The Red Ribbon : 3.2 Portfolio by Rowdah Charbak

THE RED RIBBON FLUX // STUDIO 3.2

ROWDAH C H ARBAK 18057071

3. 2

CONTENTS

C ON TEN TS

p ar t I: d ev e l o p i n g t h e sc h e m e.

p a rt I I I : d e ve lop ing the d e ta ils.

3.1 Recap 3.1 Recap Project Position A City Without Cars Multimodal Cities Masteplan Site Location How Children Play Issues with Play The Science of Play Programme Programme Colour Psychology Precedents Precedents

Structure and Skin Climate Change Considerations Inclusion and Engagement Regulations Construction Sequence 1:5 Detail, 1:50 Plan 1:20 Detail Environmental Strategies

p ar t II: dev e l o p i n g t h e d e si g n . Form Iterations Lighting Sketch Model Iterating Form Further Initial Plans Problems and Solutions User Perspective Model Montage Sefaira Analysis Outdoor Play Model Tests Forest Play Masterplan 1:1000 GF Plan 1F Plan 2F Plan Section 1:200 Elevation 1:200

3. 2

p a rt I V: d e ve lop ing the a tmosp he re . 1:50 Section 10 Drawing Exhibition Set

p a rt V: c onc lusions. 49 50

Five Point Reflective Bibliography

S C H EM E

WALKING THE CITY STUDIO 3.1

3.1 of

e x p l o re s

interventions

g re a t e r

s e r i es b e t w e en

scheme

t hat

en c o u r a g e s p e o p l e t o w alk an d

interact

with

the

c i ty

u s i n g t h e M a n c u n i a n w a y as a t r a n s i t i o n s p a c e , t h e r e f o re, p r o m o t i n g w e l l - b e i n g t h r o u gh the jour n e y o f m o v e m e n t . A journey for cars into a j o ur ney fo r p e o p l e . . .

0 T he int erv e n t i o n s c re a t i n g r ipple s in th e c ity

3. 2

100

200

METRES 400

M asterpl an o f pro po sed w al k way

S C H EM E

CHANGING THE CITY STUDIO 3.1

A f t e r e s t a b l i s h i n g f o r p u b lic sp a c e i n t e r v e n t i o n s i n c l u d i ng a p e r f o r m a n c e s t a g e , f o od market

an d

e x e rc i s e

p a r k,

th e p l a y s p a c e w a s c h o s e n to ex p a n d u p o n d u e t o t h e n e ed fo r a s p a c e t o a l l o w c h i l d ren to play in t h e c i t y.

Fou r in itia l proposa ls for in terventi o ns

I nit ia l s ec t i o n e xp l o r i n g t h e pla y spa c e growin g from th e r a mp

3. 2

Ex ter nal Perspecti v e of outd oor p l ay

A BETTER FUTURE

S C H EM E

PROJECT POSITION

K i ds o n the streets The Mancunian Way has become a societal barrier in the city between the most vulnerable and those wh o a re p r i v i l e g e d . Ye t , i t re m a i n s a s o c i a l m o b i l i s e r t h a t a l l o ws peo pl e to m o ve qu i ckl y acro s s the c ity. Ge tting rid of the Ma nc unia n Wa y is not the a nswe r b ut a llowi ng acces s t o al l part i es at al l s cal es i s . We need t o ree ngage users to activate an unwante d and unloved part of the city. The aim is to create a space where som e o f t h e m o s t v u l n e r a b l e i n s o c i e t y, c h i l d re n , a re s a f e t o roam free. Creating a play centre as a space to lear n through activity and play. In securing a more sustain a b l e f u t u re , c h i l d re n m u s t b e t a u g h t t o h a v e a l o v e a n d 3. 2

appre c ia tion for the ir surround ings in a n e nvironme nt tha t foste rs c uriosity and nurt ures creat i v i t y.

M U LT I M O D A L C I T I E S

S C H EM E

COLLAGE

T hro wi ng o ut the trash T h e project proposes to retain the existing infrastructure, yet reducing the number of cars upon it, and transfo r m i t i n t o a m u l t i m o d a l ro u t e w h e re p l a y a n d f u n r i p p l e s i n t o the city. This will allow pedestrians and cyclists to follow the linear route, promoting the jour ney of movem e n t b y u s i n g t h e M a n c u n i a n Wa y a s a t r a n s i t i o n s p a c e . 3. 2

A CITY WITH LESS CARS

S C H EM E

COLLAGE

Rebi rth I n a future with less cars, greenhouse gas emissions will decrease and life will be able to flourish and thrive th ro u g h o u t t h e c i t y. C h i l d re n m u s t b e e d u c a t e d t o h a v e a l o ve o f n atu re i n o rder t o se c ure a more susta ina b le future . The p rop osa l will a im to b ring c olour and nat ural order back i nt o t he ci t y. 3. 2

COMING TOGETHER MASTERPLAN

T h e p l a y c e n t re i s a n i n t e rvention along the path of connecting the v a r i o u s p a r t s o f t h e c i t y b e s ide the highway. This will create projections th a t a c t i v a t e t h e c i t y a s a whole and communities are physically and metap h or i c a l l y c o n n e c t e d . 3. 2

E X P L O R AT I O N SITE LOCATION

The R ed R i bbon M an ch es ter

T h e p ro j e c t f o c u s e s o n t r a n sforming the Mancunian Way. The monolithic

The Ma nc unia n Wa y

co n c re t e s t r u c t u re a c t s a s a barrier between the various surrounding co m m u n i t i e s . I n o rd e r t o c onnect these communities with one another w e can cre a t e p h y si c a l c o n n ecti o n s to eas e th at tran s i ti o n . 3. 2

H O W C H I L D R E N P L AY

S C H EM E

I NNOVATION

This

diagram

d i ff e re n t

e x p l o re s

ways

t he

w h i ch

ch i l d re n m o v e i n o rd e r to p l a y. T h i s i n f o r m a t i o n g i v es th e

opportunity

arc h i t e c t u r a l

i d e n t i fy

i n t e r v e n t i o ns

th a t m a y b e i m p l e m e n t e d i n to the p lay c e n t re .

3. 2

T H E I S S U E S O F P L AY

S C H EM E

PRESENT

T h e b o o k ‘ T h e S c i e n c e of P l a y ’ a r g u e s t h a t p u b l i c p l ay

KFC + P

sp a c e s , sh o u l d b e b a s e d on b ro a d ,

systemic

ra t h e r

than

wistful do

What

nostalgia

aspirations.

kids

need

factors

W hat

t h r i v e?

a ff e c t

h ow

ch i l d re n m a t u re e m o t i o n a l ly, so c i a l l y, c u l t u r a l l y ? H o w do we

p ro v i d e

u n p re d i c t a ble

d a i l y o c c u r re n c e s t h a t will en a b l e k i d s t o t h i n k t h ro u gh unexpected

c arpet.

q u e s t i o ns

c h a l l e n g e s?

p arents. Hovering over every move and tailing children on the equipment, this is very common in the U.K. and U.S. In Japan these types of parents are called “Monster Parents”. This could be due to fear of safety or fear of strangers. Play spaces need to be safe enough so that they don’t feel to need to stay so close to their children when they need the freedom to play.

Carpet of ‘Unitary Covering’ reinforces that playground are risk-free. It is expensive by doubling the cost of the playground without contributing towards what the kids can do. Children can’t move it, mould it or reconfigure it. Sand is effective, as it provides cushioning, however, can be very messy.

fencing. kit. Playgrounds have become generic. Today’s playgrounds have no struggle or sense of accomplishment. The kit is predictable and demeaning. “Kids are not trusted to produce their own bliss” (Solomon, 2014, 11).

Kids feel like they are in jail. This can be substituted with thick shrubbery or fences can be retained but masked with plants or architectural elements.

H o w c a n w e p re p a re t h em to e n g a g e w i t h a f u t u re we can n ot en v i s i o n ? Unlike

the

e x c i t i ng

p l a y g ro u nd s o f t h e 1 9 5 0 s a nd 1 9 6 0 s , w h i c h c o m m i s s i o n ed ar t i s t s

re t h i n k

p l a y g ro u nd to d a y ’s does

c o n c e pt,

typical a

t he

p l a y g ro u nd

particularly

jo b

p re p a r i n g

fo r

u n c e r t a i n t y.

c h i l d ren We

m a i n t e n a n c e - f re e

b ad f i nd c a g ed

are a s t h a t e m p h a s i z e s a f e ty m o re t h a n c r i t i c a l t h i n k i n g, sm a r t

re a s o n i n g ,

in v e s t i g a t i o n s ,

h o p e f ul t h r i l l i ng

ad v en ture s . ( S olom on , 2 0 1 4 )

3. 2

S C H EM E

T H E M A N C U N I A N W AY A S A N O B J E C T PROGRAMME

w a l k a b l e ro o f .

3. 2

outdoor play 3-12 .

outdoor play 13-18.

re s t a u r a n t 3 - 1 2 .

re c e p t i o n .

T H E M A N C U N I A N W AY A S A N O B J E C T

S C H EM E

PROGRAMME

in d o o r p l a y 3 - 1 2 .

3. 2

indoor play 13-18.

sensory room.

p a r t y ro o m .

p a re n t z o n e 3 - 1 2 .

COLOUR PSYCHOLOGY IN CHILDREN

S C H EM E

STUDY

Colour

psychologists

h a ve

li n k e d

colour

b r a in

with

development,

d e c re a s ed

ab s e n t e e i s m ,

e n h a n c ed

p ro d u c t i v i t y

and

e v en

tr a n s i t i o n f ro m c h i l d h o o d to ad u l t h o o d . Wa r m a n d b r i g ht co l o u r s c h e m e s a re i d e a l f or y ou n ger ch i l d re n .

blue.

red.

yellow.

green.

pink.

orange.

Blue enhances creativity and stimulates a cool and relaxing environment. It should not be used in excess as it can also depress or invoke feelings of sorrow.

Red is the colour of passion and strong feelings of threat, love, or excess stimulus. In school rooms it can be used in combination with other colours as it can help in detail oriented or repetitive tasks.

This is indeed the colour of happiness and sunshine for children. Yellow stimulates intelligence and is ideal for use in kids’ rooms, study rooms and play areas. It should not be overdone as it can make children feel stressed.

The colour of abundance can relax and contribute to better health in kids. Green is reminiscent of peace and quiet and has a calming effect on the nervous system.

Pink is a calming colour. It can lower heart rate. It has a deeply soothing effect. Too much pink could be tiring and oppressive. It is not suitable to use too much pink in the rooms of shy and introverted children as this is not an energetic colour.

Many children focused spaces use this colour as it enhances critical thinking and memory. Test rooms in this colour are known to enhance performance in exams.

3. 2

P L AY

D ES I G N

PRECEDENTS

THE BRUTALIST PLAYGROUND

Y UECHENG COURTYAR D

THE F OL DS

A s s em b le, 2 0 1 5

MAD Arc hite c ts, 2020

A t el i er S cal e,

R e c a s t c o n c re t e a n d s t e e l playground structures in reconstituted

The floating roof connects a variety of independent spaces i n u n i t y

D e s i g n e d w i t h t h e n o t i o n o f re t u r n i n g t o b a s i c s t h ro u g h f o l d i n g

fo a m i n o rd e r t o a l l o w p e o p le to consider their formal characteristics

while ma king p e op le fe e l a s if the y ha ve e nte re d a ne w re al m.

s p a c e s . T h e f o l d i n g l a n d s c a p e e n c o u r a g e s c h i l d re n t o p e rc e i v e

sep ar ately f o r m t h e i r m a t e r i al i ty.

3. 2

s pace wi t h t hei r hands and f eet .

LEVELS

D ES I G N

PRECEDENTS

L OOP OF WISDOM

WEST VILLAGE · BASIS YAR D

F UJI K INDE R G A RTE N

L oop of W i sd o m , 2 0 2 0

Jia kun Arc hite c ts, 2015

Te z u k a A rc h i t e c t s , 2 0 0 7

R e d w a s c h o s e n f o r t h e c o lour of the roof as a striking contrast to

An elevated runway surrounds the courtyard all the way u p t o t h e

T h e o v a l - s h a p e d ro o f d e c k o f t h i s p l a y f u l To k y o k i n d e r g a r t e n a l l o w s

th e l a n d s c a p e . T h e p a t h i s surfaced with rubber asphalt to m ake it

rooftop and then back to the ground. This constant change o f a l t i t u d e

c h i l d re n t o p l a y a n d r u n e n d l e s s l a p s a ro u n d i t . R a t h e r t h a n i m p o s e

suitab le fo r r u n n e r s a n d w a l kers .

activates a dynamic flow of energy within this architectura l p ro j e c t

p h y s i c a l b o u n d a r i e s o n t h e c h i l d re n t h e k i n d e r g a r t e n i s a c o n t i n u o u s

a nd b rings jogge rs a nd c yc lists a n unusua l e xp e rie nc e .

s pace t hat al l ows f or unf et t ered l ear ni ng and pl ay.

3. 2

FORM

D ES I G N

I TERATIONS

T h e s e i t e r a t i o n s e x p l o re t he

I t e r a t i on 3: TRA N S I TI O N S

I t e ra t i o n 6 : B R I DG I N G

I t e r a t i on 1 : WALK WAY

I t e r a t i on 4: RI P P LE S

I t e ra t i o n 7 : C EN T R E

I t e r a t i on 2 : LAYE RS

I t e r a t i on 5: LE V E LS

I t e ra t i o n 8 : T Y P O G R AP H Y

potential

forms

that

c o u ld

in t e g r a t e

f ro m

the

r a m p.

S e e i n g t h e r a m p l i k e a b u i l d i ng an d t h e bu i l d i n g l i k e a r a m p. Exploring

the

d i ff e re n ce

between

building

a nd

w a l k w a y a n d h o w t h e l a y e rs of progr am m e i n t e g r a t e .

3. 2

D ES I G N

QUALITIES AND LIGHT SKETCH MODEL

T h i s m o d e l i s a c o n c e p t ual ex p l o r a t i o n

the

v a r y i ng

ty p o g r a p h y o f t h e p ro p o s al, re f l e c t i n g

that

t he

ad j a c e n t M a n c u n i a n Wa y. It al s o e x p l o re s h o w l i g h t sh a d o w s

can

used

a nd to

il l u m i n a t e t h e f o r m a n d d r aw u s er s into t h e s p a c e .

C a s t i n g s h a d ows b e twe e n the levels

3. 2

U s i ng s p a c i ng t o e x p l ore how l i ght c a n gl ow from t he b ui l d i ng

E x p l o r i n g t h e p ro p o s e d t y p o g r a p h y

FLOW

D ES I G N

I TERATING FORM

L o o k i n g a t P a o l o P o r t o g h e s i’s d r a w i n g s o f t h e F i e l d T h e o ry, h e e x p re s s e s m o v e m e n t a nd ti m e t h ro u g h t h i s g e o m e t r i cal sy s t e m . B y u s i n g t h i s g r id an d p ro c e s s a p o l y - c e n t ric ap p ro a c h c a n b e a p p l i e d to the d es ign p ro p o sa l . Using ap p ro a c h

p o l y - c e n t ric a

design

w as

it e r a t e d t h a t g re w f ro m t he ra m p , c o m b i n i n g t y p o g r a p hy, in t e r i o r a n d e x t e r i o r s p a ce, to c re a t e o p e n a n d i n t i m a te spaces for p l a y.

P a o l o P or t o ghe si : th e f i e l d th e o r y

3. 2

Space as system of places.

E v ol v i ng t he r a m p from a ge om e t r i c gr i d .

S k e t c h s e c t i on p rop os a l .

GROWTH

D ES I G N

I NITIAL PLANS R oof Pl an Walkway Ou tdo or Pla y 13- 18 Ou tdo or Pla y 3- 12 Gardens

Roof P l a n

G rou n d F l o o r Pl an Sto rag e Reception Ci rcu l a tion In do o r Pla y 3- 12 In do o r Pla y 13- 18 Sen s o ry R oom Toilets Servi ce s Gardens

1:500 G round Fl oor P l a n

Fir st Fl o o r Pl an Ci rcu l a tion Res taura nt Ki tch en V i ewi n g B a lc o ny Paren t Z one M o vi e Zone 3. 2

Ram p

1:500 Fi r s t Fl oor P l a n

E V E RY D AY T H E C L O C K R E S E T S

D ES I G N

PROBLEMS AND SOLUTIONS

These

highlight

all

t he

p ro b l e m s t h a t w e re s e e n in th e d e s i g n . C re a t i n g a 3D m o d e l h i g h l i g h t e d t h i s a nd sh o w s

that

the

p ro p o sal

n eed s fu r t h e r i t e r a t i o n s .

3. 2

L E T S P L AY

D ES I G N

MODELS AND COLLAGE TESTING

This

model

varying p ro p o s a l

e x p l o re s

ty p o g r a p h y and

t he t he

m o n t a g es

p rogr am m e w i t h i n i t .

E x p l o r i n g t he l a nd sc a p e

3. 2

E x p l or i ng p l a y

E N V I R O N M E N TA L E X P L O R AT I O N

D ES I G N

SEFAIRA ANALYSIS

U s i n g s e f a i r a f o r q u a l i t a t i ve

Glazing Amount

G l a z i n g U - Va l u e

te s t s i n o rd e r t o o b s e r v e t he

100% gla ze d wa lls

Tri pl e P an e

optimum

Glazed wall : solid wall ratio = 100:00 Glass : distribution (as drawn)= 100%

Glass U-value = 0.2 W/m2K Visible Light Transmittance = 0.2

O r igin al Mo d e l

Glazing Amount

G l a z i n g U - Va l u e

Too many facets and complex geometry. Sefaira would not respond.

50% gla ze d wa lls

D oubl e P ane

Glazed wall : solid wall ratio = 50:50 Glass : distribution (as drawn)= 50%

Glass U-value = 0.5 W/m2K Visible Light Transmittance = 0.5

A d ap ted m o d e l :

Glazing Amount

G l a z i n g U - Va l u e

No varying height. Complex geometry removed. Curves reduced to straight planes.

25% gla ze d wa lls

S i ngl e P ane

Glazed wall : solid wall ratio = 25:75 Glass : distribution (as drawn)= 25%

Glass U-value = 1.1 W/m2K Visible Light Transmittance = 0.9

with

glazing

re g a rd s

di s t r i b u t i o n

s t r a t e gy

a m o u nt,

and

g l a z i ng

U -Value

C oncl us i on In conclusion, the combination of triple pane with 5-% glazing seemed to have the best outcome of the energy use intensity and was within the CIBSE benchmark. This combination was chosen for the glazing distribution.

3. 2

P L AY I N G O U T S I D E

D ES I G N

REFLECTING THE LANDSCAPE

Outdoor

play

needs

deviate

away

f ro m

st a n d a rd

‘kit’

and

The varying typography of the play space

t he

re f l e c t s t h a t o f t h e M a n c u n i a n Wa y w h i c h

p ro v i de

it is situated beneath. The design was

an a d a p ta b l e s p a c e w h e re ch i l d re n c a n t a k e

i n s p i re d b y t h e r i p p l e s a n d n o d e s t h a t a re

r i s k s a nd

re f l e c t e d e a r l i e r o n i n t h e p ro j e c t . E a c h

d e v e l o p t h e i r o w n f o r m of

p i t t e d z o n e h a s o p p o r t u n i t i e s f o r d i ff e re n t

p l a y. T h e v a r y i n g t y p o g r a p hy

p l a y f o r d i ff e re n t a g e g ro u p s , w h e t h e r t h a t

p ro v i d e s o p p o r t u n i t i e s f o r a

be j umpi ng, s l i di ng or ev en s k at eboardi ng!

v a r i e t y o f p l a y a n d re f l e cts the lan d s c a p e o f t h e b u i l d i n g. MO N S TER ‘ S F O O T P R I N T P REC ED E N T

P ro p o s e d c ro s s s e c t i o n

M A D A rch i t e c t s, 2 0 0 9 Citizen

S q u a re ,

S h e n z en,

Jesmo ni t e c a s t t i l e s how i ng p rop os a l for e x t e r na l p l a y

Ax o n o me t ri c l o c a t i o n d i a g ra m

C h ina T h e s i t e i s a s u n k e n s p a ce sh a d e o f a g i a n t f o o t p r i nt, p a v e d b y p i n k E P D M m a t e r i al, fu n c t i o n i ng a s t h e p l a y g ro u nd fo r t h e c i t i z e n s i n t h e c ity cen ter. 3. 2

E X P L O R AT I O N

D ES I G N

MODEL TESTING

These explorations were made d u r i n g a c a s t i n g w o r k s h o p. They play

e x p l o re form

the

t h ro u g h

o u t d o or v a r i o us

m a t e r i a l s a s a m e t a p h o r f or th e c o n c re t e l a n d s c a p e of the M an cu n i a n Wa y.

Pl a s t e r

Jesmo nit e

J e s m oni t e Fr a gm e nt s

C o n c re t e

Pl a s t e r s i t e p l a n

Creating form work from grey board which was

The silicone mould was used an unlimitted

The jesmonite is replicates to the hardness

The concrete was very wet and difficult to

This cast was made using plaster poured

then used to create silicone mould. The site

amount of times to create each cast of this

of concrete but a much lighter material. The

work with, the ratio of cement to water needed

directly into the grey board form work, which

plan design one a one time use techni que.

design.

colours are similar to designs rubber granule

to be perfect. On-site it is probably just as

could only be done once.

outside.

difficult.

3. 2

THEY PROTECT US SO WE PROTECT THEM

D ES I G N

FOREST PLAY

Tre e s on s i t e

B i o p h i l i c d e s i g n s t r i v e s t o connect people to nature in t h e b u i l d i n g s w h e re t h ey live, work, and play. R e s e a rc h s h o w s t h a t s i m p l y taking a walk in the park ca n b o o s t t h e c o n c e n t r a t i o n of children with ADHD, an d t h e s e b e h a v i o r- m o d i f y i ng effects extend to kids w ith au tis m a s w e l l . O n - s i t e t h e re a re c u r re n t l y trees, so these will be re p l a n t e d i n t h e o u t d o o r play zone to encourage fo re s t p l a y i n c h i l d re n a n d allow them to live. The tre e s p ro v i d e a f o r m o f p rotection instead of only g a t e s . I f w e e d u c a t e c h i l d re n to have a love of nature, w e m a y r ai s e a n e w g e n e r a t ion that prioritises saving the p lant.

(Right) T hro ug h t he Gat eway // Exter nal Perspective Co llag e

3. 2

(Left ) Sketches from observing how people interact with trees and ways in which timber is used for play.

LANDSCAPE

D ES I G N

MASTERPLAN 1:1000

T h e s e d r a w i n g s h o w t h e s i te plan o f t h e p ro p o s a l . T h e s l i p road w h e re t h e s i t e h a s b e e n l ocated h a s b e e n c l o s e d . T h i s i s p ossible d u e t o t h e d e c re a s e i n t h e number o f c a r s i n t h e f u t u re , s o i t w i l l not be as n e c e s s a r y. T h e re a re o t her slip ro a d s a l on g t h e M a n c u n i an Way th a t s t i l l a l l o w a c c e s s t o t his part o f t h e c i t y, t h e re f o re , n o t causing an y h ind er i n g o b st r u c t i o n s.

2 1

S i t e a x on o m e tri c f rom c a sti ng mo del

3. 2

4 3

10 M e t re s

M a s t e r p l a n / / D r a w n 1:1000 a t A 2

PLANS 1:200

D ES I G N

GROUND FLOOR

C ircu l a t i o n Toil e t s S er vi c i n g a n d st o r a g e In d o o r P l a y O utd o o r P l a y R ece p t i o n

2 1

3. 2

6 4

14 10

M e t re s

PLANS 1:200

D ES I G N

FIRST FLOOR

C ircu l a t i o n P aren t Wa t c h G a l l e r y S er v ic i n g a n d st o r a g e Te e n a g e r s C h i l l Z o n e R es ta u r a n t R amp

2 1

3. 2

6 4

14 10

M e t re s

PLANS 1:200

D ES I G N

SECOND FLOOR

C ircu l a t i o n O ffice s S er v ic i n g a n d st o r a g e R amp

2 1

3. 2

6 4

14 10

M e t re s

SECTION 1:200

D ES I G N

2 1

3. 2

6 4

14 10

M e t re s

E L E V AT I O N 1 : 2 0 0

D ES I G N

2 1

3. 2

6 4

14 10

M e t re s

M AT E R I A L I T Y

Railings

STRUCTURE AND SKIN

Roof Build Up

D ETA I LS

Rubber Asphalt Rubber Mat

T h i s p a g e e x p l o re s t h e v arious layers that are in v o l v e d in t h e b u i l d u p . Different finishes and te x t u re s w e re c h o s e n i n o rder to provide tactile st i m u l a t i o n a s a n o t h e r f o r m of lear ning. This is

Concrete Slab with Service Void Rock Mineral Insulation Internal Cladding Plywood Panels

sa i d t o i m p ro v e p ro b l e m solving and language p roces s in g sk i l l s i n c h i l d re n.

1st & 2nd Floor Build Up Timber Floor Boards This diagram explores the structure of the steel portal frame, examining

Sound Insulation Concrete Slab Plywood Panels

the dead loads caused by wind, rain, snow and structure. Steel Portal Frame

The steel column mixed be fixed into pad foundations using a steel

Wall Build Up

base plate in order to distribute the

Cement Fibre Panels Connected with Aluminium Z Brackets

loads evenly.

DPM Sheathing The

standard

size

columns

and

beams should be bolted together

Rock Mineral Wool Insulation Plasterboard

as opposed to welding to allow the building do be dismantled in the future. This shear connection

Lift Shaft

transfers little to no moments and is easy to construct, requiring only Ground Floor Build Up

one fixing.

The

lightweight

Timber Floor Boards

nature

steel

means that it is subject to shear and torsion from dead loads, especially in Manchester due to the high wind

Rubber Mat sat on Cavity for Heating with Steel Lifts

Thermal Insulation

levels. This effect must be reduced using additional diagonal bracing as well as horizontal to ensure extra

RC Concrete Slab connecting to Pad Foundations

stability and allow the loads to be distributed safely into the ground.

Exploded axonometric diagram of s t r uc t ure a nd s k i n

3. 2

A R E S P O N S E T O C L I M AT E C H A N G E

ATMOSPHERES

CONSIDERATIONS

W a l k i n g a n d m o v e m e n t a s a design driver from the start, reducing

Not physically touching the Mancunian Way in order to pr e s e r v e

Replanting trees already on the site to add vegetation and act

th e n e e d f o r c a r s i n t h e city. The walk-able roof acts as an

heritage and reduce the need for demolition, therefore s a v i n g

as an object for play and learning. Fencing in play spaces for

a cces s r ou t e t o a w a l k - a b l e ram p f o r pedes tri an s an d cycl i s ts .

the la te nt e ne rgy from it’s origina l c onstruc tion.

protection. We protect the trees so they protect us. Planting

E n c o u r a g i n g t h a t M O V E M ENT IS POWER, producing energy

Blocking one of the slip roads along the Mancunian Way d u e t o

f l owers f or bees and but t erf l i es .

fr o m r e n e w a b l e r e s o u r c e s , for example, PAVEGEN panels which

the re d uc e d numb e r of c a rs in the future .

g ener ate e l e c t r i c i t y t h r o u g h m o vem en t.

P o r t a l f r a m e c h o s e n f o r f a st construction and minimise waste,

Passive strategies implemented: The building has the i d e a l

Conscious materiality choices: e.g. Mineral Rock Wool Insulation,

a l s o l o w m a i n t e n a n c e . S teel structure is bolted instead of

footp rint for c ross ve ntila tion a s it is ha s no inte r na l d ivisi ons .

70% recycled material, high R- Value. Fibre cement cladding -

welding s o i t c a n b e d e m o un ted

Ground Source Heat Pump is sustainable way of using t h e r m a l

low maintenance, assessed by the BRE and achieves an A+

energy from the earth to circulating water heat wate r a n d

rat i ng i n t he Green Gui de, recy cl abl e.

therefore heat the building. Thermal mass of concrete s l a b s

Windows worked out with response to Sefaira, achieving CISBE

optimised. Solar gains provide natural lighting. Collectin g a n d

benchmark in energy intensity, through 50 % glazed walls, triple

recycling rainwater for the toilets.

gl az i ng and s peci f i c gl az ed di s t ri but i on.

Building

larger

t han

necessary,

which

minimised

c ons umpt i o n a n d w a s t e t h ro u g h m ateri al s , h eati n g etc.

3. 2

INCLUSION AND ENGAGEMENT

ATMOSPHERES

CONSIDERATIONS

A C h i l d ’s P e rsp e c ti ve

A n A d ul t ’s P e r s p e c t i v e

A S e n i o r’s P e rs p e c t i v e

Inclus iv it y

Age

Ex peri ence

C hi l d D ev el op m ent

S af e P l ay

T h e u s e o f r a m p s a i m t o include ev e r y o n e i n t h e j o u r n e y along th e M a n c u n i a n Wa y. B y providing m o b i l i t y a n d a c c e s s t o a l l we can cre a t e a m o re p o s i t i v e a n d i nclusive fu t u re , b r i d g i n g t h e d i v i d e i n society. T h e o p e n p l a n p ro v i d e s e a s y access w i t h n o o b s t r u c t i o n s s o t h at there are e a s y a c c e s s ro u t e s f o r all users. T h e w i d e p a t h s a n d c o r r i d ors, both in d o o r a n d o u t d o o r, p ro v i de easy n a v i g a t i o n b y f o o t , w h e e l chair or other mob i l i t y d e v i c e s .

Spaces are not only tailored for children under 18 but to all users who come to experience the centre. Adults have zones in which they can sit and watch their children or there are points in which they can interact with he play. Some of the play components allow multi use. For example, the child may jump on the steps ins tallation but their grandfather may want to sit on those same steps and watch, as shown in th e s ketch o n th e right.

The focus is on equality of experience for all users. The design provides easy, comfortable access so that all users share in the building’s experience and amenities. All inclusive design details have been incorporated in a way that feels natural for everyone, therefore, no visitors are singled out from the experience. The council will cover most of the costs due to it being a building that provides a space for the community, but users may be asked to pay a small fee in order to provide customer security. This creates an affordable play space that is both safe and secure, which will a llow p a re nts to fe e l a t e a se .

T h e c e n t re o ff e r s o p p o r t u n i t i e s f o r c h i l d re n o n v a r i o u s a g e g ro u p s t o e x p e r i m e n t a n d l e a r n t h ro u g h r i s k , i n d e p e n d e n c e , f a i l u re a n d s u c c e s s , f r i e n d s h i p a n d n a t u re . T h e p l a y c e n t re i s a s p a c e t h a t h a r v e s t s this development in an open and e x p l o r a t o r y w a y. N o t o n l y d o e s it house objects for play but the a rc h i t e c t u r a l d e t a i l s c o n s i d e r p l a y t h ro u g h t h e i r d e s i g n . F o r e x a m p l e , e s t a b l i s h i n g v a r i o u s t e x t u re s a n d f i n i s h e s f o r l e a r n i n g a n d i n c l u s i v i t y. P ro v i d i n g o p p o r t u n i t i e s f o r c h i l d re n t o b e e x p re s s i v e a n d c re a t i v e , f o r example making the walls their canv as .

All flooring details, including the w a l k - a b l e ro o f , u s e r u b b e r m a t s a n d s o f t s u r f a c e s t o e n s u re t h a t i f a n y o n e f a l l s t h e y w o n t b e b a d l y i n j u re d d u e t o t h e c o m p re s s i o n f ro m t h e m a t . This is particularity important in the internal and external play spaces w h e re c h i l d re n m a y b e r u n n i n g a n d j umpi ng i n order t o ex pl ore. The external play space must have a s e c u re l i n e i n o rd e r t o e n s u re t h a t t h e c h i l d re n a re s a f e f ro m s t r a n g e r s a n d t h e s u r ro u n d i n g ro a d s . T h e only way to access the external play space is the inside of the b u i l d i n g , t h e re f o re m a k i n g s u re t h a t o n l y p e o p l e w h o a re m e a n t t o b e t h e re c a n a c c e s s . Tre e s a re u s e d t o e x p l o re f o re s t p l a y i n a w a y t h a t p ro t e c t s t h e c h i l d re n t h ro u g h a line of fencing, rather than feeling i mpri s oned by a gat e.

3. 2

R E G U L AT I N G

ATMOSPHERES

EXAMPLES OF CONSIDERATIONS

F I RE S AF E T Y

RA M PS + STAIR S

TOILETS

B A L US TR A DE

F i b re C e m e n t C l a d d i n g c arries the highest

The walkway has been designed with a gradient

Changing places t o i l e t s h a v e b e e n a l l o c a t e d

The balustrade has been designed in accordance

p o s s i b l e f i re r a t i n g ( A 2 s 1 - d0), as it not ignite

ramp of 1.20 in order to provide optimum

in both sides of th e b u i l d i n g t o a l l o w a m o re

wi t h A pprov ed D ocument K . H ei ght of 120mm.

w h e n e x p o s e d t o a d i re c t flame, nor will it

comfort for pedestrians and cyclists using the

inclusive experience . S p a c e s o f a t l e a s t 1 5 0 0 m m

co n t r i b u t e f u e l t o a f i re . I t i s non-combustible,

route. This is in accordance with Approved

have been allocate d t o a l l o w f o r p e o p l e o n a n

co m p a re d

Document K of the building Regulations.

a c c e ss route .

wood

c l a dding

and

uPVC

cl a d d i n g . W i t h a h i g h d e n s ity and dimensional st a b i l i t y, f i b re c e m e n t i s n aturally resistant to

The

ad v e r s e ev e n t s s u c h a s f i re, extreme weather

accordance with this approved document. The

co n d i t i o n s , p e s t s , ro t a n d fade. Fire proof

going is 300mm and the riser 150mm, to allow

cl a d d i n g

considering

the relationship between the dimensions to be

re c e n t t r a g e d i e s l i k e G re n fell. Cavity barriers

2R + G, which means that the going should

are a l s o n e e d e d t o p re v e n t the spread of smoke

i deal l y b e twic e the rise r.

crucial,

e s p ecially

stairs

have

also

been

designed

an d fire, e s p e c i a l l y t h ro u g h th e rai s ed f l o o rs . In a c c o rd a n c e w i t h a p p ro v ed document B, no st a i rc a s e i s f u r t h e r t h a n 18m away from an ex i t i n o rd e r t o p ro v i d e a s uitable escape route through th e b u i l d i n g .

3. 2

R E A L I Z AT I O N

D ETA I LS

CONSTRUCTION SEQUENCE

C onst r u c t i o n Se q u e n c e E x cav ate t h e si t e . D i g o u t s pace f o r th e s l ab an d pad s tri ps . C arefu lly re m o v e t h e t re e s a n d pres erve o ff s i te. P lace s er v i c i n g d u c t i n g f o r water el ectri ci ty etc. A d d rein fo rc e m e n t a n d st e e l rebar. F or m ply wo o d sh u t t e r i n g . P ou r the c o n c re t e sl a b . A ttach an d a ss e m b l e t h e s teel po rtal f ram e o n s i te. S lot in the s t e e l c o l u m n i n t o th e RC s l ab. A s s emble a n d a t t a c h t h e steel po rtal f ram e. A d d s teel d e c k a n d p o u r R C deck. P rogres s ive a ss e m b l y o f p ortal f ram e co n crete s l ab. Wo r k t h e w a y u p t h e b u i l d i n g using the same process and progressive scaffolding . C reate form w o r k f o r t h e ro of an d wal kway. P o u r c o n c re t e s l a b s e c t i o nally with dry mix in order to prevent run off dow n t h e s l o p . In t h e m e a n t i m e , c re a t e s h u ttering for the exter nal play zone including p its for the t re e s. R ep lant th e t h e t re e s i n t h e A u tu m n an d S pri n g . A d d b u ild i n g w a t e r p ro o f l a yers (e.g . D PM) an d wi n do ws . C reate int e r n a l a n d e x t e r n a l en vi ro n m en ts (e.g . th erm al s eal s ). A d d ex ter n a l p l a y l a y e r s. ( e.g . ru bber m at an d ED P M g ran u l es). A d d inter n a l f i n i s h e s , o t h e r l ayers , i n s u l ati o n an d ex ter n al f i n ishe s. C o m m i s s i o n i n g a n d t e s t s - air tightness, energy efficiency, plant, air con . . . A d d fur nit u re . T ime to p la y. ‘Building our f u t u re ’ : S i t e P l a n 1:2500

3. 2

PIECING THE JIGSAW

D ETA I LS

1:20 DETAIL 1:50 PLAN roof.

- 25m m P a ve ge n P a n e ls - 15m m Ru bbe r A sph a lt - 10m m Ru bbe r M a t -DP M - 200m m C on c re te S la b with S e r vic e void - 250m m Be a m (I n su la tion be twe e n ) - 100m m Roc k M in e r a l I n su la tion - 15m m P lywood P a n e ls

0.2 0.4

0.1 0.3 0.5

3 2

M e t re s

w al l . -

12m m C e m e n t F ibre P a n e ls 40m m A lu m in iu m Z Br a c k e ts DP M 60m m S h e a th in g 250m m S te e l C olu m n (I n su la tion be twe e n ) 100m m Roc k M in e r a l Wool I n su la tion 15m m P la ste r boa rd

fi rst fl o o r. -

20m m T im be r F loor Boa rds 45m m T im be r Ba tte n s 20m m S ou n d I n su la tion 150m m C on c re te S la b 200m m S te e l Be a m (I n su la tion be twe e n ) 15mm Plywood Panels

co l umn.

- 300m m D. S te e l C irc u la r H ollow C olu m n - 13m m P a ddin g - 2m m C olu m n Wr a p

g ro und fl o o r. -

20m m T im be r F loor Boa rds 10m m Ru bbe r M a t 120m m C a vity f or h e a tin g (with ste e l lif ts) DP M 100m m Th e r m a l I n su la tion 230m m RC S la b P a d F ou n da tion s

o utdo o r g ro und. -

3. 2

10m m E DP M Gr a n u le s 10m m F illin g L a ye r 10m m Ru bbe r M a t F loor A dh e sive 230m m Re in f orc e d C on c re te S la b

i nd oor p l ay 3- 12.

s ens ory room .

ENJOYING THE JOURNEY

D ETA I LS

1:5 BUILD UP

Protective Cap Drip Batten Ventilation Gap DPM Air Gap Steel Fixing LED Lighting with Power Source attached above Light diffuser sheet to ensure even distribution of light Fibre Cement Cladding 12mm Sheathing 60mm Steel sheet Metal Slab 60mm Air Gap Aluminium Z Brackets Horizontal Substrate 40mm Vertical Substrate Lining with Vertical Boards 15mm Concrete Slab 200m Steel Shoe Rubber Asphalt 15mm Rubber Mat 10mm Steel Portal Frame

1:5 Ba l us t r a d e D e t a i l - Dra w n a t A1 , Sc a l e d d o w n f o r p o rt f o l i o

3. 2

E N V I R O N M E N TA L S T R AT E G Y

D ETA I LS

SERVICING Li gh t i n g

Heating

Cooling

PASSIV E - S o l a r G a i n s

PA S S IVE - T herm al M as s

PASSIVE - Stack Ventilation

Triple pane glazing allows light to penetrate and illuminate the building from the South Facade.

Concrete floor slabs releases heat through thermal radiation heated by solar gains or by mechanical ventilation system.

A C TIV E - E l e c t r i c a l L i g h t i n g

ACT IVE - M ech an i cal Ven tila tion

Pavegen Panels powered by movement on the walkway contribute towards electrical supply combined with mains supply. The internal lighting will be automatic to save energy and will switch on with regards to movement. This is a metaphor for the building being powered and illuminated by movement in more ways that one..

Warm air heated by the GSHP is circulated through building through vents above raised floor cavity.

Operable glazing allow fresh cool air to flow through building from prevailing winds coming from the South-West, which would flow through the open corridor of the internal spaces. Convection currents then allow the hot air to leave once it rises, which is ideal for a play centre where lots of children will run and release heat, therefore without ventilation the building could get stuffy.

Ground

Source

Heat

Pump

(G SHP) A more sustainable way of providing heating by using thermal energy from the Earth to heat water circulated through, which is used to heat the air for mechanical ventilation. Since the site is already being excavated in order to build up the floors and foundations, it would be a viable and sustainable solution to heating. GSHP last between 40 - 50 years so future planning is needed.

ACTI VE - Me c ha nic a l Ve ntila tion Cool air from outside is circulated through a raised floor cavity across the building, brought in via air ducts.

R a inw a te r + R e c y c ling Manchester’s precipitation levels makes it an ideal location for harvesting rainwater and reusing it in the building in the toilets. This may also be used as the water that is circulated through the GSHP. This will reduce operational costs due to the offset of water consumption. The system will initially use rainwater and then recycled grey-water through the cycle, which will allow the supply to continue throughout the year.

Me c ha nic a l Ve ntilation

P av egen P an els

Cooling example: Cool air from Earth ducts is circulated through floors and out of vents.

transferring kinetic energy to electrical energy which is then transferred through service voids in the concrete slab.

2 1

3. 2

10 6

14 M e t re s

AMBIANCE

ATMOSPHERES

1:50 SECTION

5 M e t re s

3. 2

10 DRAWING EXHIBITION SET

B u i l d i n g Ou r Fu ture

T h rou g h t h e Ga te wa y

3. 2

Peeling B ack t he La y e r s

T he Chao s o f Play

ATMOSPHERES

A N e w Be gi nni ng

The J our ne y

Pro j e c t i o n s

R i p p l e s T h ro u g h t h e C i t y

L e t s G o F o r a Wa l k

U n ra v e l l i n g t h e R i b b o n

FIVE POINT REFLECTIVE

C ON C LU S I ON S

F L U X At e l i e r P o s t i i o n T h i s a t e l i e r h a s c h a n g e d m y perspective on how I see architecture affecting people. I understand that creating positive change towa rd s c o m m u n i t y i s m u c h m o re i m p o r t a n t t h a t c re a t i n g a b u i l d i n g t h a t i s p re t t y o r eff i c i e n t . I t s a b o u t a s s e s s i ng a need in society and establishing change in accordance with that need. The approach of finding your o w n b r i e f p ro v i d e d o p p o r t u n i t y t o re f l e c t a n d a s s e s s o n w h a t m a t t e r s t o m e a s an ind iv id u a l a n d a s a d e si g n er. T h i s was a ch al l en g e at f i rs t but ha s re sulte d in a group of p e op le who e a c h own the ir p roje c ts, a nd not one i s t he s ame. P e r s onal P o s i t i o n T h i s a t e l i e r h a s p u s h e d m e to assess what kind of an architec t I want to be, constantly asking “What change do we need and how c a n I a c c o m p l i s h t h i s ? ” D e f i n i n g m y o w n b r i e f h a s m a d e m e q u e s t i o n m y i n t e re s t s are a n d w h a t I c a re a b o u t . I care about how people experience and feel in a space. I enjoy creating spaces for the community that i s e x c i t i n g a n d t e m p t s p e o p l e ’s c u r i o s i t y. I w a n t t o c re a t e s p a c e s t h a t c o n s i d e r p e o p l e a t t h e h e a r t , a s w e l l as place, sense and other forms of life. I have lear nt that not all practices must build shallow sky scrape r s b u t c a n t a k e a m u l t i d i s c i p l i n a r y a p p ro a c h t o a c h i e v e t h e b e s t o u t c o m e t h a t se r v e s p e o p l e . I h o p e I c a n join a practice for my Part 1 that does the same. Te c h n o l o g i e s D i s c o u r s e T h e t e c h n o l o g i e s u n i t h a s helped me take my ideas from conc ept stage towards resolution. This year has focused more on how the b u i l d i n g p h y s i c a l l y w o r k s w h e n i t i s i n u s e , m a i n l y t h ro u g h e n v i ro n m e n t a l st r a t e g i e s . I f e e l I u n d e r s t a nd how to put details together and the step by step process of how to construct a building. Technologies h a s a l w a y s b e e n a m o re d i ff i c u l t p a r t o f t h e c o u r s e f o r m e a s m y s t re n g t h l i e s m o re i n t h e c o n c e p t u a l s i d e, but this year I feel that I am com ing more to terms with it and can apply my lear ning towards various d e s i g n s a n d / o r c a s e s t u d i e s . I f e e l I s t i l l h a v e a l o t t o l e a r n b u t h a v e a g o o d foun d ation o f k n o w l e d g e t o bu i l d u po n . I l o o k f o rward to l ear ning more a b out how we c a n use b uild ing te c hnology to d e sign e nviron ment al l y cons ci ous bui l di ngs and s paces . Humanities T h e h u m an i t i e s e l e c t i v e o f ‘Environmental Histories of Architecture’ tied very well with the FLUX atelier as we lear nt about the theme s t h a t w e w e re d i s c u s s i n g i n s t u d i o l i k e t h e a n t h ro p o c e n e a n d c l i m a t e c h a n g e . M y e s s a y a s k e d ‘ D o e s t h e choice of concrete in architecture contribute towards slow violence in the Middle East?’ The essay discus s e d t h e m e s i n c l u d i n g e t h i c s , t h e v i o l e n t e n v i ro n m e n t , t h e c o n s t r u c t i o n i n d u s t r y an d m o re . I t m a d e m e re a l i se the weight of each architects choice has so much impact: for example, a decision to use concrete in a b u i l d i n g n o t o n l y i m p a c t s t h e p l a n e t b u t a r g u a b l y g e n e r a t e s a t y p e o f v i o l e n c e th a t l e a d s t o a p o l i t i c a l , e c onomic and social disturbance on t he other side of the world. Architects must realise the responsibility th e y h o l d a n d b e e d u c a t e d i n t h e c o n s e q u e n c e s o f t h e i r c h o i c e s , t h e n t h e y w i l l h av e a b et t e r c h a n c e o f m a ki n g a m o re co n vi n ci n g arg u m en t for more e thic a l a nd susta ina b le a lte r na tive s. I a im to a lwa ys fe e d this way of t hi nk i ng and cons ci ous nes s i nt o my pers onal pos i t i on as a des i gner. A Jou r ney o f T h re e Ye a r s O v e r t h e l a s t t h re e y e a r s , I have lear nt to see the world in a new light. I have come to appreciate details that go unseen and how ev e r y t h i n g h a s b e e n m a d e a n d / o r d e s i g n e d . I c a n ’t s e e m t o s t o p t h i n k i n g a b o u t h o w s p a c e s a re m a d e , a t f i rst this was frustrating but now I love to question how a space has come to be and try and put myself in a d e s i g n e r ’s s h o e s . I h a v e l e a r n t s o m u c h f ro m m y t u t o r s a n d m y p e e r s a n d h a v e b e e n o p e n e d t o a w o r l d o f new cultures and people. I have only just begun to understand that architecture is a mindset. An open-m i n d e d n e s s a n d a w a re n e s s t h a t a t t h e h e a r t o f i t a l l i s p e o p l e . I w a n t t o t r a v e l a n d see th e p re c e d e n t s I l e a r n abo u t i n pers o n as wel l as u n ders ta nd more a b out the d iffe re nt c ulture s a c ross the world , b e c a use to b e abl e t o des i gn f or peopl e, we mus t at f i rs t unders t and t hem.

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