designated works to educational facilities, cafe facilities or Enderby House.

Client

Quantity Surveyor

Other Directly Employed Contractors

Main Contractor

Architect

Sub-contractors

Consultants

Suppliers

This approach would give the client more flexibility it terms of balancing design quality, cost and time frame.

Contractual Links Functional Links Designing Buildings Wiki. n.d. Two Stage Tender. Available at: <http://www.designingbuildings.co.uk/wiki/Two-stage_tender> [Accessed on 22 January 2015].

Two (or more) contracts Design & Build and Traditional

3.11 Project Programme

Two Stage Traditional Contract Either Contract

RIBA Work Stage / Key Event

2015 2016 2014 Sept Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec

RIBA Stage 0 - Client organisation formed and strategic brief defined. RIBA Stage 1 - Client final brief defined, Architects appointed, project program defined. RIBA Stage 1 - Architect undertakes feasibility studies, key site information gathered. RIBA Stage 2 - Design team undertake detailed concept design. (Contractor on board in a two stage tender)

RIBA Stage 2 - Planning PreApplication submitted. RIBA Stage 2 - First public consultation. (Fundraising begins)

RIBA Stage 3 - Architect reviews client, public and pre-application advice, and produces the planning documents. RIBA Stage 3 - Planning documents submitted and reviewed. RIBA Stage 3 - Second public

consultation.

Fundraising Period Small Break in Works

Fundraising Period until agreed contract fee is reached

RIBA Stage 4 - Design team Produces the tender packages. (Contractor

Exhibition and specific detailed design drawing produced

assisted in design and build)

RIBA Stage 4 - Design team produces the tender package. (Traditional contract requires a longer period to complete)

RIBA Stage 4 - Out for Tender (Either

contract - Contractor novated)

RIBA Stage 5 - Construction. Design

team issues construction drawings as required. Client Ceremony - Community celebrations recognising 150 years of the TransAtlantic Cable, at ground breaking.

Start date may vary depending on contract Date may vary depending on contract

3.11 Project Programme

Two (or more) contracts Design & Build and Traditional Two Stage Traditional Contract Either Contract

RIBA Work Stage / Key Event

2018 2019 2017 Jan Feb Mar Apr May Jun July Aug Sep Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Jan Feb Mar Apr May

Fundraising Period Small Break in Works

RIBA Stage 4 - Design team Produces the tender packages. (Contractor assisted in design and build)

RIBA Stage 4 - Out for Tender (Either contract - Contractor novated)

Exhibition and specific detailed design drawing produced Second Contract Tendered (traditional) Date may vary depending on contract

RIBA Stage 5 - Construction. Design

team issues construction drawings as required. RIBA Stage 6 - Handover. Design Team and client review completed works. RIBA Stage 7 - Client Occupies building. Museum Curator will assign exhibits and Museum will train staff. RIBA Stage 7 - Museum opens to the public.

Design and Build Handover

3.12 Design Risk Assessments Risk Assessment Stage: Design Risk

Consequence

Severity

Solution

Design Team Communication Breakdown

• •

Delays in design process Delays in project program

•

• •

Provide regular reviews and feedback Manage design team and client expectations

Lack of quality within the design team

• • •

•

• • •

Provide regular reviews and feedback Monitor progress slowly Hire new design team members

Poor decision making

• •

Delay in design process Possible poor quality work Possible re-drawing and re-designing sub standard work Delays in design process Delays in project program

Depends on length of delay - could delay construction start. Increased program length could mean increased Cost. Very High - Could mean re hiring members of the design team

• • •

Provide regular reviews and feedback Monitor progress slowly Hire new design team members

• •

Possible re-drawing and re-designing Possible delays in project program

•

Depends on length of delay - could delay construction start. Increased program length could mean increased Cost. Depends on length of delay - could delay construction start. Increased program length could mean increased Cost.

• • • •

Manage expectations Provide regular review and feedback Ensure working towards a brief Ensure budget is in place

• • •

Delays in design process Delays in project program Possible re-drawing and re-designing

•

Very High - Too much disagreement could stop the project all together

• • • •

Manage expectations Provide regular review and feedback Ensure working towards a brief Ensure a budget is in place

Adverse publicity to proposal

• • •

Delays in design process Delays in project program Possible re-drawing and re-designing

•

Very High - Too much opposition could stop the proposal all together

• •

Manage expectations Nurture broad support

Disagreement with Architect

• • •

Delays in design process Delays in project program Possible re-drawing and re-designing

•

Very High - Too much disagreement could stop the project all together

• •

Manage expectations Provide regular review and feedback

Disagreement with Stakeholders

• •

Possible re-design project could be delayed or stopped

•

Very High - Too much disagreement could stop the project all together.

•

High - Too much disagreement could stop the project all together.

• Provide regular reviews and feedback • Provide regular consultations • Political engagement • Provide regular reviews and feedback • Agree revisions or required changes

•

Very High - Too expensive could mean scheme gets dropped.

• •

Value engineer scheme Clarify priorities and reduce scope

•

Very High - Slip in program can cause increased cost Very High - Slip in program can cause increased cost High - Slip in program can cause increased cost

• • • • • •

Consider priorities and cost penalties. Alter scope and/ or re-programme Manage expectations Monitor income Adapt design and programme Hold budget contingency

Disagreements with Building Control / Planners

Disagreement with Client

•

• •

•

Risk Assessment Stage: Pre Contract

Scheme does not meet brief Scheme over budget Scheme cannot meet programme Funding not available to commence Enabling works reveal problems

• • • • • • • • • • • •

Delays in design process Delays in project program Possible re-design Delays in design process Delays in project program Possible re-design Delays in project program Possible re-design Delays in project program Possible re-design Delays in project program Possible re-design

• •

3.13 Construction Risk Assessments Risk Assessment Stage: Contract Risk

Consequence

Severity

Solution

Poor Contractor

•

• • • • • • •

Careful vetting / Short-listing Best procurement method for works Excellent contract documentation Monitor progress closely Extensive site investigations Enabling works Hold Contract contingency

• • •

Provide detailed specification Regular inspections of site works Raise issues at an early stage

Delays in project program

• Unforeseen problems

• •

Delays in project program Possible re-drawing and re-designing

•

Quality problems

• •

Delays in design process Delays in project program

•

Rising Cost

• •

Possible re-drawing and re-designing Possible delays in project program

•

High - Could mean re-design or possible project delays

• • • •

Transfer risk to contractor within contract Value engineering Priorities and reduce scope Ensure good communications

Programme Slippage

•

Delays

•

Very High - Too much delay could mean increased cost and building not ready in time.

Users unaware of problems

• •

Delay Possible pay issues

• •

High - Client could with hold payment Could create a difficult working relationship

• • • • •

Consider priorities and cost penalties Alter decanting arrangements Ensure good communications Manage expectations Ensure good communications

•

Risk Assessment Stage: Construction Risk

Consequence

Severity

Solution

Ground Contamination / Biological Hazards

• •

Delays in site works Increased cost

• •

High Considering site location this is a key issue

•

Any site on the peninsula will have ground contamination. This needs to be investigated before site works.

High Level of ground water

• •

Delays in site works Increased cost

• •

High Considering site location this is a key issue

•

Any site on the peninsula will have ground contamination. This needs to be investigated before site works.

Working at height Risk of falling

• • •

Death / injury to workers Delays in site works Increased cost

•

Very High

•

Due to proposed steel frame design - all staff should be working alongside all protection from falling regulations

Working above water Risk of drowning

• • •

Death / injury to workers Delays in site works Increased cost

•

Very High

•

Due to site location and building over the Thames - all staff should work to the health and safety guidelines

Site Noise

•

Neighbour unrest

•

Low

•

Due to sites location, very few neighbours will be affected

Site Traffic

• •

Neighbour unrest Increase the transport on the already busy road network

•

Low

• •

No site access via smaller roads All site deliveries to be made by River.

3.14 Health and Safety Issue

Solution

Issues revolving around construction work

All staff will be of the highest quality, they will be the best in their respective fields to ensure the best quality work.

Due to the proposals height and complexity of structure - the process of steel hanging systems - working at height is an important issue. Solutions include Making sure all work is properly planned and organised. Those working at height are competent and working alongside all health and safety procedures. Man safe protection systems are used at all times. Work is carried out off site to mitigate the length of time working at height. All equipment used for work at height is properly inspected and maintained. As part of the building is built above water precautions will have to be taken to prevent drowning / falling or injury. Solutions include Making sure all work is properly planned and organised Those working above water are competent and work alongside all health and safety procedures Mansafe protection systems are used at all times.

Working at Height

Working above water

Delivery and onsite vehicles

All site delivery will be from the new docks (first stage of construction) meaning traffic and on site vehicles will be limited Due to delivery by boat, cranes and lifting gear will be needed. All staff will be trained on the lifting gear and be competent whilst working alongside all health and safety procedures. On site vehicles will be limited to 5mph and work through clearly labelled vehicle route.

Manual Handling

The proposed steel frame will be made off site meaning manual handling on site will be limited. All manual lifting will be with the required equipment Only the staff with appropriate training will be allowed to use the lifting equipment.

Scaffolding Systems

Scaffolding offers risk of collapse as well as risk from falling All scaffolding will be erected and dismantled by trained staff only. Scaffolding will be designed by trained professionals.

Electricity on site

All equipment to be PAT tested. Cables to be secured to floors to prevent trips. Caution taken to proximity of electrical equipment to water due to site location and delivery routes.

Site Security

Due to sites location in relation to the Thames Path construction will be altered to make sure the pathway is unobstructed where possible, if closed it will be closed for the shortest possible time. The construction site to remain fully secure at all times, by way of hoardings and fencing. Hazard warning signs to be erected to all site perimeter to inform the general public of construction hazards.

Slips, Trips and Falls

Good housekeeping throughout the site to be imposed. All high level work to be protected by railings and safety systems

Building Construction

4.1 Site Location Plan

N Not To Scale

4.2 Site Plan

Future Development Site

Future Road Connection

Museum Deliveries

Meadow Gardens

Parking Main Vehicle Access

Meadow Gardens

New Dock

Public Square

Existing Equipment

Thames Pathway

Smaller through road Public Lawn

Sculpture

Pedestrian Vista

N Not To Scale

Alcatel Site

Meadow Gardens

Development Site

4.3 Enabling Works

Site clearance. The proposed site Enderby Wharf, is currently being cleared of all existing buildings, as the photoâ&#x20AC;&#x2122;s overleaf show. This means the site will be a tabula rasa ready for the contractors to push ahead with the museum proposal. Diversion and/or disconnection of existing site services. Due to the site containing existing buildings, including Enderby House, there is a full service connection with the national grid. This connection needs to be disconnected before construction work begins. Ground exploration and preparation. Explore the ground conditions to determine the extent of survey work, decontamination, archaeological investigation and specific ground soil types, which will help determine foundation type and depth. Decontamination. Due to the sites industrial heritage, the levels of contamination may be particularly high, this would need to be investigated. Water based disease may also be present, due to the sites location alongside the river Thames. Contamination rats and vermin may also be an issue which would need solving before onsite work can begin. Survey work. A number of surveys will be required, including all geo-technical surveys, existing service plans, and underground tunnels or transport networks will also need to be investigated. Excavation of known below-ground obstructions. Whilst surveys are being completed, some on-site work can begin for those known below ground obstructions, this will include the foundations of the existing demolished buildings on site. Perimeter fencing and security provisions. As detailed in the adjacent plan, hoarding will be needed to secure the site. This will be carried out in a number of phases to limit the closure of the public access Thames pathway. Archeological investigations. From the resulting survey reports an archeological survey may need to be completed. If any sensitive remains are found then, whilst all ground work is being carried out a qualified archeologist will need to be present to protect and remove any artefacts or remains. Protection of Enderby House. Due to the listed status of Enderby House, as part of the project the house will be restored to its past glories, and be utilised as an educational facility. Whilst construction is taking place the house will need to be board and protected from any potential future damage.

4.4 Site Office and Phasing

F utur e D evelopment

S ite O ff ice and Contr actor Compound

No Site Entry

P h ase 2 D ir e ct i o n o f Co n s t ru c t i o n a n d s i t e w o rk s

P h ase 1

Si t e Off i c e Si t e St o r e

P has e 3 P h ase 4

Si t e Ho a r d i n g Si t e Ho a r d i n g A f t er p h ase 2 Si t e En t r a n c e Ph a s e 1 - Flo at i n an d secu r e D o ck s ( use d f or tr a nsp o r ta tio n d u r in g c o n s tr u c tio n )

Ph a s e 2 - St eel F r am e an d C an t i l ev er ( Only Pha se W h e r e T h a me s Pa th Clo s e d )

Ph a s e 3 - R est o f P r o p o sed War eh o u s e b u i l di n g

P has e 5

Ph a s e 4 - R est o r e E n d er b y H o u se Ph a s e 5 - Sit e L an d scap i n g No t e s :

• • • • •

All Site de live r ies to b e b y Riv e r ; if n o t p o s s ib le th e n a c c e ss via A2203 Bla c k w a ll L a n e . No Ac c e ss or pa rk in g o n Ch r is tc h u r c h Wa y All Site wor ke r s to ta k e a d v a n ta g e o f th e r iv e r ta x i p r o p o s e d dr opping off wor k e r s a t th e n e w d o c k . Building to be c o n s tr u c te d in a c lo c k w is e d ir e c tio n a v o id in g disr uption to the T h a me s Pa th . Ende r by House to b e r e s to r e d w ith a p p r o v a l f r o m th e lo c a l pla nning a uthor it y to a f te r o b ta in in g lis te d b u ild in g c o n s e n t.

N Not To Scale

No Site Entry

N o S ite Entr y N o Tr aff ic Thr ough Res idential Zone

4.5 Construction Sequence 1. Site Enabling Works Including. - Site clearance. - Diversion and/or disconnection of existing site services. - Ground exploration and preparation. - Decontamination. - Survey work. - Excavation of known below-ground obstructions. - Perimeter fencing and security provisions. - Archeological investigations.

2. New Docks made to assist in future construction phases.

- Delivery of all on site materials. - Staff can arrive on site via river taxi.

3. Site piling and pile foundations dug.

4. Concrete Foundations, caps and ground work.

- Reinforced concrete construction. - Specific pile detail for the one pile located in the Thames.

5. Steel Frame columns, beams and trusses delivered to site - Manufactured off site - Delivered via the new docks

6. Internal frame erected on site.

7. External frame erected on site.

8. Brick plinth outlining the building footprint.

9. External panel and supporting frame system constructed.

10. Internal flooring and hanging ramps fixed in place. - Constructed off site. - Manufactured to site via the new docks. - Craned into place, before roof or glazing package for ease of manoeuvrability. - Fixed from internal frame, using bespoke hanging detail.

4.5 Construction Sequence

11. Staircases Installed

- Manufactured off site.

12. Roof construction.

13. Curtain wall glazing constructed.

- Manufactured off site. - Delivered to site via the new docks.

14. Window and External Door package.

- Manufactured off site. - Delivered to site via the new docks.

15. External Louvres and facade vents. - Manufactured off site. - Delivered to site via the new docks. - Building becomes water tight.

16. External louvred facade added

- Manufactured off site

17. Internal walls constructed.

- Metal stud partitions.

18. Electrical and services integration. - Building services and electricals added. - Large plant delivered by river. 19. Internal door package.

20. Internal Finished.

- Manufactured off site.

21. Exhibits added. - Delivered to site. - Ordered according to the curators details.

4.6 Setting Out Diagram

Towards Air line / Antony Gormley Sculpture

Towards Millennium Dome / Richard Wilsons Sculpture

Towards Greenwich Ecology Park Towards Canary Wharf The proposed structural grid works from two different sets of anchor points. The first being the main steel trusses (line shown in green), these trusses have been placed on lines radiating out from specific points within Enderby House. Each line looks out to a key landmark across Greenwich and South East London. The second key anchor point is Enderby house itself, the column grid is set out from the centre point of Enderby house and as such the proposed scheme radiates out from this point. This means that the construction will be set out using GPS co-ordinates rather than laser surveying, due to the constraints of having a centre point within an existing structure.

Towards Thames Barrier

G F

View Towards Royal Observatory B

8 9

10 11 12 13 14

22 23 24 25 26 27 28 29 30 31 32 33

Towards Woolwich Artillery Barracks

34 35 36 37 38 39 41

A B

Towards C D Maritime Greenwich

E F

G H

Not To Scale

Towards Greenwich Pleasaunce Naval Burial Site

4.7 Proposed Schedule of Areas Number Room Name Type Area (m2) 27 Entrance Enderby House 6 01 Entrance Reception Entrance 82 02 Museum Shop Shop 30 05 Temporary Gallery Gallery / Exhibition 113 23 Warehouse Gallery Gallery / Exhibition 825 37 Exhibition Platform Gallery / Exhibition 75 56 Small Exhibition Gallery / Exhibition 57 59 Exhibition Zone Gallery / Exhibition 213 64 Small Exhibition Gallery / Exhibition 47 78 Terrace Gallery / Exhibition 107 79 Exhibition Zone Gallery / Exhibition 189 81 Exhibition Platform Gallery / Exhibition 67 86 Interactive Cinema Gallery / Exhibition 100 87 Exhibition Platform Gallery / Exhibition 30 70 Preserved Room Exhibition Enderby House 30 85 Flexible Use Space Flexible Facilities 87 94 Flexible Use Space Flexible Facilities 138 102 Flexible Use Space Flexible facilities 138 106 Flexible Use Space Flexible facilities 132 108 Flexible Use Space Flexible facilities 138 40 Flexible Archive Archives 110 67 Archive Archives 56 29 Education Room 01 Enderby House 43 30 Education Room 02 Enderby House 13 31 Education Room 03 Enderby House 22 69 Educational Room 04 Enderby House 13 71 Educational Room 05 Enderby House 20 72 Educational Room 06 Enderby House 13 04 Cloakroom Facilities 10 09 Female WC 01 Facilities 16 10 Male WC 01 Facilities 13 19 Accessible WC 01 Facilities 3.5 20 Female WC 02 Facilities 10 21 Male WC 02 Facilities 10 76 Female WC 03 Facilities 16 77 Male WC 03 Facilities 13 95 Accessible WC 03 Facilities 3.5 103 Accessible WC 04 Facilities 3.5 109 Accessible WC 05 Facilities 3.5 41 Accessible WC 02 Facilties 3.5 34 Meeting Room Staff / Office 30 46 Office 01 Staff / Office 12 47 Office 02 Staff / Office 12 48 Office 03 Staff / Office 12 49 Office 04 Staff / Office 12 50 Office 05 Staff / Office 15 03 Shop Store Store 3 16 Exhibition Store Store 40 22 Store 01 Store 12 35 Store 02 Store 10 36 Store 03 Store 13 42 Store 04 Store 10 52 Store 05 Store 16 57 Store 06 Store 7 60 Store 07 Store 10 61 Store 08 Store 9 62 Store 09 Store 3 63 Store 10 Store 2 75 Store 11 Store 10 89 Store 12 Store 16 96 Store 13 Store 10 99 Store 14 Store 16 104 Store 15 Store 10 110 Store 16 Store 10

Number Room Name Type Area (m2) 06 Decision Point 01 Circulation 38 07 Stair 01 Circulation 23 08 Corridor 01 Circulation 30 11 Corridor 02 Circulation 50 12 Corridor 03 Circulation 55 14 Stair 02 Circulation 25 15 Corridor 04 Circulation 41 17 Corridor 05 Circulation 51 18 Stair 03 Circulation 18 24 Main Public Ramp Circulation 114 25 Stair 04 Circulation 19 26 Stair 05 Circulation 19 32 Stair 01 Circulation 23 33 Corridor 06 Circulation 20 38 Walkway Circulation 76 39 Stair 04 Circulation 19 43 Corridor 07 Circulation 50 44 Corridor 08 Circulation 55 51 Stair 02 Circulation 25 53 Corridor 09 Circulation 85 54 Stair 03 Circulation 18 55 Main Public Ramp Circulation 90 58 Emergency Exit Circulation 7 65 Main Public Ramp Circulation 108 66 Stair 05 Circulation 31 73 Stair 01 Circulation 23 74 Corridor 10 Circulation 30 80 Corridor 11 Circulation 50 82 Walkway Circulation 47 83 Walkway Circulation 55 84 Stair 05 Circulation 18 88 Stair 02 Circulation 25 90 Corridor 12 Circulation 42 91 Corridor 13 Circulation 43 92 Stair 03 Circulation 18 93 Stair 04 Circulation 37 98 Stair 02 Circulation 25 101 Stair 04 Circulation 37 105 Stair 05 Circulation 37 107 Stair 04 Circulation 37 28 Hall Enderby House 15 68 Hall Enderby House 7 13 Plant Plant 78 45 Plant Plant 15 97 Plant Plant 125 100 Services Gantry Plant / Circulation 174

Type Amount Area(m2) Entrance - 2 88 including reception and ticket office Shop 1 30 Gallery / Exhibition 12 1853

including Temporary, Permanent exhibits and interactive cinema experience.

and Local Community Groups

Flexible Facilities 5 633 For use by the Greenwich Society Archive 2 166 Educational Facilities 6 124 Contained within Enderby House WC Facilities and cloakroom 12 106 Staff / Office 6 93 Including Meeting Room Store 18 207 Net Total 64 3300 Plant 4 392 Circulation 42 1636 Total 110 5328

Note Compared to the intial schedule analysis (see brief section) - No Cafe or Kitchen included due to Urban Design scheme incorporating increased local ammenities, incouraging local businesses. - No Lecture Theatre however replaced with flexible floor space suitable for lectures, seminars or group meetings. - A large increase in circulation due to the design incorporating a 360 degree experience of the exhibits on the warehouse floor.

4.8 Ground Floor Plan

18 17 21 20

19 15

13 H

Number Room Name Type Area 01 Entrance Reception Entrance 82m2 02 Museum Shop Shop 30m2 03 Shop Store Store 3m2 04 Cloakroom Facilities 10m2 05 Temporary Gallery Gallery / Exhibition 113m2 06 Decision Point 01 Circulation 38m2 07 Stair 01 Circulation 23m2 08 Corridor 01 Circulation 30m2 09 Female WC 01 Facilities 16m2 10 Male WC 01 Facilities 13m2 11 Corridor 02 Circulation 50m2 12 Corridor 03 Circulation 55m2 13 Plant Plant 78m2 14 Stair 02 Circulation 25m2 15 Corridor 04 Circulation 41m2 16 Exhibition Store Store 40m2 17 Corridor 05 Circulation 51m2 18 Stair 03 Circulation 18m2 19 Accessible WC 01 Facilities 3.5m2 20 Female WC 02 Facilities 10m2 21 Male WC 02 Facilities 10m2 22 Store 01 Store 12m2 23 Warehouse Gallery Gallery / Exhibition 825m2 24 Main Public Ramp Circulation 114m2 25 Stair 04 Circulation 19m2 26 Stair 05 Circulation 19m2 27 Entrance Enderby House 6m2 28 Hall Enderby House 15m2 29 Education Room 01 Enderby House 43m2 30 Education Room 02 Enderby House 13m2 31 Education Room 03 Enderby House 22m2 GROUND FLOOR TOTAL FLOOR AREA: 1827.50m2

Structural grid

Not To Scale

G F

8 9

10 11 12 13 14

23 17

24 22 23 24 25 26 27

29 30

32 33 34

35 36 37 38

39 40

09 03

C D

E F G H

4.9 First Floor Plan

Number Room Name Type Area 32 Stair 01 Circulation 23m2 33 Corridor 06 Circulation 20m2 34 Meeting Room Staff / Office 30m2 35 Store 02 Store 10m2 36 Store 03 Store 13m2 37 Exhibition Platform Gallery / Exhibition 75m2 38 Walkway Circulation 76m2 39 Stair 04 Circulation 19m2 40 Flexible Archive Archives 110m2 41 Accessible WC 02 Facilties 3.5m2 42 Store 04 Store 10m2 43 Corridor 07 Circulation 50m2 44 Corridor 08 Circulation 55m2 45 Plant Plant 15m2 46 Office 01 Staff / Office 12m2 47 Office 02 Staff / Office 12m2 48 Office 03 Staff / Office 12m2 49 Office 04 Staff / Office 12m2 50 Office 05 Staff / Office 15m2 51 Stair 02 Circulation 25m2 52 Store 05 Store 16m2 53 Corridor 09 Circulation 85m2 54 Stair 03 Circulation 18m2 55 Main Public Ramp Circulation 90m2 56 Small Exhibition Gallery / Exhibition 57m2 57 Store 06 Store 7m2 58 Emergency Exit Circulation 7m2 59 Exhibition Zone Gallery / Exhibition 213m2 60 Store 07 Store 10m2 61 Store 08 Store 9m2 62 Store 09 Store 3m2 63 Store 10 Store 2m2 64 Small Exhibition Gallery / Exhibition 47m2 65 Main Public Ramp Circulation 108m2 66 Stair 05 Circulation 31m2 67 Archive Archives 56m2 68 Hall Enderby House 7m2 69 Educational Room 04 Enderby House 13m2 70 Preserved Room Enderby House 30m2 71 Educational Room 05 Enderby House 20m2 72 Educational Room 06 Enderby House 13m2 FIRST FLOOR TOTAL FLOOR AREA: 1439.50m2

64 G

48 47

62 63

8 9

10 11 12 13 14

Structural grid

22 23 24 25 26

71 70

46 45

29 30

32 33 34 35 36 37 38

37 38

39 41

35 32

A B

C D

E F

G H

Not To Scale

50 49

4.10 Second Floor Plan

92 91

8 9

10 11 12 13 14

83 15

85 18

22 23 24 25 26 27

28 29 30

31 32 33 34 35 36 37 38 41

Structural grid

Not To Scale

95 73

A B

94 78 C D

E F G H

G F

Number Room Name Type Area 73 Stair 01 Circulation 23m2 74 Corridor 10 Circulation 30m2 75 Store 11 Store 10m2 76 Female WC 03 Facilities 16m2 77 Male WC 03 Facilities 13m2 78 Terrace Gallery / Exhibition 107m2 79 Exhibition Zone Gallery / Exhibition 189m2 80 Corridor 11 Circulation 50m2 81 Exhibition Platform Gallery / Exhibition 67m2 82 Walkway Circulation 47m2 83 Walkway Circulation 55m2 84 Stair 05 Circulation 18m2 85 Flexible Use Space Flexible Facilities 87m2 86 Interactive Cinema Gallery / Exhibition 100m2 87 Exhibition Platform Gallery / Exhibition 30m2 88 Stair 02 Circulation 25m2 89 Store 12 Store 16m2 90 Corridor 12 Circulation 42m2 91 Corridor 13 Circulation 43m2 92 Stair 03 Circulation 18m2 93 Stair 04 Circulation 37m2 94 Flexible Use Space Flexible Facilities 138m2 95 Accessible WC 03 Facilities 3.5m2 96 Store 13 Store 10m2 SECOND FLOOR TOTAL FLOOR AREA: 1174.50m2

4.11 Third Floor Plan

G F

8 9

10 11 12 13 14

100 19

105

106

22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39

Number Room Name Type Area 97 Plant Plant 125m2 98 Stair 02 Circulation 25m2 99 Store 14 Store 16m2 100 Services Gantry Plant / Circulation 174m2 101 Stair 04 Circulation 37m2 102 Flexible Use Space Flexible facilities 138m2 103 Accessible WC 04 Facilities 3.5m2 104 Store 15 Store 10m2 105 Stair 05 Circulation 37m2 106 Flexible Use Space Flexible facilities 132m2 THIRD FLOOR TOTAL FLOOR AREA: 697.50m2

101

103 A B

102

C D

E F G H

Structural grid

Not To Scale

104

4.12 Fourth Floor Plan

G F

8 9

10 11 12 13 14

22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39

107

109 110 A B

108

Number Room Name Type 107 Stair 04 Circulation 108 Flexible Use Space Flexible facilities 109 Accessible WC 05 Facilities 110 Store 16 Store FOURTH FLOOR TOTAL FLOOR AREA:

Area 37m2 138m2 3.5m2 10m2 188.50m2

C D

E F G H

N Structural grid

Not To Scale

4.13 Roof Plan

N Not To Scale

4.14 Section A

Not To Scale

4.15 Section B

Not To Scale

4.16 Section C C

Not To Scale

4.17 Section D

Not To Scale

4.18 Primary Structure

Main External Structure External Structure

Internal Structure Not To Scale

4.19 Structural Analysis

1600 mm

18400 mm

16500 mm

2150 mm

19150 mm

17400 mm

Main External Structure

19500 mm 20200 mm

Depth of Beams:

Truss Top Beam - 250mm Depth of Columns:Truss Bottom Beam - 200 mm Truss Depth - 2150mm External Structure Beam - 250mm Internal Structure Beam - 1300mm Reinforced Concrete Ground Beam - 650mm Pile Foundation Depth - To be determined by onsite investigation

Main Truss Column - 500mm Truss Column - 200 mm External Structure Column - 160mm Internal Structure Beam - 250mm

External Structure

Internal Structure Not To Scale

4.20 Sectional View 01

Not To Scale

4.21 External View 01

4.22 Sectional View 02

Not To Scale

4.23 Internal View 01

4.24 Facade Analysis

4.25 Changeable Facade

4.26 Material Study

Steel External Bracing Used primarily to maintain the cantilevered gallery suspended over the Thames pathway and River Thames. Expressing the structure on the exterior offers the industrial aesthetic which links into the museums context, site industrial heritage and local history. Steel bracing will like the rest of the structural frame be durable and offer a platform for future use or future development, if required.

Corten Steel Truss Chosen as the main expressed structural material due to its aesthetic appearance linking in with the sites heritage and industrial past. Corten offers a durable option which will weather and age with the proposal, this weathering will be increased due to the proposals water side location. The steel truss can be manufactured offsite and delivered via the river for onsite assembly, decreasing overall on-site construction time.

Aluminium Louvres

Aluminium Intake / Extract Vents

Main function will be to prevent overheating within the proposal.

Main function will be to assist with the natural ventilation strategy within the proposal.

The use of aluminium will offer the durability required for a river front location, whilst maintaining the industrial aesthetic designed. As Aluminium louvres are widely available the cost will be kept low .

Dark Rustic Brick Used to offer the structure a base, to ground the proposal. The brick chosen will be relatively cheap, due to the nature of use, but also to reflect the nature of buildings past; industrial buildings that were built for function out of local materials and a low cost.

Corten Steel Horizontal Cladding Panel Chosen as the main cladding material due to its aesthetic appearance linking in with the sites heritage and industrial past. Corten offers a durable cladding option which will weather and age with the proposal, this weathering will be increased due to the proposals water side location. Using a cladding panel will decrease construction time, due to the speed of installation and ease of assembly.

4.27 Section E - Construction F A

E03

E04

E06 E05

E08 E07

E09

E02

E01

E11

Not To Scale

E12

E10

4.28 Detail E-01 P olyes ter pow der coated aluminium w indow Polyes ter powder c o a t e d a l u m i n i u m c i l l

A luminium w indow cill

M as tic s eal Interlocking ins u l a t e d c a v i t y c l o s e r t o s u i t wi d t h

Rigid boar d ins ulation 150mm Lightw eight s teel f r ame

Dark engineering b r i c k p l i n t h

18mm P las ter boar d and inter nal f inis h 160mm Exter nal S tr uctur al Column Vapour contr ol layer

Cavity tray Edging s lab

11 2 mm

100

150

160

100mm Rigid ins ulation panel

Gravel drain link e d t o wa t e r c o l l e c t i o n t a n k s Concrete paving s l a b

50mm Rigid edge ins ulation

Bedding s and Subbas e

250mm

Concrete ground d r a i n s u p p o r t Damp proof mem b r a n e u n d e r s t e e l f r a m e

250mm Reinf or ced pour ed concr ete f loor s lab w ith polis hed f inis h

200mm Rigid I ns ulation 200mm

D amp pr oof membr ane Steel fixing plate

50mm

50mm S and blinding

Reinf or ced Concr ete gr ound beam and pile cap

600mm

Concr ete pile f oundation , depth to be conf ir med N o te:â&#x20AC;˘ External s teel c o l u m n / b e a m r e f e r s t o t h e s y st em w h i ch su p p o r t s t h e r o o f an d f acad e. â&#x20AC;˘ Internal s teel c o l u m n / b e a m r e f e r s t o t h e s y s t em w h i ch su p p o r t s t h e f l o o r p l at es.

1:10 @ A 3

4.29 Detail E-02

Al u m i n i u m l o u v r ed p an el el ect r o n i cal l y c o n t r o l l e d b y t h e b u i l d i n g m an ag em en t sy st em 160mm Exter na l ste e l struc tura l c olumn

P olyes ter pow der c oa te d a luminium window Al u m i n i u m l o u v r ed f i x i n g st r u ct u r e, t i e i n g b a c k t o wi nd o w st r u ct u r e

A luminium vent intake an d/or e xtra c t e le c tronic a lly contr olled by the building ma na ge me nt syste m

S teel f ixing plate be twe e n window mullion and E xte rna l struc tura l c olumn

D ouble gla z e d c urta in wa ll syste m

No t e : â&#x20AC;˘ Ex t e r n a l s t e e l co l u m n / b eam r ef er s t o t h e sy st em w h i ch su p p o r t s t h e r o o f an d f acade. â&#x20AC;˘ I n t e r n a l s t e e l c o l u m n / b eam r ef er s t o t h e sy st em w h i ch su p p o r t s t h e f l o o r p l at e s .

1:10 @ A3

4.30 Detail E-03

11 0 0 m m m i n

P res s ed aluminium p o wd e r c o a t e d c o p i n g 18mm P lywood bo a r d Angled fixing joint

A luminium mans af e r ailing s ys tem

18mm P lyw ood boar d O ver lapping s ingle- ply membr ane P er imeter gutter

100 mm Ins ulation p a n e l Colour coated ins u l a t e d h e a d p a n e l Damp proof memb r a n e 25mm Rigid uprig h t i n s u l a t i o n 150mm lightweigh t s t e e l f r a m e

S ingle- ply non- bituminous membr ane 11 0 m m min 100mm

Rigid I ns ulation w ith 3 o angle built in Vapour contr ol layer 100mm pour ed concr ete M etal deck

S teel f ixing plate 250mm

250mm Exter nal s teel s tr uctur al beam

Aluminium louvred p a n e l e lectronically cont r o l l e d b y t h e building managem e n t s y s t e m

A luminium vent intake and/or extr act electr onically contr olled by the building management s ys tem P olyes ter pow der coated aluminium w indow

S teel f ixing plate betw een w indow mullion and Exter nal s tr uctur al column Aluminium louvred f i x i n g structure, tieing b a c k t o window s tructure

160mm Exter nal s teel s tr uctur al column

D ouble glazed cur tain w all s ys tem N o te:â&#x20AC;˘ External s teel c o l u m n / b e a m r e f e r s t o t h e s y st em w h i ch su p p o r t s t h e r o o f an d f acad e. â&#x20AC;˘ Internal s teel c o l u m n / b e a m r e f e r s t o t h e s y s t em w h i ch su p p o r t s t h e f l o o r p l at es.

1:10 @ A 3

4.31 Detail E-04

11 0 0 m m m i n

P r es s ed aluminium powde r c oa te d c oping 18mm Plywood boa rd Angle d fixing joint Al u m i n i u m m a n s a f e r ai l i n g sy st em

1 8 m m Pl y wo o d b oar d 100 mm Insula tion pa ne l

Ov e r l a p p i n g s i n g l e - p l y m em b r an e Pe r i m e t e r g u t t e r

Core te n ste e l hook-on pa ne l

Si n g l e - p l y n o n - b i t u m i n o u s m em b r an e Ri g i d I n s u l a t i o n w i t h 3 o an g l e b u i l t i n Va p o u r c o n t r o l l a y er 1 0 0 m m p o u r e d c o n cr et e

Da mp proof me mbra ne 11 0 m m min

25mm Rigid upright insula tion

100mm

Ste e l box se c tion

Metal deck

Pin c lip fixing 150mm lightwe ight ste e l fra me St e e l f i x i n g p l a t e

Cladding pa ne l ve rtic a l mullion

2 5 0 m m Ex t e r n a l s teel st r u ct u r al b eam 160mm

St e e l f i x i n g p l a t e b et w een cu r t ai n w al l f r am e a n d Ex t e r n a l s t e e l st r u ct u r al co l u m n

Va pour c ontrol la ye r

18 150mm

100 mm 40

18mm c e me ntitious boa rd Cladding pa ne l horiz onta l tra nsom Rigid insula tion bloc k P olyes ter powde r c oa te d a luminium trim

1 6 0 m m Ex t e r n a l s teel st r u ct u r al co l u m n

25mm Insula tion Boa rd P olyes ter pow der coa te d a luminium ve nt he a d

A luminium vent intake and/or e xtra c t e le c tronic a lly contr olled by the building ma na ge me nt syste m No t e : â&#x20AC;˘ Ex t e r n a l s t e e l co l u m n / b eam r ef er s t o t h e sy st em w h i ch su p p o r t s t h e r o o f an d f acade. â&#x20AC;˘ I n t e r n a l s t e e l c o l u m n / b eam r ef er s t o t h e sy st em w h i ch su p p o r t s t h e f l o o r p l at es .

1:10 @ A3

4.32 Detail E-05 100 mm I ns ulation panel Cor eten s teel hook- on panel 150mm lightw eight s teel f r ame Cladding panel ver tical mullion Cladding panel hor izontal tr ans om

18mm cementitious boar d Vapour contr ol layer

250mm Internal st e e l s t r u c t u r a l c o l u m n

S teel f ixing plate betw een cur tain w all f r ame and Exter nal s teel s tr uctur al column M ovement joint betw een s teel s ys tems I ns ulation F iller

L aminate floor fin i s h 100mm poured con c r e t e M etal deck

18mm plyw ood boar d P olyes ter pow der coated aluminium tr im 25mm I ns ulation Boar d P olyes ter pow der coated aluminium vent head

152mm Internal st e e l s t r u c t u r a l b e a m 400mm Internal s te e l s t r u c t u r a l b e a m

Steel fixing plate

18mm P las terboar d a n d f i n i s h

A luminium vent intake and/or extr act electr onically contr olled by the building management s ys tem

P olyes ter pow der coated aluminium vent M as tic s eal P olyes ter pow der coated aluminium cill S teel fixing plate b e t we e n c u r t a i n wa l l f r a m e a nd External s teel s t r u c t u r a l c o l u m n

160mm External s t e e l s t r u c t u r a l c o l u m n

aluminium cill I ns ulation boar d Vapour contr ol layer

P in clip f ixing 100 mm I ns ulation panel Cor eten s teel hook- on panel

N o te:â&#x20AC;˘ External s teel c o l u m n / b e a m r e f e r s t o t h e s y st em w h i ch su p p o r t s t h e r o o f an d f acad e. â&#x20AC;˘ Internal s teel c o l u m n / b e a m r e f e r s t o t h e s y s t em w h i ch su p p o r t s t h e f l o o r p l at es.

1:10 @ A 3

4.33 Detail E-06

Industrial steel railing

11 0 0 m m min

St e e l c a p p i n g Ri g i d i n s u l a t i o n b lo ck 1 8 m m Pl a s t e r b o a r d

260mm

1 0 2 m m l i g h t we i g h t st eel f r am e sy st em L a mina te floor finish 100mm poure d c onc re te 100mm

Me ta l de c k

152mm I nte rna l ste e l struc tura l be a m 400mm

400mm I nte rna l ste e l struc tura l be a m 18mm Pla ste rboa rd a nd finish

1 8 m m Pl a s t e r b o a r d an d f i n i sh 2 x 1 8 m m Pl a s t e r b oar d an d f i n i sh 1 0 2 m m l i g h t we i g h t st eel f r am e sy st em

1:10 @ A3

4.34 Detail E-07

11 0 0 m i n

I ndus tr ial s teel r ailing

Tens ile cable, hun g f r o m internal s tructural b e a m S teel capping Rigid ins ulation block 102mm lightweigh t steel frame s ys tem

200mm

12mm P las ter boar d and f inis h

12mm P las terboar d a n d f i n i s h 250mm Internal st e e l structural column

50mm

P er f or ated s teel gr ate f loor f inis h Edge Beam S teel f ixing plate to hanging s ys tem

400mm

S teel fixing plate t o hanging s ys tem

Tens ile cable prev e n t i n g t o r s i o n

400mm I nter nal s teel s tr uctur al beam

18mm P las ter boar d and f inis h 102mm Lightw eight s teel f r ame 18mm P las ter boar d and f inis h

N o te:â&#x20AC;˘ External s teel c o l u m n / b e a m r e f e r s t o t h e s y st em w h i ch su p p o r t s t h e r o o f an d f acad e. â&#x20AC;˘ Internal s teel c o l u m n / b e a m r e f e r s t o t h e s y s t em w h i ch su p p o r t s t h e f l o o r p l at es.

1:10 @ A 3

4.35 Detail E-08

2 x 1 8 m m Pl a s t e r b oar d

2 5 m m Pl y wo o d b o a r d w i t h l am i n at ed ed g e

I n t e r n a l Al u m i n i u m v en t el ect r o n i cal l y c o n t r o l l e d b y t h e b u i l d i n g m an ag em en t sy st em

2 5 m m Pl y wo o d b oar d w i t h l am i n at ed ed g e

1 8 m m Pl a s t e r b o a r d 1 0 2 m m l i g h t we i g h t st eel f r am e sy st em

L a mina te floor finish 100mm poure d c onc re te Me ta l de c k

152mm I nte rna l ste e l struc tura l be a m

400mm I nte rna l ste e l struc tura l be a m 18mm Pla ste rboa rd a nd finish 1 8 m m Pl a s t e r b o a r d an d f i n i sh 2 x 1 8 m m Pl a s t e r b o ar d an d f i n i sh 1 0 2 m m l i g h t we i g h t st eel f r am e sy st em

1:10 @ A3

4.36 Detail E-09

Cladding panel ver tical mullion Cor eten s teel hook- on panel 100 mm I ns ulation panel 18mm cementitious boar d

Cladding panel hor izontal tr ans om 250mm Internal st e e l s t r u c t u r a l c o l u m n S teel f ixing plate betw een cur tain w all f r ame and Exter nal s teel s tr uctur al column L aminate floor fin i s h 100mm poured con c r e t e M etal deck

18mm plyw ood boar d M ovement J oint I ns ulation f iller Rigid ins ulation boar d

152mm Internal st e e l s t r u c t u r a l b e a m

P in clip f ixing

400mm Internal s te e l s t r u c t u r a l b e a m S teel fixing plate

150mm lightw eight s teel f r ame

18mm P las terboar d a n d f i n i s h Vapour contr ol layer I ns ulation Block P olyes ter pow der coated aluminium tr im 25mm I ns ulation Boar d P olyes ter pow der coated aluminium door head

160mm External s t e e l s t r u c t u r a l c o l u m n

N o te:â&#x20AC;˘ External s teel c o l u m n / b e a m r e f e r s t o t h e s y st em w h i ch su p p o r t s t h e r o o f an d f acad e. â&#x20AC;˘ Internal s teel c o l u m n / b e a m r e f e r s t o t h e s y s t em w h i ch su p p o r t s t h e f l o o r p l at es.

P olyes ter pow der coated aluminium door

1:10 @ A 3

4.37 Detail E-10

2 5 0 m m I n t e r n a l s teel co l u m n 1 6 0 m m Ex t e r n a l st eel co l u m n P ow de r c oa te d a lluminium door with we a the r se a l E dging sla b G r avel dr ain linked to wa te r c olle c tion ta nks Conc re te pa ving sla b Be dding sa nd

5 0 m m Ri d g i d e d g e i n su l at i o n 2 5 0 m m Re i n f o r c e d p o u r ed co n cr et e f l o o r s l a b wi t h p o l i s h e d f i n i sh

2 0 0 m m Ri g i d i n s u l at i o n

2 5 0 mm

Subba se

Bloc kwork 2 0 0 mm

D ampt pr oof me mbra ne unde r ste e l a nd w r a ppe d into door thre shold

Da m p p r o o f m e m b r an e 5 0 m m Sa n d Bl i n d i n g

Conc re te ground dra in support

5 0 mm

St e e l f i x i n g p l a t e

6 0 0 mm

Reinf or ce d Conc re te ground be a m a nd pile c a p

Conc re te pile founda tion, de pth to be c onfirme d No t e : â&#x20AC;˘ Ex t e r n a l s t e e l co l u m n / b eam r ef er s t o t h e sy st em w h i ch su p p o r t s t h e r o o f an d f acade. â&#x20AC;˘ I n t e r n a l s t e e l c o l u m n / b eam r ef er s t o t h e sy st em w h i ch su p p o r t s t h e f l o o r p l at e s .

1:10 @ A3

4.38 Detail E-11

75mm 75mm 50mm 25mm 500mm

75mm

Concrete paving s l a b wi t h p r e c a s t n o s i n g M ortar Subbas e

Concrete ris er Concrete ris er s u p p o r t Subbas e

N o te:â&#x20AC;˘ External s teel c o l u m n / b e a m r e f e r s t o t h e s y st em w h i ch su p p o r t s t h e r o o f an d f acad e. â&#x20AC;˘ Internal s teel c o l u m n / b e a m r e f e r s t o t h e s y s t em w h i ch su p p o r t s t h e f l o o r p l at es.

1:10 @ A 3

N ote:A ll details and s tr uctur al inf or mation w ithin the D es ign r ep ort a re indic a tive only. D r aw ings ar e meant f or des ign intent only and Contr actor s should work to e ngine e rs dr aw ings . You s hould not s cale f r om any dr aw ing w ithin the re port, a nd if othe rwise s tated all dr aw ings ar e not to s cale.

Building Performance

5.1 London Climate Analysis Temperature Graph Analysis

30 C

Temperature

Max Temperature Min Temperature

15 oC

0 oC

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Graph showing Average minimum and maximum temperatures in London, United Kingdom

Relative Humidity

Humidity

80 % 60 %

The ceiling height throughout the exhibition warehouse changes but at its lowest is still 12m floor to ceiling. This means heating the entire space becomes costly. It is proposed the space would only need to be heated in the extreme cold months, Dec-Feb, a cost effect option would be underfloor heating, which will be investigated further. The space would need to be cooled throughout the summer months, Jun-Aug, to maintain the proposed temperature. This will be achieved through cross ventilation, and the use of the stack affect, (which will be diagrammed further on). Openings in the facade will help cool air flow through the exhibition space.

40 % 20 % 0%

The following graphs highlight the maximum and minimum temperatures and levels of relative humidity across a year in London. For the proposed museum, their is a variety of spaces ranging from the large open warehouse exhibition to small offices. This means a designated heating and cooling system will need to be used to supplement the natural climate. For the warehouse space specifically, the feel is industrial with large scale exhibits within the cavernous space. The industrial feel is added to by the use of steel, metal and polished concrete floors. The required temperature therefore is cooler than the standard office/museum or house.

Dec

100 %

Temperature and Humidity;

Jan

Feb

Mar

Apr

May

Jun

Graph showing Average relative humidity in London, United Kingdom

Jul

Aug

Sep

Oct

Nov

Dec

Having a building which is naturally vented, will help control the humidity throughout the proposal. However to maintain the required temperature and climate control, the heating and cooling systems will have to be assisted with mechanical fan systems. This is especially important in maintaining a suitable working temperature throughout the staff office spaces, and smaller exhibition zones.

Climate information gathered from; www.weather-and-climate.com

5.2 London Climate Analysis Rainfall

Rainy Days

30 oC

Rainy days

Rainy Days and Precipitation; The following graphs highlight the average rainy days and amount of precipitation across a year in London. For the proposed museum, their is a variety of internal and external spaces which need to be protected from rainfall maintained as use able spaces.

15 oC

Entrances and main pedestrian external routes will need to be covered to provide a buffer zone between the external elements and the controlled internal conditions.

0 oC

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

Graph showing Average rainy days (rain/snow) in London, United Kingdom

100mm

Precipitation

80mm Precipitation

Graph Analysis

Due to the increased amount of rainfall expected during the winter months, onto this hard brownfield site, surface water runoff could provide a problem to the museum, landscape and users. The aim would be to limit the speed in which this water reaches the drainage system, limiting the possibility of drains overflowing. It is therefore proposed to have a series of water holding tanks located around the proposed building and landscape, which will hold excess water, before distributing it into the river or drainage system.

60mm 40mm 20mm 0mm

Due to the amount of rainfall within the United Kingdom, it makes sense to harvest this natural resource and reuse as much as possible. Rainwater collection systems will therefore be used to collect and store excess water. This can be done from either drainpipes or surface water runoff. This collected water, can serve the building as a secondary source (not as drinking water) providing water for cleaning and toilet facilities.

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

Graph showing Average precipitaion (rain/snow) in London, United Kingdom

Climate information gathered from; www.weather-and-climate.com

5.3 London Climate Analysis Daylight Graph Analysis

Sunshine percent

50 %

Sunshine percent

The following graphs highlight the average percent of sunshine and average monthly sunhours across a year in London. They suggest that during the summer months, the building has the possibility of overheating due to the amount of prolonged exposure to the sun. This has to be considered whilst looking at the treatment of south facing facades, in relation to the amount of glazing and use of solar shading.

38 % 25 % 13 % 0%

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

The building should look to take advantage of this increase in prolonged sunshine, but collected and using it through solar gain. This could be achieved by having a high thermal mass to store the gathered heat, to be distributed at a later time. Thermal mass can therefore be used to regulate the heat within the exhibition spaces.

Dec

Graph showing Average percent of sunshine in London, United Kingdom

Sunhours

300 hrs

Sunhours

Another advantage of the south facing facade or vast flat roof, would be the possibility to have photovoltaic panels located to best capture direct sunlight, and as such generate the electrical power to run the museum. Their is a possibility that during summer months spaces within the building reach temperatures too high for comfort, due to the glazed facade, acting like a greenhouse. To resolve this issue alongside having natural vent louvres and openings, the glazed facade can be protected by horizontal louvres. These shade the building from the high angled summer sun and then allow the low angled winter sun to penetrate into the building offering warmth during the colder months.

150 hrs

0 hrs

Sunshine and Sunhours;

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

Graph showing Average monthly sunhours in London, United Kingdom

Climate information gathered from; www.weather-and-climate.com

5.4 London Climate Analysis Wind Graph Analysis

Wind Speed

The following graph highlights the average wind speed across a year in London. For the proposed museum, this is an increasing problem along side a climate condition which can be used to enhance the performance of the proposal. Due to the museums location alongside the River Thames, wind speed is increased, meaning the south west facade could need protecting from increased speeds, which could cause discomfort throughout the internal spaces.

Wind Speed

4 3 1 0

Wind Speed;

Jan

Feb

Mar

Apr

May

Jun

Graph showing Average wind speed in London, United Kingdom

Jul

Aug

Sep

Oct

Nov

Dec

Bearing this in mind the proposed building entrance is located on the south east facade, offering a buffer zone from the wind and external elements. Openings out to the west of the building are then limited, although there will be protection on ground level due to the proximity of Enderby House, which acts as a shelter for the community gathering space around the house itself. The Thames path is integral to the access and use of the museum proposal, this currently is exposed to the high winds from the Thames, and as such may need to be sheltered or enhanced to offer a more comfortable pedestrian route to and around the proposal during the winter, high wind months. Wind can be of use to the proposal, offering an increased chance of natural cross ventilation and the stack affect working. The proposal can take advantage of the strong westerly winds, by having louvred open able vents, whilst the extract vents are to the east or on the roof of the proposal. In the summer months these vents can be opened allowing air to circulate and cool the proposal. At night in particular, night time cooling due to the lowering of temperatures and use of exposed concrete internally offer an efficient way to cool the proposal. In the winter months, the vents can be closed creating a sealed envelope in which temperature can be regulated to provide the chosen inhabitable climate.

Climate information gathered from; www.weather-and-climate.com

5.5 Heating Strategy

Heat Exchange “Recovery” System

Heat drawn out through roof and high level vents

The Sun

Heat recycled for smaller spaces

Low level direct sunlight allowed through louvre system

Smaller Spaces (Offices, Staff)

Large Exhibition “Warehouse” Space Photovoltaics angled on the roof to face south

Exposed Concrete_High Thermal Mass_Regulates (retains) Heat Provides radiant heat to ground slab

Photovoltaics on the Louvred Facade

Underfloor heating system

Excess energy given back to the grid

National Grid Supplement

Supplementary heating systems

Water Storage Tank

Mechanical Heating System

Rain Water Collection

Ground Source Heat Pump

Excess used heat released into the ground

Used in toilet systems

5.6 Heating Section Cool Air

The proposed heating strategy for the warehouse gallery, is predominantly an underfloor heating system (detailed over the page). Underfloor heating offers radiant heat for the area just above the floor, compared to space heating which will heat the air contained within the warehouse gallery. Underfloor heating therefore offers an ideal solution for heating specific areas of a large volume space. A downside of using underfloor heating is the time it takes for the system to heat up. For this reason museum staff will have to be trained to turn on the underfloor heating system before opening hours, giving the system time to start up. The underfloor heating system works by passing hot water through a series of pipes. The water used in the system will be collected from water storage tanks, these tanks will collect rain and surface water runoff. Hot air from the warehouse gallery will rise, and be drawn through pipes into a heat recovery unit. This unit on the roof, will transfer the heat from the stale air into fresh air, then release the stale air back into the environment. The hot air from the heat recovery system will be used to heat smaller spaces, such as offices and meeting rooms, through mechanical systems.

Not To Scale

C o o l S t a l e Ex h a u s t Ai r

S o u t h Wes t F acade

N or th E a st Fa c a de

Wa rm F re s h A i r Wa rm S t a l e A i r

5.7 Underfloor Heating Detai l E-12

250mm Internal st e e l c o l u m n

600mm minimum

250mm Reinforce d p o u r e d c o n c r e t e f l o o r s lab with polis hed f i n i s h

250mm

U nder f loor heating s ys tem 200mm Ridgid ed g e i n s u l a t i o n wi t h pre-cut grooves

200mm

Damp proof mem b r a n e 50mm S and Blind i n g

50mm

Steel fixing plate

Reinf or ced Concr ete gr ound beam and pile cap

600mm

Concr ete pile f oundation, depth to be conf ir med

1:10 @ A3

5.8 Ground Source H eat Pump S outh Wes t F acade

N or th E a st Fa c a de

To heat the water within the proposal, for use in the underfloor heating system and general hot water facilities, a ground source heat pump will be installed to take advantage of natural heat within the earth. The ground source heat pump works by absorbing heat from the ground and transferring that heat to a storage tank, for the use of heating water. On the ground floor their is suitable plant space to accommodate the heat pump, which works by extracting the heat from a chemical liquid which runs through the pipes. The heat pump can be run in reverse for summer conditions, in which heat is given back to the ground from the stale air within the building. However due to the night purging and natural ventilation systems in place within the proposal, the summer cooling mode for the heat pump may be less efficient.

Not To Scale

Water

Heat

Tank

Pump

5.9 Cooling Strategy

Heat drawn out through roof and high level vents (Stack Affect)

Wind

Low level Vents

Heat drawn out through roof and high level vents

Cross Ventilation and Stack Affect Cross Ventilation

Large Exhibition â&#x20AC;&#x153;Warehouseâ&#x20AC;? Space

Night purge cooling

Exposed Concrete_High Thermal Mass_Regulates temperature

National Grid Supplement

Ground Source Heat Pump

Mechanical Ventilation System

draws cool air from the ground

Excess used heat released into the ground

Fan assisted Vents let cool air pass into offices

Smaller Spaces (Offices, Staff)

5.10 Night purge cooling After the museum has heated up through multiple heatin g options; solar gain, increased thermal mass in the concrete floors, underfloor heating system and the heat given off by staff and public visitors. Vents in the facade can be opened to help cool the building. Vents at high level are opened allowing heat to escape, which helps to draw air through lower level vents, creating a stack affect ventilation system. As cool air passes over the exposed concrete floor, the heat which has accumulated and been stored in the high thermal mass floor, gets released. This release of heat helps to cool the floor, ready for the next day. Night purging is particularly useful in summer months, when the night time temperature is significantly higher than that at day time. The vents whic h allow for the night time purge to occur are regulated by an electronic building management system, which informs the vents to open and close to achieve the idea temperature control.

Not To Scale

S outh Wes t F acade

N or th Eas t F acade

S e rv i c e G a n t ry

S e rv i c e G a n t ry & Plant

5.11 Ventilation Strategy So u t h We st Facade

N o r t h E ast F acad e South Wes t F acade

Se r v ic e G a n tr y

Se r v ic e G a n tr y & Pla n t

Natural Ventilation System

The above diagram shows the natural cross ventilation system proposed for the Museum of Communications. Electronically controlled vents in the south west facade face the prevailing wind from the river Thames and allow cool air to flow into the building. As the air heats up it rise and is allowed to exit the proposal through electronically controlled vents in the north east facade. Interior vents allow cooler air to pass into the smaller corridor, store and office spaces.

Not To Scale

N or th Eas t F acade

S e rv i c e G a n t ry

S e rv i c e G a n t ry & Plant

Mechanical Ventilation System

The above diagram shows the mechanical ventilation system proposed to assist the natural ventilation system. Ventilation ducts are secured to the internal roof beam, along side being attached to the staff only services gantry. The main ventilation duct runs directly under this gantry for ease of maintenance, with branches running off to offer an equal amount of cool air to the space. The smaller rooms are serviced in a similar way by risers and ducts which connect back to plant rooms located on the ground and services gantry level.

5.12 Mechanical Ventilation Plan

The plan shows the mechanical ventilation ducts, suspended from the internal beams. The duct is easily serviceable from the gantry directly above. The ducting links back to a ventilation plant, situated alongside the gantry at high level. There are a number of service risers within the proposal, however due to the industrial nature of the museum, warehouse gallery and wish for exposed servicing, specific areas of the warehouse gallery can have exposed risers.

Plant Service Risers Ventilation Ducts

Not To Scale

5.13 Solar Information

90 270 240

300

S u n se t a t midsummer 18

210

Sunse t a t mid s u mme r A

330

17 16 15

180

12 Noon

11 10

9 8 7

150

S u n r i se a t midsum m er

30 5

Sunr ise a t mid s u mme r

5 1 o N G r e e n w ic h

120 90 Sun Path Diag ram for 51 o N - e.g. Greenwich. Within the circle is shown the sunâ&#x20AC;&#x2122;s path from east to west, sunrise to sunset, at three significant times of the year.

Thomas, R., & Garnham, T. (2007). The environments of architecture: Environmental design in context. New York: Taylor & Francis.

A - 22 June (Midsummer), 62 o B - 21 March / 23 September (Equinox), 38 o C - 22 December (Midwinter), 14 o

5.14 Solar Gain

So u t h We s t Fa c a d e

N or th Eas t F acade

S outh Wes t F acade

North E a st Fa c a de

E xposed C oncret e offeri ng t herm al m ass.

22 June Summer Sun, 62 o

The above diagram shows the amount of direct light entering the warehouse gallery space, whilst the electronic louvres are set at 45 o . It shows how the adjustable solar shading to the south facade blocks a changeable amount of direct sunlight, in order for the user to electronically control the climate conditions inside the museum. This prevents increased solar gains in the summer months, to assist in the maintenance of a regulated temperature.

Not To Scale

22 December Winter Sun, 14 o

The above diagram shows the amount of direct light entering the warehouse gallery space, whilst the electronic louvres are set at 45 o . It shows how the adjustable solar shading to the south facade blocks a changeable amount of direct sunlight, in order for the user to electronically control the climate conditions inside the museum. This allows solar gains in the winter months, to assist in the maintenance of a regulated temperature. The flooring of exposed polish concrete creates an exposed surface of high thermal mass to assist the temperature regulation.

5.15 Artificial Lighting

The plan and section show the proposed electrical lighting system for the warehouse gallery space. Large industrial florescent lights, which are fixed to either side of the Gantry Level, this offer top down lighting to the gallery, creating a similar atmosphere as a traditional factory floor or industrial warehouse. All lights are easily accessible and therefore easy to change and maintain. Along side the top down lights, at the edge of each circulation ramp there are a number of up lights to 1) light the circulation route and 2) offer low level lighting to the gallery floor. At ground level at the base of each column a spotlight will illuminate the column creating a changeable atmospheric effect. Exhibit specific lighting can be brought in to offer lighting for temporary exhibits, this will be in the form of large industrial movable spotlights.

Warehouse Gallery Up-lighting Down-lighting from the Gantry

Not To Scale

5.16 Solar Study

Due to the buildings location and the proposals landscaping strategy; of which is to create a series of public lawn and grass meadows. This will keep the designated site free from neighbouring buildings which would influence the amount of daylight reaching the proposal. Due to the buildings location at the north westerly part of the site, the chances of the building being overshadowed are minimised further. Solar Shadow Study - April 9am

The buildings orientation offering a light glazed facade to the centre of the circle (south east) means that midday and evening sun is allowed to penetrate into the proposal offering the chances for solar gain and increased levels of daylighting within the scheme. The north east facade, which is predominantly made up of toilets, plant and stores has limited window opening. As the solar study shows, due to the stepping of height in the proposed museum building, Enderby house itself is only affected by overshadowing in early morning sunlight, whilst maintaining increased levels of daylight at all other times.

Solar Shadow Study - April Midday

Solar Shadow Study - April 5pm

Not To Scale

5.17 Equal A ccess

Due to the public nature of the proposed museum of communications, it is necessary that all main exhibition galleries and public services are accessible, therefore all aspects of the proposal have been considered to apply with Part L and Part M of the Building Regulations. Access to all floors are provided by lifts and accessible points on the outer edge of the building curve. The main circulation for the public exhibitions is by a continuous ramp, this ramp offers landings at suitable intervals whilst maintaining a gradient of 1:16 therefore compliant. All ramps, walkways and corridors are at least 1.5meters wide, and offer adequate handrails at both 600mm and 1100mm heights. Accessible toilets are located on the ground and second floor of the main building, whilst being on all floors of the adjoining public use facilities building. However all male and female toilet facilities offer enlarged cubicles for accessible use, the doors to these facilities have also been enlarged for ease of use. Although public vehicle access is limited there are a number of disabled parking spaces. These are located at the closest vehicle point to the proposed entrance with a designated path to the museum main entrance.

N Not To Scale

5.18 Public Circulation

Fourth Floor Plan

Plant and service Gantry

Third Floor Plan

Interactive Experience

“The Web How the cable created the future.”

Main Public Circulation

Terrace

Second Floor Plan

Exhibition Galleries Facilities Secondary Circulation Staff Only

“The Cable - A look into detail”

First Floor Plan “Enderby House - A History”

Toward “New Greenwich”

Stair

Information Point

Lift

Circulation Decision Point

“Warehouse Gallery Floor” Lift and stair Large Cable Cross section

Cloakroom Entrance

Ground Floor Plan

Museum Shop Tickets and Information Public Gardens

Toward “Historic Greenwich”

Not To Scale

5.19 Fire Strategy

In case of emergency there are 4 emergency staircases spaced around the pr oposed building. Each escape stair has been fire compartmented. All distances between fire stairs are in compliance with the building regulations. As the proposal is a steel frame, with large parts exposed, all steel will need to be painted with intumescent coating to maintain its structural integrity for a prolonged period in case of emergency. All proposed materials have been approved as meeting the standards set out in Par t B of the building regulations. On the ground floor there are a number of exits which accommodate a variable museum occupancy. The warehouse floor, serves as a large atrium and as such a fire engineer may be needed to approve design and check the escape strategy. Fire extinguishers are specifically placed in positions for ease of use by trained staff members only. A proposal such as this requires at least 2 extinguishers per 3,000m 2 however further specific types are placed within access of plant and store rooms

Internal and External Escape Stairs

Emergency Exits Escape Route Fire Extinguishers

Not To Scale

Fire Assembly Point Away from the propsal, closer to Christchurch Way

5.20 Smoke Strategy S outh Wes t F acade

Due to the height of the proposal and use of natural ventilation systems, a smoke management system can be used to keep smoke above occupied levels and the released into the environment. The system combines the height of the warehouse gallery space with the natural ventilation system. A fire within the warehouse, will create smoke which will rise above the occupied level of the building. Once smoke has been drawn out of the habitable zone, vents in the facade will open to let smoke leave the proposal. This system enables suitable time for all occupants to evacuate the museum of communications.

Not To Scale

N or th Eas t F acade

S moke Layer A bove H abitable Level

5.21 Drainage Strategy

The proposed drainage strategy for the museum of communications links into the buildings water systems. Water collected from the roof and surface water runoff, gets collected in strategically placed drains around the site, which channel the water into holding tanks. These holding tanks are vital for supplying the building with waste water for us in flushing toilets. However the tanks also prevent an increased of surface water flooding into the river Thames at the same time. Water from the holding tanks can be controlled and released back into the water system as suitable intervals.

Holding tank linked to plant for use within the building

Even though the buildings roof is flat, it still maintains a 3o slope. This angle helps channel water into roof perimeter gutters which link to drain pipes at regular intervals. At ground level the building has perimeter gravel drains to collect water and reduce the risk of flooding, or water entering the building at ground level.

Roof Water direction Down pipe position Ground level drains

Water holding tanks Underground pipe system

Not To Scale

Holding tank linked to plant for use within the building

5.22 Maintenance Strategy

Facade Glazing The cleaning of the glazed curtain wall and all other windows will be completed by use of cherry pickers and ladders from ground level for safety. The external louvres will be regularly checked and maintained whilst the glazing is being cleaned. The louvres are positioned more than 500mm away from the face of the glazing to allow adequate space for both to be cleaned. Roof The roof can be accessed via 2 emergency stair wells, the roof will require checking at regular intervals to ensure the are no problems with water drainage. Roof guttering can be cleared from the roof level due to perimeter mansafe railings on all parapets, to at least 1100mm high. Lift and Disabled access All ramps and circulation spaces will be regularly checked to ensure they are clear of debry especially on public circulation routes. The lift maintenance will be at ground level. General Cleaning The internal floor finish of polished concrete creates an easy surface to clean. A regular cleaning schedule will need to maintained for all areas of the proposal, this will be organised by the client following handover. Toilet Facilities All toilets to include an IPS (Integrated Plumbing System) to hide sanitary systems, for ease of cleaning. They will include removable panels for maintenance of the systems. Building Management System All electronic systems within the proposal including: Electronic Louvres Intake / Extract Vents Ground Source Heat Pump Internal Lighting Mechanical Ventilation System Museum CCTV Security / Access Fire Alarm Utility metering Are checked and managed by the electronic system which can be checked and maintained, usually by an outside specialist.

Appendix

6.1 The Alternate Scheme

During the planning process for the alternate scheme, a cruise liner terminal, hotel and housing complex. (as shown) Their was community unrest and a dispute occurred between the overseeing councillors, who eventually rejected the scheme on grounds of being detrimental to the existing community, not being respectful of the listed buildings on site and having an adverse affect on the lives of those living near the development. It was this rejection which bought the local community groups together, the Greenwich society and Enderby Group contacted the Science Museum to see if they would be interested in helping provide an alternative to the rejected housing proposal. As such the project was born to design and develop a museum of communications on Enderby Wharf. Whilst the Original scheme proposed for a cruise liner terminal goes to appeal, a second scheme, the museum of communications will be proposed as the alternative.

6.2 Structural Truss Analyis

Which Construction Frame is best suited? For the construction of the external frame, there are a number of different alternatives. The external frame serves multiple purposes;

Advantages and Disadvantages Pratt Truss Advantages; 1. All trusses shown can be of flat design, meaning the Pratt and Howe truss can be made using similar size beams. Keeping Manufacturing Complexity, time and cost lower.

1. It holds up the facade and the roof, providing a waterproof, insulated shell for the internal arrangements.

2. Is a common truss, used often through industrial warehouse and long span buildings.

2. It serves as the exterior aesthetic, as an articulation of the roof design.

4. Has a long lifespan, whilst being generic enough to suit any building adaptation.

3. Maintains an industrial feel, similar to that of the museum, site and history.

Pratt Truss Disadvantage;

4. Has the possibility of being used whilst the building evolves and adapts to use, ie. Building internal layout changes. 5. Has a long lifespan, to outlive the lifespan of the museum itself. 6. Be an affordable cost, keeping the fund-raising target as low as possible.

3. Offers the chosen aesthetic.

C C

C T

1. Uses more members then say a Warren Truss, could increase time and cost of manufacture. 2. Does not suit the “cable” aesthetic and theme running through the current museum proposal.

Pratt Truss

Bowstring Truss Advantages; 1. Serves the “cable” aesthetic and theme of the current museum proposal.

2. Works for longer spans then the other trusses. 3. Requires less members then a Pratt truss, meaning possible less time to manufacture and cost.

Bowstring Truss Disadvantages; 1. Unusual design, using less regimented size beams, could proves costly. 2. More specialised, may not suit as the building evolves and develops. 3. members under more stress than in a standard flat truss, could require replacing more often.

T C

Bowstring Truss

6.2 Structural Truss Analyis

Advantages and Disadvantages Warren Truss Advantages; 1. Is a common truss, used often through industrial warehouse and long span buildings. 2. Offers the chosen aesthetic.

3. Has a long lifespan, whilst being generic enough to suit any building adaptation. 4. Uses less members then say a Pratt Truss, could keep time and cost of manufacture low. Warren Truss Disadvantage;

Warren Truss

1. Would need to add vertical members for longer spans, under more stress. Would increase cost and time of manufacture. 2. Does not suit the “cable” aesthetic and theme running through the current museum proposal. Howe Truss Advantages; C

1. All trusses shown can be of flat design, meaning the Pratt and Howe truss can be made using similar size beams. Keeping Manufacturing Complexity, time and cost lower. C

2. Offers the chosen aesthetic.

3. Design is generic enough to suit any building adaptation. Howe Truss Disadvantage;

C C

3. Used rarely, due to more strain on the tension members, may need replacing more often.

1. Uses more members then say a Warren Truss, could increase time and cost of manufacture. 2. Does not suit the “cable” aesthetic and theme running through the current museum proposal.

Howe Truss

C T

6.3 Future Development Vertical

Possible Roof Development

Extended Roof Development

Having proposed a design for a museum of communications within historic East Greenwich, the client, has requested a possible extension proposal to make best use of all given space. As the Greenwich Peninsula continues to be developed and turning Greenwich into one of the most densely populated boroughs, any chance for further development is looked positively on. There are two clear strategies development as diagrammed across the following pages. Due to the current proposals flat roof and expressed external truss structure, this creates a possible platform to build up. The current roof system has been designed to take an increased load then, whilst the truss beams and supporting columns are sufficient to begin building upon. However it is worth noting an increased column and bridge truss structure may be needed for larger than two storey vertical development. All stair towers to the outside edge of the radial proposal can be developed to extend upwards facilitating increased occupancy levels throughout the proposal.

Using Initial Proposed Structural System

Possible Roof Development

Not To Scale

Increased Structural System

Possible Roof Development

6.4 Future Development Horizontal

Link Connections

If the museum is looking to expand for future exhibitions, or if the community of Greenwich take advantage of the flexible floor space proposed and more space is required. Then the current proposal can be expanded horizontally and radially across the site. The current site layout strategy can be fully utilised to offer an array of community use or cultural spaces. As part of the increased Urban Design strategy, the west bank of the Greenwich Peninsula will be turned into an Arts, entertainment and cultural route, with the Museum of Communications as central to this masterplan proposal.

Potential Development

6.5 Future Development Car Parking

The current design proposal limits, the use of car parking within the design. This is due to Greenwich Borough councils wish for all visitors to either rely on public transport (bus or Thames Clipper) or visit the Museum as part of the larger urban scale cultural experience and walk the Thames Pathway. However a possible expansion of the parking facilities without effecting the landscaping proposal may be to park on the proposals flat roof. As previously explained the designed structure is more than capable of future expansion, meaning with a few design alterations (Raising the roof trusses and providing a lift for cars towards the rear of the proposal.) Then the roof offer ample opportunity for increased staff and public parking.

New Single Car Lift

6.6 Future Development

Potential Site Sale

Possible Future Development Site

Proposed Through Road

Site One

Although the current proposal includes a landscaped surround, for public use, which meets the London aimed coefficient of green space for the increased residents of Greenwich Peninsula. The landscape proposal does lay out a series of potential development sites, all with direct access from the proposed through road. These sites can either be used by the Museum of Communications, who within their urban design proposal are looking to develop a series of nodes along the Thames Pathway to include performance areas, Music Venues, Exhibition Platforms and Sculptural squares and/or gardens. Or if the Science Museum as the funding client feel more appropriate they can re-coup some of their investment by selling off all or part of the proposed site.

Site Two

Site Three

Site Four

Site Currently Under Development

Bibliography

7.1 Bibliography 1. Greenwich Society. 2014. Available at: http://greenwichsociety.org.uk/ (Accessed on 04 November 2014) 2. Enderby Wharf Blog. 2014. Available at: http://enderbywharf.wordpress. com/ (Accessed on 04 November 2014) 3. Atlantic Cable. 2014. Available at: http://atlantic-cable.com/ (Accessed on 04 November 2014) 4. Enderby Wharf Blog. 2014. Available at: http://853blog.com/tag/ enderbys-wharf/ (Accessed on 04 November 2014) 5. Enderby Wharf Leaflet. 2014. Available at: https://853blog.files. wordpress.com/2014/06/enderby3.pdf (Accessed on 04 November 2014) 6. Portcurno. 2010. Available at: http://allanatporthcurno.blogspot.co.uk/ (Accessed on 04 November 2014) 7. Portcurno Telegraph Museum. 2014. Available at: http://www.porthcurno. org.uk/index.php (Accessed on 04 November 2014) 8. Digimap. n.d Available at: http://digimap.edina.ac.uk/digimap/home (Accessed on 04 November 2014) 9. Science Museum. 2014. Cable Shrinks the World. Available at: http:// www.sciencemuseum.org.uk/online_science/explore_our_collections/ stories/cable_shrinks_the_world (Accessed on 04 November 2014) 10. Science Museum. 2014. Cable. Available at: http://www.sciencemuseum. org.uk/online_science/explore_our_collections/information_age/cable (Accessed on 04 November 2014) 11. Engineering and Technology Magazine. 2014. Analysis: the Science Museum Information Age gallery. Available at: http://eandt.theiet.org/ magazine/2014/10/analysis-science-museum-information-age.cfm (Accessed on 04 November 2014) 12. Greenwich Unitary Development Plan 2006 Available at: http://www. royalgreenwich.gov.uk/downloads/file/752/unitary_development_ plan_2006 (Accessed on 04 November 2014) 13. Environment Agency. 2014. Available at: http://maps.environmentagency.gov.uk/ (Accessed on 04 November 2014) 14. Listed Buildings Map. 2014. Available at: http://magic.defra.gov.uk/ (Accessed on 04 November 2014) 15. Soil Information Map. 2014. Available at: http://magic.defra.gov.uk/ MagicMap.aspx (Accessed on 04 November 2014) 16. London Flood Analysis Map. 2014. Available at: http://maps. environment-agency.gov.uk/wiyby/wiybyController?x=531500.0&y=1 81500.0&topic=floodmap&ep=map&scale=8&location=London,%20 City%20of%20London&lang=_e&layerGroups=default&textonly=off (Accessed on 04 November 2014) 17. Design Buildings. 2014. Available at: http://www.designingbuildings. co.uk/wiki/ (Accessed on 04 November 2014) 18. BHB Architects. n.d. Payment of Fees. Available at: <http://www. bhbarchitects.co.uk/images/guidance_on_fees.pdf> (Accessed 19 January 2015)

19. Orrell, J. 2013. The New RIBA Plan of Work 2013- Maintaining a Fifty Year History. http://ckehub.org.uk/uploads/resources/85/05-12_John_ Orrell.pdf> (Accessed 19 January 2015) 20. Iain Simpson Architects. 2010. Planning Application. Available at: http://publicaccess.royalgreenwich.gov.uk:81/online-applications/ applicationDetails.do?activeTab=documents&keyVal=_GRNW_ DCAPR_66213 (Accessed 04 November 2014) 21. Chappell, D., & WIllis, A. 2010. The architect in practice. 10th ed. Oxford: Wiley-Blackwell. 22. Designing Buildings Wiki. n.d. Procurement Route. Available at: <http://www.designingbuildings.co.uk/wiki/Procurement_route> [Accessed on 19 January 2015]. 23. Designing Buildings Wiki. n.d. Two Stage Tender. Available at: <http:// www.designingbuildings.co.uk/wiki/Two-stage_tender> [Accessed on 22 January 2015]. 24. JCT. 2011. Contract Families. Available at: <http://www.jctltd.co.uk/ category/standard-building> [Accessed 19 January 2015]. 25. NBS. n.d. Procurement Models. Available at: <http://www.thenbs.com/ training/educator/briefs/briefsIntro/briefsIntro10.asp> [Accessed on 19 January 2015]. 26. RIBA. 2001. Procurement policy: Building teams - achieving value. Available at: <http://www.architecture.com/Files/ RIBAProfessionalServices/Practice/General/Procurementpolicy.pdf> [Accessed 19 January 2015]. 27. RICS. 2013. RICS draft guidance note - Comparative construction and engineering contracts. Available at: <https://consultations.rics.org/ consult.ti/comparative.construction/viewCompoundDoc?docid=242 4148&sessionid=&voteid=&partId=2425044> [Accessed 21 January 2015]. 28. SCALA. n.d. Standard Forms of Construction Contract. Available at: <http://www.constructingexcellence.org.uk/sectorforums/ constructionclientsgroup/downloads/standard_formsLGTF.pdf> [Accessed 21 January 2015]. 29. Trench, D. 1991. On target: a design and manage target cost procurement system. London: T. Telford. 30. RIBA. 2007. Health and saftey. Available at: <http://www.architecture. com/files/membersonly/charteredpractice/healthandsafetytemplate.pdf> [Accessed on 24 January 2015]. 31. www.weather-and-climate.com. 2015. Weather and Climate. Available at: <http://www.weather-and-climate.com/average-monthly-min-maxTemperature,London,United-Kingdom> [Accessed on 26 February 2015]. 32. Actar. n.d.Media ICT Building. Available at <http://issuu.com/actar/ docs/media-ict> [Accessed 1 March 2015].

33. Dezeen. 2010. Excel phase 2 by Grimshaw. Available at <http://www. dezeen.com/2010/07/09/excel-phase-ii-by-grimshaw/> [Accessed 1 March 2015]. 34. Edmund Sumner. n.d. Excel phase 2. Available at <http://www. edmundsumner.co.uk> [Accessed 1 March 2015]. 35. Inhabitat. 2011. Ruhr Museum. Available at <http://inhabitat.com/ former-coal-washing-plant-converted-into-intriguing-ruhr-museum-ingermany/> [Accessed 1 March 2015] 36. Yatzer. 2011 Ruhr Museum. Available at <http://www.yatzer.com/theruhr-museum-hg-merz> [Accessed 1 March 2015]. 37. Steel Construction. n.d. Trusses. Available at <http://www. steelconstruction.info/Trusses> [Accessed 2 March 2015]. 38. Great Buildings. n.d. Sainsbury Centre. Available at <http://www. greatbuildings.com/buildings/Sainsbury_Centre.html> [Accessed 3 March 2015]. 39. Foster and Partners. n.d. Sainsbury Centre for Visual Arts. Available at <http://www.fosterandpartners.com/projects/sainsbury-centre-forvisual-arts/> [Accessed 3 March 2015]. 40. Thomas, R., & Garnham, T. (2007). The environments of architecture: Environmental design in context. New York: Taylor & Francis. 41. Landzine. 2011. Landschaftspark Duisburg Nord. Available at <http:// www.landezine.com/index.php/2011/08/post-industrial-landscapearchitecture/> [Accessed 15 March 2015] 42. Arch Daily. 2011. Horno 3 Steel Museum / Grimshaw. Available at < http://www.archdaily.com/115031/horno-3-steel-museum-grimshaw/> [Accessed 15 March 2015.]

By P a ul Go r z e la k U nit 19 N eil S piller & P hil Wats on S tudent N umber : 000788987 M .A r ch A r chitectur e U niver s ity of G r eenw ich