Design Studio Integrated Technology Richard Andrew Fitzroy Arthur 33254828 Leeds School of Architecture Leeds Beckett University 2015
Contents DSIT - A Contextual Analysis Brief, Direction and Definitions The Venetian Lagoon Geographical Development of Venice Climatic Information Climatic Impact - Acqua Alta Transport Network Bridges, Bell Towers & Campos Site Depth Analysis Auditorium of the Contemporary Arts
Tactical Implementation 3 4 5 6 7 8 9 10 11
12 13 14 15 16
Building Description Environmental Strategies Auditorium Standards Current Auditorium Proposal - Sections
17 18 19
Structural & Material Choice Primary Structure & Material Choice Flotation of the Structure
Structure Descriptions Axonometric Sections Structural Details Environmental Design Visualising Environmental Design Electrical Lighting Proposal Fire Strategies
22 23 24 25 26 27 28
DSIT - C
Precedent Analysis Brockholes Visitor Centre Teatro del Mondo Acoustic Analysis Ventilation Analysis Further Precedent Analysis
DSIT - B
Cladding System Surface Analysis - Gradient Surface Analysis - Point Cloud Panellisation of Structure Panel Relationship Panel Relationship - Long Elevations Panel Relationship - Short Elevations & Plan DSIT-B Cladding System Development of Cladding System Visualisation of Cladding System
29 30 31 32 33 34 35 36 37
Appendices 20 21
Appendix 1 - Individual Panels Appendix 2 - Glazing Unit Supports
38 42
References Books / Documents & Images Websites - 2 -
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Richard. A. F. Arthur - Design Studio Integrated Technology
Brief and Definitions “We are architects and information scientists in equal measure... We are able to design regulatory systems capable of colonizing our planet in seconds. We can also design regulatory systems which imitate familiar architecture to the point of confusion... Our existence is a search, a project through which we might prolong our improbable existence. There is no clear perspective, no certainty... Certainty no longer lies in one book, nor even in many books / many machines / materials / the earth. It lies in code / the indeterminate / the projective / the climatic.” Ludger Hovestadt making observation of the work being carried out by Alex Lehnerer. (Lehnerer, 2013: 267) Direction Whilst in Venice I spoke with many colleagues who worked at the Biennale but also live in Venice or near to. A recurring theme was that the city has a rich and diverse ‘contemporary arts scene’ (Art, Dance, Music, Film & Theatre). These all fall within the remit of the Biennale but other than individual exhibition locations during the Biennale months there is no ‘home’ for the contemporary. Finding and designing an environment to be come the home of the contemporary within Venice will be my direction. “It is a curious world, this world of the Venetian lagoon; some 200 square miles of salt water, much of it shallow enough for a man to wade through waist-deep, but criss-crossed with deeper channels along which Venetian shipping has for centuries made its way to the open sea; studded with shoals formed by silt which the Brenta, Sile and other, grander streams like the Po and the Adige have brought down from the Alps; scored with endless lines and posts and piles driven into its sandy bed to mark invisible but important features - lobster pots and fishing-grounds, wrecks and cables, moorings, shallows and recommended routes to be followed by the vaporetti that ply to and fro between the city and the outlying islands.” (Norwich, 1983: 3) Brief To create a new extension of Venice (much like those that became when required) that will be the home of the Contemporary Arts. The design will accommodate all forms of the arts. In doing so I wish to still respect the city and the architectural, environmental, social and spatial qualities that exist within the city. I will design a ‘house’ in the form of an auditorium for the arts along with the major supporting elements. I also intend to describe trough design how the space and its support will develop and interact directly / indirectly with Venice so that it becomes a part of rather than an entity in the location. Definitions Contemporary - Following modern ideas in style or design. Modern - Relating to the present or recent times as opposed to the remote past. Denoting a current or recent style or trend in art, architecture or other cultural activity marked by a significant departure from traditional styles and values. Denoting the form of a language that is currently used, as opposed to any earlier form. Auditorium - The space set apart for the audience in a theater, school, or other public building. Performance - A musical, dramatic, or other entertainment presented before an audience. - 3 -
Richard. A. F. Arthur - DSIT-A
The Venetian Lagoon Switzerland
Austria Slovenia
Croatia
Marco Polo Airport Italy
Adriatic Sea
Mestre
Torcello Burano
Corsica
River Sile
Murano Venice
Sardinia
Tyrrhenian Sea
Giudecca
Lido The Venetian Lagoon The Venetian Lagoon stretches from the River Sile in the north to the Brenta in the south and has an approximate area of 550 km2. This can be divided into 8% land, 12% permanent water and 80% mud flats, tidal shallows (around 1m deep) and salt marshes. Adriatic Sea Islands of the Lagoon Burano Cavallino Chioggia Giudecca La Certosa Lazzaretto Nuovo Lazzaretto Vecchio Lido Mazzorbo Murano Pellestrina
Poveglia Sacca Fisola Sacca Sessola San Clemente San Francesco del Deserto San Giorgio in Alga San Giorgio Maggiore San Lazzaro degli Armeni San Michele San Pietro di Castello San Servolo
Sant’ Elena Sant’ Erasmo Santa Cristina Santa Maria della Grazia Santo Spirito Sottomarina Torcello Tronchetto Venice Vignole Chioggia
River Brenta Above: Figure 1 - Partial map of Europe Right: Figure 2 - Satellite map of The Venetian Lagoon - 4 -
Richard. A. F. Arthur - DSIT-A
Geographical Development of Venice 600 Archaeological Records 94 islands
Development of the Island of Venice and key locations of today. Left: Top to bottom shows the development and inhabitation of the Venetian lagoon at the location of what is now known as Venice (including Giudecca and San Giorgio). The lagoon was originally inhabited by small fishing settlements but started to gain in popularity as a location for Roman settlers fleeing invading barbarians (Lombards) in the 7th century, the first settlement however was in the north of the lagoon on the Island of Torcello (shown on the previous page). The lagoon could be easily defended and allowed strong trade opportunities. Below: Venice as of 2014 (123 islands) Map shows some of the key locations within the city today.
1100 Ancient Manuscripts 128 islands
Grand Canal
Ghetto
Rialto Bridge
Basilica di San Marco Campanile di San Marco Palazzo Ducale Piazza San Marco
Venice Station 1500 De’Babari Map 153 islands
Arsenale Arsenale Biennale Piazzale Roma
Venice Docks
Campo Santa Margherita Accademia 1820s Historical Maps 152 islands
Guidecca
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San Giorgio
Giardini Biennale
Richard. A. F. Arthur - DSIT-A
Climatic Information Annual average climatic information for Venice. The climate of Venice is classified as a humid subtropical climate with cool winters and warm to very-warm summers. At some points in time there are temperature highs in the mid 30s and lows that are around freezing. It is however wet for around one third of the year with Acqua Alta (high water) a regular occurrence especially in the lower regions of the city. During the warmer periods violent thunder storms are also a possibility.
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Temperature Range: Median:
5˚ to 26˚ 15˚
Precipitation Range: Median: Days of Rain:
23mm to 83mm 60mm 119 pa
Wind Main Direction: South-West to South-South-West
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Precipitation mm
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Left: Annual Climatic Diagram (data averages taken between 2000 & 2012)
Solar June 21st: Sunrise at 05:22 - Sunset at 21:03 December 21st: Sunrise at 07:47 - Sunset at 16:30
Key
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Temperature Precipitation Wind direction Wind direction percentage June 21st December 21st Equinox (March and September) Annual variation Angle of the sun in the sky
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Richard. A. F. Arthur - DSIT-A
Climatic Impact - Acqua Alta Acqua Alta, Italian for High Water.
Water Level at 100cm
Water Level at 130cm
Water Level at 160cm
The term Acqua Alta is used to describe the exceptionally high tidal peaks that occur periodically in the northern Adriatic Sea and has a direct effect on the Venetian Lagoon. Acqua Alta occurs usually between autumn and spring when the Adriatic tides are reinforced by seasonal prevailing winds, the shape of the Lagoon also becomes a factor in the phenomenon. During an Acqua Alta areas of Venice become vulnerable to flooding and depending on the water levels this at times causes disruptions to the transport network as in some areas it becomes impossible for vessels to move under bridges across the canals. Affected percentage of the city, sea level above mareographic zero.
Acqua Alta (High Water) Land Above Water 100cm Tide 130cm Tide 160cm Tide
Sea Level up-to 90 cm 100 cm 110 cm 120 cm 130 cm 140 cm 150cm 160 cm 170 cm 180 cm 190 cm 200 cm over 200 cm
Percentage of Venice submerged 2% 5% 12% 28% 46% 59% 70% 77% 82% 85% 88% 91% 100%
The tides are monitored by the Tide Monitoring and Forecast Centre for the City of Venice. There is a network of hydrographic stations located in the lagoon and the Adriatic. The tides can be accurately predicted up-to 48hours ahead. With this sophisticated system in place Venice and the surrounding islands can be alerted by three different pieces of technology, the first is for those who have installed the application ‘Hi!tide Venice’ on a smart phone or tablet device (see figure 3 for an image of the application screen), this gives accurate data on times of the tides and the heights along with travel disruptions and water depth in individually selected areas (this is available to all so is widely used by tourists also). The second is for those who are registered within the region of Venice for the text message alerts, these are sent out around two hours before a tidal event and gives details of the event. Thirdly is a rather crude yet affective way of alerting people of the coming tide, the alert is a siren that of two parts, the first siren is more like an air-raid siren whereby the modulating tones get the attention of all, this is followed by an repetitive beep which has three possible stages or changes of pitch depending on the severity of the coming tide a single tone for a tide above 110cm, two tones for above 140cm and three for anything above 160cm. These sirens are sounded city wide around two hours before an event. In recorded history of the Acqua Alta there have been only two tides that have been above 160cm. These were in 1979 when the tide reached 166cm and in 1966 when the city was devastated by a tide of 194cm. Currently the main preventative project for the issue of Acqua Alta is the MOSE Project which forms a barrier Figure 3: hi!tide Venice Mobile Application at the three water entrances to the lagoon. - 7 -
Richard. A. F. Arthur - DSIT-A
Transport Network
Aeroporto Marco Polo
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Public Transport of the Lagoon From top to bottom.
a on nt bbi Pu Sa
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San Nicolò Ferry Boat
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Redentore
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Giudecca
Left: Public Transport Network Map with Gondola locations. Above: Public Transport of the Lagoon.
San Servolo
Lido Casinò
San Lazzaro
Chioggia
Line 1
Line 7
Line 15
Seasonal Route
Night Boat
Line 2
Line 8
Line 16
Orange
Line 3
Line 9
Line 17
Blue
Line 4
Line 12
Line 18
Brown
Line 5
Line 13
Line 19
Red
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Line 20
10m
Actv Car Ferry - 1500 passengers (disabled access) - Around 40 vehicles - 5 crew (w/c on-board) Actv Motonave (2-deck) - 1200 Passengers (disabled access) - 4 crew (w/c on-board) Actv Motonave (1-deck) L / S - 600 / 330 Pass (disabled access) - 4 / 3 crew (w/c on-board) Actv Vaporetto - 230 Passengers (disabled access) - 2 crew Actv Motoscato - 160 Passengers (disabled access) - 2 crew Taxi Boat - 12 Passengers - 1 crew Gondola - 6 Passengers - 1 crew
Boat Stops Boat Does’t Stop Ticket Point Ferry Boat Gondola Locations
Public transport within the Venice Lagoon is provided first and foremost by Azienda del Consorzio Transporti Veneziano (Actv). Actv is responsible for the water-bus and car ferry routes in Venice and Chioggia apart from the routes to and from the airport which are managed by Alilaguna (using Motoscato boats). The Actv boats operate a ticketed service these tickets can be purchased by visitors at locations around the city, locals or visitors of longer periods will use a Venezia Unica City Pass (Venice Card) which cuts the cost of the public transport drastically. Like any city in the world there are taxis available in Venice (which like a taxi in a city using roads) that will provide a door to door service, these taxis are however very expensive and are used by the locals of Venice in needs must situations. The most famous form of transport within the Venice Lagoon is the Gondola. Used originally as the common form of transport for people and goods, coming in varying sizes the Gondola has been an icon of Venice for years gone by and has been depicted throughout history. It is now however mainly used within the tourist industry, for a couple to take the iconic ‘Romantic Gondola Picture’, a ride in a Gondola however is not cheap starting on average at €60-80 for 30 minutes. My proposal will utilise these aspects of water connectivity. Proposal sites are chosen using the availability of ACTV transport.
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Richard. A. F. Arthur - DSIT-A
Site Depth Analysis PRODUCEDBY BYAN ANAUTODESK AUTODESKEDUCATIONAL EDUCATIONALPRODUCT PRODUCT PRODUCED
Salute North Bank
Salute South Bank
Canal and Lagoon depths at proposed site locations. Understanding the depths will advise as to how much clearance exists from the base of a structure to the canal or lagoon floor. Shallow areas will also succumb to exposure during a low tide and will also be affected greater by waves both naturally occurring and produced by water craft of varying size and speed.
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Ca’ Rezzonico South Bank
-6.96 -8.79 -5.58 -6.96 -6.82 -6.82 -9.84 -9.82 -8.79 -9.47 -9.47 -9.47 -9.47 -11.0 -10.8 -9.70 -10.0 -9.84 -10.0 -10.3 -10.3
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Rialto North Bank
Rialto South Bank
-10.3 -9.90 -7.53 -11.8 -12.2 -11.9 -10.1 -9.83 -8.73 -7.81 -11.7 -10.8 -9.90 -7.53 -7.53 -11.5 -11.7 -10.7 -11.5 -9.13 -11.5 -9.51 -8.13 -7.86 -7.14 -7.14 -7.14 -5.86 -10.2 -8.75 -9.12 -10.3 -9.62 -9.05 -10.9 -9.31
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-2.73 -4.68 -6.83 -8.93 -11.1 -10.3 -11.3 -10.7 -9.82 -2.67 -4.63 -6.82 -7.23 -10.8 -11.3 -10.5 -9.93 -9.59 -2.15 -2.70 -4.70 -5.60 -6.20 -6.91 -7.46 -9.28 -10.9 -1.20 -1.80 -0.82 -2.40 -3.90 -5.40 -7.38 -11.7 -10.5 -2.10 -3.90 -4.50 -2.40 -3.90 -5.05 -6.50 -7.58 -12.0 -1.66 -1.90 -3.90 -1.56 -1.28 -1.48 -2.20 -7.10 -7.93
3
-1.02 -1.57 -5.07 -3.10 -3.40 -4.10 -6.30 -7.10 -10.8 -1.40 -1.08 -1.35 -2.90 -2.25 -1.48 -1.50 -3.98 -4.70 -8.10
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-3.77 -1.99 -1.04 -4.60 -5.19 -3.50 -1.80 -3.90 -6.10 -8.40
1
-4.59 -4.59 -1.17 -1.05 -1.09 -0.70 -3.90 -5.11 -4.20 -2.80 -2.00 -2.15 -1.29 -1.15 -1.09 -1.20 -0.70 -3.30 -3.90 -4.51 -4.20 -3.50 -4.70 -6.70 1 - Salute 2 - Ca’ Rezzonico 3 - Rialto
-1.06 -1.04 -1.09 -1.15 -1.20 -1.10 -2.40 -4.60 -5.09 -0.71 -1.56 -2.10
PRODUCEDBY BYAN ANAUTODESK AUTODESKEDUCATIONAL EDUCATIONALPRODUCT PRODUCT PRODUCED
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Ca’ Rezzonico North Bank
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Left Top: 120m Canal Sections showing north and south banks. Scale 1:1000 Left Bottom: Location Map. Scale 1:25000 Below: Lagoon Depth Plan (area marked on Location Map). Scale 1:5000 All depths are shown in meters.
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Richard. A. F. Arthur - DSIT-A
Bridges, Bell Towers & Campos Bridges
Above: Map showing Bridges of Venice. (2 temporary bridges shown by dotted outline) Number of Bridges: 435 Bridges are constructed from Timber, Stone and more recently Metal. Longest Bridge: Ponte della Costituzione Shortest Bridge: Ponte del Diavolo
Bell Towers
Campos
Above: Map showing Bell Towers of Venice.
Above: Map showing Campo or Campi of Venice.
Number of Bell Towers: 107 within the Lagoon Tallest Bell Tower: Campanile (San Marco) - 98m Shortest Bell Tower: Santa Eufemia - 10m
Campo is a large paved walkway which typically contains a church and a well-head. Campi is the Italian for fields and the areas were originally green spaces often cultivated or used for livestock grazing. The only Piazza (city square) in Venice are Piazza San Marco and Piazzale Roma.
There are four bridges that span the Grand Canal these are, (from left entrance on map) Ponte della Costituzione, Ponte degli Scalzi, Ponte di Rialto & Ponte dell’Accademia
The majority of towers stand between 40 and 70 meters, this is the optimum height for the sound to be transmitted, below this and the sound is likely to be obstructed and above the sound my dissipate. The Bell Tower of San Giorgio Maggiore has the most bells with 9. There is an average of 4 bells per tower allowing for 4 chords as 3 bells will produce a chord.
Notable Campos are, Campo San Polo, Campo Santa Margherita, Campo Ghetto Nuovo, Campo San Bartolomeo and Campo della Salute.
Ponte di Rialto
Campanile
Piazza San Marco
Ponte dei Sospiri (Bridge of Sighs)
Bell Tower of San Giorgio Maggiore
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Number of Campo / Campi: 168
Campo Ghetto Nuovo
Richard. A. F. Arthur - DSIT-A
Auditorium of the Contemporary Arts Main Auditorium Proximity Diagram
Auditorium Support - Proximity Diagram g
a
Backstage Entrance, Auditorium Support & Large Deliveries
f
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Audio Performance House
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This page shows a plan diagram of the zone requirements of the proposed Auditorium of the Contemporary Arts. The diagram has been split as shown below into four primary zone families, Public, Staff & Performers, Entrances & Exits and Other Services. It can be seen from the plan and description below that the Main Auditorium only houses and accommodates the Primary requirements all other services are provided by the Auditorium Support which can work individually or as part of the Main Auditorium. For example, there is a contemporary pop concert being held in the Auditorium then the Audio Performance House and Audio Arts Studio would connect to the Backstage Entrance thus providing the specific services required by the performers. Key
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Dance & Theatre House
Entrance Lobby Box Office Refreshment Hall Storage Bar Lounge Bar Press Room VIP Lounge Office Meeting Room
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Staff Room Auditorium Control & Projection Orchestra Pit Main Stage Side Stage 1 Cinema Screen Store Side Stage 2 Preparation Room Temporary Storage
b. d. f. h. j. l. n. p. r. t.
Performer Lounge Group Dressing Room Equipment Storage Dining Room Set Assembly Carpenter Workshop Plastic Workshop Fitting Recording Studio Archive
1 Auditorium Support Staff & Small Deliveries Entrance
Public Entrance
Press & VIP Entrance
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Stage & Prop Workshops
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Dimetric Proposal
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Security Office Individual Dressing Room Practice Hall Office Kitchen Prop Workshop Metal Workshop Material Store Material Workshop Production Studio
Potential temporary configuration: Main Auditorium with support from Audio Performance House, Performers Cafeteria and Audio Arts Studios.
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Richard. A. F. Arthur - DSIT-A
Brockholes Visitor Centre Brockholes Wetland and Woodland Nature Reserve in Lancashire Location:
Preston, UK
Architect:
Adam Khan Architects
Completed:
June 2011
Project Cost:
£6.2 million (contract) £9 million (Total)
Awards:
Wood Award Winner 2011 Civic Trust Awards 2012 - Winner Civic Trust Awards 2012 - Special Award for Sustainability
Other Notes:
BREAAM - Outstanding
‘The buildings and open spaces form a village-like cluster, floating on a large pontoon. As well as giving unlimited flood protection, this brings the visitor into the magical territory amongst the reeds at the water’s edge.’ (Adam Khan Architects)
Block Elevation and Wetland of competition winning conceptual image.
Reason for precedent selection. Primarily selected due to the creation of a floating island using a concrete pontoon which moves up and down with the changing water levels. This gives as noted above ‘unlimited flood protection’ something that will be a key aspect within Venice. Other selection aspects are, the use of bridges to connect the pontoon to the main land and other pathways within the marsh. ‘Open Spaces’ or in the case of Venice campo where people can gain access to a multitude of different buildings and make use of the outside space for viewing the surrounding area. I like the use of the high pitched roofs and angled skylights which together create a soft lighting within the buildings. Timber is also the primary material used and the way in which the structure is exposed and constructed is aesthetically pleasing.
Above: Image showing one of two entrances onto the pontoon. (bridge connection to pontoon + open spaces or ‘campo’) Left: Drawing of internal space and construction. (glazed elements shown by solid + dashed hatch) Right: Block and Path plan with View Point. Key: Building Pontoon Bridge Water (permanent) Water (flood plain) Path way - 12 -
Richard. A. F. Arthur - DSIT-A
Teatro del Mondo Il Teatro del Mondo - Theatre of the World Location:
Venice, Italy
Architect:
Aldo Rossi
Completed:
1979
Project Type:
Temporary theatre
Construction:
Tubular Steel & Timber
Building Use:
Theatre
‘The project for the Teatro del Mondo is marked by three aspects: having a precise usable if not defined space, its positioning as a volume in accordance with Venetian movement, being on the water. Clearly, being on the water is its main characteristic; it is a raft, a boat: the limit or border of construction in Venice.’ (Aldo Rossi) Reason for precedent selection. Teatro del Mondo was a temporary theatre designed by Aldo Rossi for the Theatre & Architecture Biennale of 1979. The aim of the project was to recall the floating theatres of Venice during the 18th century. Constructed atop a raft, from tubular steel and clad externally and internally with timber. The structure stands 25 meters above the barge and has a frontal elevation proportional to a majority of buildings within Venice. A hexagonal tower styled top makes connection to the towers of Venice. Access is provided to a balcony which allowed the users a view of both San Marco and the Giudecca. The use of the space within the theatre was also multifunctional allowing for performances of theatre, dance and sung performances.
Above: Elevations, Sections and Plans of Teatro del Mondo.
As a precedent the above are a key link to my proposal, firstly by floating the structure it becomes immune to flooding and will rise and fall with the tides, secondly being a theatre makes a direct correlation to the way in which proposed spaces will be set out and proportioned. Thirdly is the ability to work within the surrounding context, either sat in a canal whereby access is via boat or moored to a location within the city.
Below: Figure 4. Image showing Teatro del Mondo moored along-side the Punta della Dogana.
Teatro del Mondo was constructed within the shipyards of Venice, this will be a key consideration that will be looked at within my proposal.
Below: Figure 5. Artists impression montage of Teatro del Mondo being towed by a tug boat.
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Richard. A. F. Arthur - DSIT-A
Acoustic Analysis Designing space for use as auditorium requires a balance of absorption and reflection so that the environment has the optimum acoustical properties. These acoustical properties will enable the audience to hear and understand speech, enhance musical performances, limit noise related distractions and protect the hearing health of the individuals using the space. For the auditorium space that I propose the following global Codes and Tests would need to be considered. • Noise Criteria (NC): NC level describes the relative loudness of a space, examining a range of frequencies. This level illustrates the extent to which noise interferes with speech intelligibility. • Reverberation Time (RT60): Reverberation Time is the time required, in seconds, for the average sound pressure level in a room to decrease 60 decibels after a source stops generating sound. • Sound Transmission Class (STC): STC rates a partition’s or material’s ability to block airborne sound. Works between 125 Hz and 4000 Hz. Consideration needs to be applied to for other building usage (lobbies, plant, backstage etc.) and the external noise qualities. Below are the recommended levels for each of the proposed auditorium usage. Use NC RT60 Theater 20 - 35 1.0 - 1.3 seconds Cinema 30 - 35 0.8 - 1.2 seconds Concert * 25 - 35 1.0 - 2.0 seconds * Different forms of concert will be best suited to different reverberation times. Orchestral has an optimum of 1.0 seconds and a Rock Concert is 2.0 seconds. Reverberation This is the time that it takes for a sound to become inaudible once the source stops emitting. Reverberation time plays a crucial role in the quality of music and the ability to understand speech in a given space. It is difficult to choose an optimum reverberation time in a multi-function space, as different uses require different reverberation times. Reflections Most sound will strike a surface or surfaces before reaching the receiver. These reflections can have unwanted or even disastrous consequences. Reflective corners or peaked ceilings can create a megaphone effect. Reflective parallel surfaces create the problem of standing waves which produces a fluttering sound. Absorptive surface treatments can help to eliminate both reverberation and reflection problems.
Noise Reduction Coefficients (NRC) Every material has sound absorptive properties. Materials are laboratory tested at 250, 500, 1000 & 2000 Hz then given a rating between 0 & 1, 0 being perfectly reflective and 1 being perfectly absorptive. As these are laboratory tests the installation method, shape and size of surface are not accounted for but the levels allow for educated material choices to help create the optimum acoustic environment. Below is a list of some common materials and their NRC rating. Material Material NRC Drapery - heavy Brick - painted (p) .00 - .02 Glass Brick - unpainted (up) .00 - .05 Marble Carpet - on concrete .20 - .30 Plaster Carpet - on foam rubber .30 - .55 Plywood .00 - .05 Concrete - smooth (p) Polyurethane Foam - 25mm Concrete - smooth (up) .00 - .20 Seating - occupied .05 Concrete - block (p) Seating - unoccupied fabric .05 - .35 Concrete - block (up) Soundboard 12mm Cork - floor tiles 18mm .10 - .15 Sprayed Cellulose Fibre 25mm Cork - wall tiles 25mm .30 - .70 Steel .05 - .15 Drapery - light Wood .55 Drapery - medium Calculating Reverberation Time (RT) RT = 0.16V A
LOS ANGELES, CALIFORNIA, U.S.A. 2003
Completed:
Acoustic Consultant: Owner:
Capacity:
User:
Los Angeles, California U.S.A
2003 Concert Hall 2,265
Nagata Acoustics, Inc. Frank O. Gehry (Gehry Partners, LLP) Los Angeles County (Walt Disney Concert Hall 1) Los Angeles Philharmonic
$ 274 Million Reverberation Time (mid frequency) Unoccupied = 2.2 seconds (at 500 Hz) The Walt Disney Concert HallOccupied opened on October 23, 2003, years after (at the project started, as the new home of the Los = 2.016seconds 500 Hz) Construction Cost: Acoustics:
There areWALT some DISNEY general design and construction CONCERT HALL methods LOS to ANGELES, further control CALIFORNIA, U.S.A. noise and improve the 2003 acoustic qualities within a building.
Angeles Philharmonic. This $274 million stainless-steel building with flowing lines designed by Frank O. Gehry houses the concert hall, pre-concert area, numerous rehearsal/practice rooms, other backstage and dinning facilities and amphitheater.
Reason for Acoustic Consultant: Nagata Acoustics, Inc.precedent selection. PLAN As described sound will flank obstructions, (a) BUILDING DETAILS AND ACOUSTICS DATA Architect: Frank O. Gehry (Gehry Partners, LLP) Location South Grand Avenue walls should connect to the structure where sound Claimed to be 151 one of the perfect acoustic environments the Walt Disney Concert Hall Los Angeles, CA 90012-3034 Owner: Los Angeles County (Walt Disney Concert Hall 1) isolation is important rather than meet (ceilings was designed from the inside out, with the main performance hall being the primary Seating Capacity 2,265 Los Angeles Philharmonic Room Volume 30,600 CM and floorsUser: installed after walls to limit flanking. focus. Architectural design and Acoustic design was undertaken together because the $Reverberation 274 Million Time (Mid-Frequency) Doors andConstruction windowsCost: (b) are areas that require acoustic perfection was Unoccupied 2.2 sec (at 500so Hz)important to the success of the project. Occupied 2.0 sec (at 500 Hz) extra connection detailing to prevent or limit Materials The Walt Disney Concert Hall opened on October 23, 2003,Finishing 16 years after the project started, as the new home of the Los acoustic flanking. There noFir microphones orGehry speakers Ceiling : are Douglas Angeles Philharmonic. This $274 million stainless-steel building with flowing lines designed by Frank O. houses within the hall apart from those that are : Douglas Firand dinning the concert hall, pre-concert area, numerous rehearsal/practiceWall rooms, other backstage facilities and amphi- materials used are Douglas Fir (which has required for external purposes. Primary Floor : Oak Entrancestheater. to acoustic environments (c) in the been laminated to form curved surfaces) for the ceiling and walls, with the floor being Seat : Upholstered case of auditoriums should have a doubled door with Builders, Oak. The Organfinished : Rosales Organ Inc. Acoustic Consultants for the project were Nagata Acoustics, BUILDING DETAILS ACOUSTICS DATA NoiseInc. Level : NC - 15PLAN system. This technique can AND increase the acoustic Location 151 South Grand Avenue Total Cost : $274 Million isolation by 5dB. Los Angeles, CA 90012-3034 Seating Capacity
d
Location:
Building Use:
Controlling Noise
c
Walt Disney Concert Hall
Architect:
a
b
Figure 6. Internal image showing ceiling and seating.
Architect: Frank Gehry WALT DISNEY CONCERT HALL
V = Volume of room A = Total room absorption = S1 x α1+ S2 x α2+... S = Product surface area α = Absorption coefficient of material
Sound Transmission This is the issue where sound that is emitted not within the space where the receiver is located can be audible. To this end the sound isolation of walls, floors and ceilings needs to cut-out incoming unwanted sounds this penetration is referred to as flanking. Flanking paths are the means for sound to transfer from one space to another other than through the wall, this includes ductwork, plumbing and corridors.
NRC .60 .05 - .10 .00 .05 .10 - .15 .30 .80 - .85 .60 .20 .50 - .75 .00 - .10 .05 - .15
2,265
CM Room Volume Where possible walls should30,600 be insulated, doubled Reverberation Time (Mid-Frequency) and even have an increased air gap Insulating Unoccupied 2.2 sec (at(d). 500 Hz) Occupiedsound transmission 2.0 sec (at 500 alone can Finishing reduce byHz)4-6 dB. Materials
Ceiling
LONGITUNARAL SECTION
REVERBERATION TIME
: Douglas Fir
Fir of +/- 3 dB is just Having an Wall acoustic: Douglas change Floor : Oak noticeable, Seat where as: Upholstered having a change of +/- 5 dB : Rosalesand Organ+/Builders, Inc.will be twice is clearly Organ noticeable 10 dB Level : NC - 15 or half as Noise loud. Total Cost : $274 Million
SECTION Figure 7 & 8. Plan CROSS & Section LONGITUNARAL SECTION
- 14 REVERBERATION TIME
Richard. A. F. Arthur - DSIT-A
Ventilation Analysis Mechanical Ventilation
Ventilation Design Standards & Calculations
Contact Theatre Location:
Manchester, UK
Architect:
Short and Associates
Completed:
1999
Good air distribution is a requirement for an auditorium to provide a comfortable environment for the users. According to the Chartered Institute of Building Service Engineers (CIBSE) an auditorium should be subject to 6 - 10 air changes per hour.
Building Use:
Theatre
Capacity:
400 seat main auditorium
The easiest way to ventilate an auditorium is to use mechanical ventilation which in most cases is provided in one of two ways. 1. Upward ventilation with high extraction - this is a cheaper means of ventilation due to being able to use the natural rise of warm air and propeller fans in the ceiling. The issue with this technique is that a draught can be felt when fed in from below the seating at an air velocity of more than 0.5 m/s. 2. Downward ventilation means that there is no chance of draught at the seating. Like warm air rising the cool air will fall within the space but dose require the use of high velocity supply which can be noisy. This system also uses low level extraction which is when surface mounted not aesthetically pleasing and therefore to hide requires large wall voids for vertical ducting to the roof for alternative extraction.
Ventilation: Natural Ventilation
When designing with ventilation and air conditioning there are two criteria that need to be thought of, The Ventilation Rate and The Distribution of Air in the Space. The Ventilation Rate is the total air supply for a space per hour. Auditoriums require 6 - 10 air changes per hour. A person requires an average of 8 litres of fresh air per second known as Outdoor Supply air per Person (l/s/p). Ventilation rate (m3/h) = Air Change Rate (/h) x Room Volume (m3) => Ventilation rate (m3/s) = Ventilation rate (m3/h) / 3600 To calculate the air flow rates (fresh and recirculated) the equation below is used. Fresh Air Rate (l/s) = Number of occupants x Outdoor Supply air per Person => Fresh Air Rate (m3/s) = Fresh Air Rate (l/s) / 1000 => Fresh Air Rate (m3/h) = Fresh Air Rate (m3/s) x 3600 => Fresh Air Rate (AC/h) = Fresh Air Rate (m3/h) / Room Volume (m3) For example, if the supply is 10 air changes per hour and the Fresh Air Rate is 5.6AC/h then this equates to 56% meaning that at every air change the system is supplied with 56% fresh air with 44% of recycled air being used. To calculate Air Conditioning supply rate, H = m x Cp x (tr - ts) H = Sensible heat gain (kW) m = mass flow rate of air (kg/s) Cp = Specific heat capacity of air (1.005 kJ/kg K) tr = Room temperature (˚C) ts = Supply air temperature (˚C)
KOTOBUKI - Ventilated seating Warming
m = H / (Cp x (tr - ts)) Volume flow rate (m3/s) = mass flow rate (kg/s) / density of air (kg/m3) => Supply Air Rate (AC/h) = Volume flow rate (m3/s) / Room Volume (m3) Usually the ventilation choice would be decided by the best Air Change Rate. AH
Psychrometric Chart Venice, Italy
15 10 5
15
20
Short and Associates designed a natural ventilation system which uses mechanical fans only when needed. Shown below is a diagram of how the system works. 1. Cold air enters the building via vents at ground level. 2. The cool air is feed into the auditorium through vents in the seating deck. 3. Warm air within the room rises circulating the cool air. 4. Vents in the ceiling take the warm air from the auditorium and stage to the roof void where the tower bases are located. 5. The warm air is pulled up the towers by the negative air pressure due to cross winds around the H-pots. 6. H-pots stop condensation from forming within the main towers which could cause potential damage. 7. In exceptional circumstances mechanical fans can be used. Although the system has solved the issue of noise generated by the ventilation system at times noise from aircraft and road traffic can be heard via the towers and vents.
25 20
10
The Contact Theatre was a refurbishment with one of the key aspects of the project being addressing the auditorium ventilation, which was originally mechanical but was loud especially during the hotter months of the year when the system was run longer. Performers and the audience complained about the noise generated so the system would be turned off which lead to the auditorium being warm, stuffy and uncomfortable.
30
Comfort Zone - Sedentary Passive solar heating Thermal mass effects Natural ventilation
DBT(°C) 5
Cooling
Reason for precedent selection.
25
30
35
40
45
50
KOTOBUKI’s ventilated seats uses a system known as ZAC which can provide both heating and cooling within the same system. Warming uses the warm air from the upper tiers and is recirculated via the activated seating in the lower tiers. Cooling is operational only in occupied seating and the direction of the air stops draughts from being noticed meaning that higher velocity air speeds can be used, directional controls are also available to the seat occupier. This seating has been used within the projects listed below; • Seoul Arts Center - Korea - 2523 seats • Royal Albert Hall - UK - 1550 seats • Bridgewater Hall - UK - 2400 seats • Matsumoto Performing Arts Center - Japan - 1800 seats - 15 -
Richard. A. F. Arthur - DSIT-A
Further Precedent Analysis Campanile di San Marco Bell Tower of St Mark’s Basilica Location:
Venice, Italy
Completed:
Original - 12th century Collapsed - 1902 Re-built - 1912
Building Use: Watch Tower Lighthouse Bell Tower
Figure 9. Model of proposal.
Tower Height:
98.6m
Tower Width:
12m x 12m square shaft
Kuwait School Location:
Occupied Palestinian Territories, Gaza Strip
Reason for precedent selection.
Architect:
Mario Cucinella Architects
Completed:
Current Project
Building Use:
Off-Grid School, using locally available renewable resources.
The sectional drawing on the right shows how one circulates around the tower using a series of ramps around a central shaft which is now home to a lift for the tourist trade. I would like to find a way to utilise the shaft without just being a lift shaft to a viewing platform. A tower like this will also act as a perfect method of ventilating a structure.
Reason for precedent selection. Main reason for selection for study is the ventilation system that has been designed. The design makes use of multiple elegant multi-use towers. Primarily due to the climatic climate the towers are used for ventilation in the form of a stacked-cross system which utilises solar radiation to assist with the air extraction. Working along side the ventilation system is a dual solar and air water heating system, thermal storage tanks are filled with warm water that has been heated by solar thermal modules and water heated via a heat exchanger which blows the warm air from around the building past water filled pipes. The other uses of the towers are building circulation and smoke ventilation in the event of fire. With regards to Venice large numbers of buildings have tower like chimneys which vary in ornateness dependant on the social wealth of the occupants, these chimney towers populate the city as widely as the Bell Towers. To this end it will be an element that will most likely feature within my design proposal, utilising multiple uses to give further strength and reasoning to the decisions made.
Below: Tower and ventilation diagram showing proportions of the towers as they move from circulation to sole ventilation.
14th century designing in the basin of San Marco Location:
Venice, Italy
Architect:
Alvise Cornaro
Completed:
Design - not built
Building Use:
Theatre and Public Space (shown above in red)
Below are the views from the viewing platform below the spire and bells. These panoramic style views will be an element which I will endeavour to utilise within my design proposal, either as per the Campanile as a tourist attraction or for the use or artists.
Reason for precedent selection. A theater within the basin of San Marco between the Punta della Dogana and the Giudecca was first designed by Alvise Cornaro in the 14th century but was not realised. If it had been realised then this would have been the first permanent theatre structure within Venice. His design also included a hill that would protrude out of the water is would be an area of public green space giving views of San Marco, San Giorgio Maggiore, The Grand Canal and other areas of Venice and the Lagoon. A Theatre was realised near Coranro’s theatre location in the form of Rossi’s Teatro del Mondo as described on the previous page. For two leading architects of their times the location of the Basin of San Marco is clearly desirable due to the surrounding context and central location within the city today, allowing for easy access. This site will be used within my design proposal.
- 16 -
Richard. A. F. Arthur - DSIT-A
Environmental Strategies Key Solar Radiation External Air Flow
Solar radiation enters through the tower/s, this is then diffused by the curvature of the internal lobby surface creating a softly lit airy environment to welcome the users.
Cool Air Temperature Flow Warm Air Acoustic Source Acoustic Diffusion
Ventilation is both passive and mechanical. The lobby will be air conditioned when lagoon air temperatures become to high to be used passively, cool air is vented into the lobby via the floor. A tower or towers will cause the warm unwanted air to move above the users of the space, the form will also work with the external air flows and changes of pressure to further assist with pulling the warm air from the structure.
Within the auditorium an adaptive acoustic diffuser will be used to control the sound qualities. Changing the surface area and profile of the room on the ceiling and walls will give the ability to provide the performers with their chosen reverberation times that will give the perfect acoustic experience for the audience.
Due to the buildings unique transient properties it will be possible to position the structure each day so that it has an optimum mooring for the prevailing wind. Within the main auditorium a similar ventilation system will be used. When the seating is in place ventilation seating will be used to allow for the most comfortable controlled environment.
Floating laminated concrete partitioned pontoon with motor and bilge system. Motors allow the structure to move throughout the lagoon. Bilge pump system is installed to provide structural stability. - 17 -
Richard. A. F. Arthur - DSIT-A
Auditorium Standards Auditorium with 35mm Film Screen Projector
Unobstructed view from Projector Room.
2W
• • • • •
Rear Row Radius
Curtain
With the primary structure being a Mixed-use Auditorium it is important to understand the standards for designing and auditorium space. The proposal will accommodate the following and therefore a range of standards will be utilised.
3W
Front Row
Seated Auditorium for 35mm Film Seated Auditorium for Staged Performance Seated Auditorium for Staged Performance with Orchestra Standing only Auditorium for Staged Performance Standing and Balcony Seated Auditorium for Staged Performance
It will be important to merge the different standards to give the optimum outcome so that the space can be easily quickly adapted to suit the requirements of each performance.
max tilt 15˚
Projector Room
25˚ 2W
35˚
W W
Auditorium Seat a
f
Screen & Speakers b Auditorium with Stage and Orchestra Pit
e
c d
i Unobstructed view from Control Room.
j
h
g
k Balcony
250
Leg recess
H Control Room
SF
Description Min (mm) Overall seat depth 600 Tipped seat depth 425 Unobstructed space 305 Seatback to seatback 760 Seat width 500 50 Armrest width 430 Seat height 600 Armrest height Seatback height 800 Seat incline - horizontal 7˚ Seatback incline - vertical 15˚
W H SF VD SD HD EH ET R G
Screen width Rear of stage height seen Stage front Front row to stage front Stage depth Eye to eye distance Eye height Eye height to top of head Step riser Step going
1120 120 275
Max 720 500 750 450 850 9˚ 20˚
180
Each person when seated must have an unobstructed view of either the screen or the front of the stage. 790
1100
Pelmet (must not obstruct view)
KEY Dim a b c d e f g h i j k
When balconies are used there must be a safety rail at a minimum height of 790mm in-front of the seating. The rail must be raised to 1100mm at the bottom of a walkway.
Stepped Seating
Stage
HD
Sight
c
2500
VD
Lines
ET SF
Orchestra Pit
EH
R VD
SD - 18 -
G Richard. A. F. Arthur - DSIT-A
Current Auditorium Proposal - Sections Accommodating the Auditorium Balcony
Lobby
Shown here is the current proposal for the auditorium. The three sections each show how the space can be adapted to suit the varying needs of the contemporary arts. Within this design there are three main components to allow the success of the desired adaptation. 1. Stage front. 2. Seating 3. Adaptive Acoustic Diffuser (shown on page 17)
Control Room
Screen & Speakers
Raised seating
Staff / Storage
Plant / Mechanics
Storage / Backstage
Stage front At the front of the fixed main stage there is a section of adaptable staging. This is made possible through the use of scissor lifts, this allows for the optimum viewing for both screen and stage performance. The lift sections also act as a floor deck for two separate functions, firstly as an orchestra pit which is positioned below the primary viewing lines of the audience, secondly as a primary floor deck during standing performances (for example music pop concerts).
Auditorium Adaptation - Seated Screen Viewing
Balcony
Lobby
Fly Tower Floor finish with 44mm sound deck. 38mm air gap. 150mm 22mm sound deck top / bottom. Steel Scissor lift frame. Steel Scissor lift arm.
Control Room Stage
Raised seating Orchestra Pit Staff / Storage
Plant / Mechanics
Storage / Backstage
Auditorium Adaptation - Seated Stage Performance
Seating Due to there not always being a need for the seating the seating will be removable and collapsible for off-site or on-site storage. The seating will be sectioned and will collapse / erect using a piston system. Hover bases will be used to move the seating, this system will enable the seating to be moved on the water if required. Collapsed position
Lobby
Adaptive Acoustic Diffuser Within the auditorium inner structure there will be piston actuators installed. Fitted to the actuators will be an elasticated membrane which will reflect and diffuse the acoustics changing the reverberation time to produce the optimum acoustics for each individual use of requirement.
Control Room Standing Viewing Space
Staff / Storage
Stage
Plant / Mechanics
Erected position
Storage / Backstage
Auditorium inner structure. Piston Actuator. Elasticated Membrane.
Auditorium Adaptation - Standing Stage Performance - 19 -
Richard. A. F. Arthur - DSIT-A
Primary Structure and Material Choice Waffle Structure Using a Waffle Structure enables the production of a curved geometry using the X,Y,Z planes of Euclidean space. The waffle creates both horizontal and vertical strength. This system of construction also reduces the number of structural elements required along with reducing material. A simple X and Y waffle is shown below firstly a separate elements and then constructed with a further development below this using deformation in the Z direction. The waffle here uses a regular interval between members but it is possible to use an irregular spacing if so wished. It is possible to create double curved surfaces with a waffle as well as minimal surfaces further reducing materials.
Depicted in the image below is a first stage waffle form generated using Rhino and Grasshopper. (The structural method will remain the same however the final structural form will differ greatly.)
Constructing the Form
X and Y Waffle
The primary waffle form will be constructed from Glue Laminated Timber (glulam) which is a high specification engineered timber beam, fabricated by bonding together stress-graded timber laminations. These structural elements have excellent strength and dimensional stability. Where possible the design will use planar elements to create curves although in some cases it may be more appropriate to use a curved form. Shown below, Left - curved element Right - Planar elements
Sizes of glulam can range from 75x75mm to 250x1800mm and reach lengths of 30m. Curves are possible to form but these generally have a minimum radius of 3m. When comparing a glulam beam to a steel beam of the equivalent size and load bearing capacity, a glulam has approximately 1.2 to 2 times the strength to weight ratio of steel. This means that it is ideally suited to forming the primary structural elements within a design atop a floating pontoon. Venice has a history of fire that has at times ravaged the city. Glue Laminated Timber has been extensively tested on the effects that fire has. Testing has shown that glulam timbers can be given a rate at which they will char depending on their size and still maintain a structural integrity rather than deform as steel does. In some cases there will need to be steel fixings and connectors but these will be treated to improve their fire resistance. Two joining techniques are shown below.
Deformation in Z direction
There are three ways that the waffle structure can be clad; 1. External Cladding 2. Internal Cladding 3. Intermediate Cladding Each of these have their own advantages and disadvantages. External The cladding is applied on the outer face of the waffle. This gives a seamless finish stopping water pooling within the structure. The elegance of the structure however is not seen from outside and careful design is required so that the structure does not become a large mass or blob. With the structure sill being accessible internally it can be put to use rather than requiring secondary structures.
Waffle structures create aesthetically pleasing progressive shaded environments when deployed as a shading device. I will attempt to use this quality within elements of the design.
X and Y components
Cladding the Structure
Bolted
Toothed, pressure and glue - 20 -
Internal The cladding is applied on the inner face of the waffle. As described above the biggest drawback to internal cladding of a waffle is the risk of water build-up within the sections of the waffle which over a prolonged time could lead to water ingress. Another downside to this system is that for the structural elements to support internal elements the weatherproofing would need to be pierced which would again lead to ingress of water. This method does allow the structure to be shown off to on-lookers and provides clean crisp internal finishes. Intermediate Each element forms an individual pocket which will be filled with cladding and insulation etc. This would be an extremely costly exercise and would amplify both the positives and negatives of the other two methods. Current thoughts I am currently drawn to a mixture of External and Internal cladding to allow the structure to reap the benefits of the positives that are given to each method. The major challenge to overcome will be the removal of water pooling and ingress when the cladding is applied internally whilst maintaining the structural properties of the waffle. My thoughts on finish are currently sheet timber (stressed ply - figure 13) that will become laminated as it is layered on the structure and / or sheet metal (copper figure 14) that can also be formed on the structure, to produce the smooth curves that are intended so that the structure and supporting structures flow together and are recognised both individually and as a whole.
Figure 10. Crofthouse.
Figure 11. Kresge Auditorium. Richard. A. F. Arthur - DSIT-A
Flotation of the Structure Pontoons
Adaptation to Loads
Structures that form my design will be constructed on concrete pontoons. These pontoons will be constructed within the local boat yards along with the structures that will be constructed atop them.
It is important for the pontoon to be able to compensate to loads that are applied. Primary function for the pontoons is to support the structure and keep it from moving to greatly. Fitted in every pontoon will be a sophisticated levelling system using depth gauges to measure the water depth within the pontoon compartments, this water is required to counteract loading imposed on the pontoon constantly changing the buoyancy properties of the pontoon, while gyroscopes measure and counteract any adverse pitch change of the pontoon. Water is added and removed by suction pumps and a bilge system. The flow diagram below explains the process involved.
The concrete that will create the pontoons will be Laminated Concrete (lamcrete) which is a technique for creating hollow reinforced structural shells which are formed into the required pontoons. In the design of the pontoons, the following loads must be considered: dead load, hydrostatic pressure (including buoyancy), live load, abnormal loads (such as impact loads due to collision of ships with the floating structure), earth pressure on mooring, wind load, effects of waves (including swell), effects of earthquakes / tsunamis (including dynamic water pressure), effects of temperature change, effects of water current, effects of tidal change, effects of seabed movement, effects of storm surges, ship waves and effects of marine growths (corrosion and friction). Hydrostatic pressure (salt water 1.03 t/m3)
Dead Load
Pontoon and structure are afloat and operating correctly.
Mooring and Permanent Foundations I propose that the structures of The Contemporary Arts Complex will have a number of abilities to allow them interaction with the lagoon and canal system. 1. Motorised ability, this will negate the need for tugboats. 2. Anchoring, as boats drop their anchor and drift around a restricted space the proposed structures will also have this ability. 3. Canal Mooring, along the canals there are numerous mooring points which will be made use of by the structures small enough to navigate under the bridges. 4. New permanent moorings.
Depth gauge and live load in equilibrium?
Live Load
Yes.
No.
Throughout the Venetian Lagoon there are marker poles for safe passage ways used by boats, scientific posts which constantly monitor the surrounding environment and alert the city of any problems. I propose to add in a number of locations permanent moorings which are selected due to a specific location nearby within the city. These mooring points will use deep pile foundations to account and compensate for any changes in the typology of the lagoon floor.
Gyroscopes level? Tides & Surges
Boat waves / Collision
Water depth
No.
Yes.
Identify gyroscope direction?
X
Y
Depth gauge pressure?
Z
Negative
Activate bilge decrease level
Identify correction direction?
Positive Negative
Shown above is how the laminated concrete pontoons are constructed with compartmentalisation to allow for load compensation. Image to the left depicts a set of pontoons aggregated together either as a permanent base for a structure or a temporary base for an event or extra required circulation space.
Positive
Above is an example of how this may be achieved. Below is a larger detail showing the pontoon connected to the foundations (left) via a mooring chain and slider, which assists with tidal changes and other loading. Mooring chains when not required will be attached to a marker buoy. The mooring posts will also be fitted with marker lights to warn vessels that come nearby.
Activate pump increase level
Have pump / bilge alarms sounded?
Activate emergency buoyancy device
Yes.
- 21 -
No.
Richard. A. F. Arthur - DSIT-A
Structure Descriptions Envelope
Legislative Framework
Other Systems
This proposal is constructed on a Compartmented Reinforced Laminated Concrete Pontoon that has an approximate floor area of 3,000m2 and a volume of 10,500m3. The approximate volume of concrete required will be between 2,700 to 3,000m3, leaving the remaining 7,800 to 7,500m3 volume for ballast compartmentalisation, storage of varying water types in tanks (drinking, cooling/heating, sewage, etc.) or Buoyancy Cavities filled with Cordeck Cellcore HX or air.
For the purposes of this document British Building Regulations have been used. It is understood that the standard required within the proposed country of construction (Italy) the regulations will differ.
For security issues the proposal will be fitted with an automated CCTV system. Communication systems within the structure will be wireless where possible and where uninterrupted signals are required hard lines will be used.
Within Building Regulation Approved Document Conservation of fuel and power L2A (new buildings other than dwellings) Section 4: Design standards, sub-section 3: Fabric standards; the acceptable standards for fabric properties are set out in table 4. These standards should be equalled or bettered by the proposed building to achieve the Target carbon dioxide Emission Rate (TER).
Within the pontoon there will be a number of highly sensitive Shipping Grade-A 360˚ Gyroscopes working with an integrated bilge system to keep the pontoon at an optimum height in the water along with stability. The system was fully described in DSIT-A under the heading of Flotation of the structure. This also describes the loads that the pontoon will have to compensate for.
The primary structure that forms the envelope of the building is a timber triangulated grid shell. This grid shell is constructed from GluLam timber beams. GluLam is the chosen material due to the following, its strength to weight ratio is 1.5 to 2 times that of steel. Aesthetically compared with steel and concrete it creates a warmer and softer feel rather than the cold hard edges of steel and some concretes when exposed. In the event of a fire the large section timber elements will perform very well in fires. This is due to the way in which timber chars at a known rate and does not deform like steel. Fire performance of glulam has been the subject of extensive research and structural glulam members can be designed to last a certain period of time in a fire based on the rate at which it chars. The durability of glulam will depend on its specification. Species of timber, type of glue and preservative type and application are all factors in the durability of glulam. Given the correct specification glulam can be used for the most onerous of conditions. In terms of sustainability the primary constituent is timber which does not need to be mined or have the same levels of energy demand during processing, there are energy requirements for glulam manufacture in the felling, sawing, transportation, manufacture of the glue.
The regulations state the following limiting fabric parameters (U-values); Roof Wall Floor Windows, curtain walls pedestrian doors High-usage entrance doors Roof ventilators (inc. smoke vents)
0.25 W/m2.K 0.35 W/m2.K 0.25 W/m2.K 2.20 W/m2.K 3.50 W/m2.K 3.50 W/m2.K
The proposed structure will meet the required U-values for all sections. The way that the structure has been designed will apply Roof parameters of 0.25 W/m2.K to the majority of the building fabric.
Further Structure and Integration with Tactics • • •
• •
To clad the building it is proposed that a mix of Glass and Pressed Aluminium is used. These materials will allow to adaptability to the form and geometry that is created by the primary structure below. Aluminium is also available in small thickness’s (3 to 7mm) which will allow for a reduction in weight over lamination of timber to produce a similar effect. The cladding panels will be insulated for two primary functions, firstly to increase the thermal performance of the structure therefore reducing emissions and secondly to provide acoustic insulation to the external weather conditions, for example rain landing on metal.
•
Structure taking the concept of draped material to form a structural system using the material tectonics. Using the environmental analysis from DSIT-A to allow the formation of a flowing aerodynamic form that will aid the internal environmental strategies. The structural system creates a grid shell that has good supportive properties due to spreading the loads of the structure in three primary directions, these directions in most instances are not ate the same angle therefore distributing the load in six directions rather than three. A pontoon of this nature has be previously tried and tested (Brockholes case study in DSIT-A). This pontoon uses exactly the same construction methods and ballasting techniques. The pontooned structure enables versatility within a constantly changing environment, daily tidal rises and falls with the added disruption of the Acqua Alta (flooding). Being constructed on the pontoon allows the use to go relatively undisrupted. The cladding detail that has been chosen allows for versatility in terms of new materials. The proposal will use pressed aluminium but the system will allow for change.
With regards to assembly. 1. The pontoon will be constructed either on land or in a dry dock. 2. When the concrete has cured work will be able to commence. 3. Timber for the GluLams will be locally sourced. 4. If there is an empty structure near to the construction site it would be more viable for large loads to be delivered into the port and stored on or near to site. 5. Once the structure is water tight it can be floated and moved to a more suitable location
Cladding will be fitted using an aluminium connector with a sprung gasket to hold the panels in place. The glazing will use a similar system with the gasket being replaced by and aluminium box profile unit which the frame connects to, frames then have an external aluminium flashing applied to reduce water ingress. Glazing will be Krypton gas filled double glazing which enhances the performance of window conduction and convection. Krypton is a better thermal insulator than air because it is three times less conductive. Krypton’s high density reduces convection effects, further improving thermal insulation performance. There is also the addition of 50% higher sound insulation compared to that of air.
This system will utilise both in-situ construction and pre-fabrication strategies. This would be possible though the computer design of the primary structure which can then be manufactured away from site and shipped when required. Pontoon construction and internal finishings would be in-situ. The structure will be dismantled in reverse and floated away on barges to be reused and recycled where possible. Another scenario would be to take the aluminium cladding and insulation off the structural shell. The shell and pontoon would then be taken out into the Adriatic and sunk to form a reef, This would require a large amount of research before being carried out.
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Richard. A. F. Arthur - DSIT-B
Axonometric Sections
Glazing Detail Detail - B1 & B2
Cladding & Structural Makeup Detail - A
Pontoon & Structure Connection Detail - C
VIP Bar
Atrium
Upper Bar
Ventilation
Refreshments
Servicing & Plant
Pontoon Structure
Ventilation
Stage
Back Stage Under Croft
Plant Drive Generator
Pontoon & Structure Connection Detail - C
Bilge Station
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Richard. A. F. Arthur - DSIT-B
Structural Details Envelope Key & Thermal Performance(TC)
Detail - B1
Detail - A 01 02 03
01
5mm Pressed Aluminium Cladding Panel.
02
75mm Kingspan Kooltherm K12 Insulation [plastic encased] (TC = 0.020
W/m2.K).
03
Aluminium Cladding Structural Connector Gasket, fixed using neoprene
sealed tech screws.
04
Visqueen FB Vapour Barrier.
05
38x38mm Timber stop to provide air-gap and fixing surface.
06
150mm Kingspan Kooltherm K12 Insulation between Timber Beams (TC =
0.020 W/m2.K).
07
2no. 15mm Gyproc DuraLine MR Plaster Board with 3mm Plaster Skim
(TC = 0.25 W/m2.K).
08
160x400mm GluLam Timbers joined using 6point 8mm flitch plates.
09
Krypton Gas Filled Double Glazing (TC = 0.35 W/m2.K).
10
Aluminium Glazing Frame.
11
Aluminium Flashing.
12
Aluminium 2-way Box Profile Structural Connector.
13
22 - 30mm Floor Finish (where required & varying material).
14
Electrical Underfloor Heating Mats.
15
150mm Kingspan Kooltherm K3 Insulation (TC = 0.020 W/m2.K).
16
Pressed Aluminium High Volume Gutter.
17
Flitch Plate Ground Structural Fixing.
18
50mm Kingspan Kooltherm K3 Insulation (TC = 0.020 W/m2.K.
19
200mm Service Channel (pipes & cables).
20
Reinforced Laminated Marine Concrete - 200mm thick at all boundaries -
800mm for structural support.
21
Buoyancy Cavity - 27m3 filled with Cordeck Cellcore HX / Air / Water
(when required for stabilising).
Note: All above named products could be substituted for an equal equivalent.
05
04
06
07
08
01
02
03
04
08
Detail - B2 Detail - C
01 03
09
04 08
02 10
06 07 13
11
14 15 16 12
03 04 17
08 18 19
20 21
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Richard. A. F. Arthur - DSIT-B
H = Sensible heat gain (kW) The Ventilation Rate is the total air supply for a space per hour. Auditoriums require m = mass flow rate of air (kg/s) 6 - 10 air changes per hour. A person requires an average of 8 litres of fresh air per Cp = Specific heat capacity of air (1.005 kJ/kg K) second known as Outdoor Supply air per Person (l/s/p). tr = Room temperature (˚C) (˚C) ts = Supply air temperature Ventilation rate (m3/h) = Air Change Rate (/h) x Room Volume (m3) => Ventilation rate (m3/s) = Ventilation rate (m3/h) / 3600 m = H / (Cp x (tr - ts)) To calculate the air flow rates (fresh and recirculated) the equation below is used. Volume flow rate (m3/s) = mass flow rate (kg/s) / density of air (kg/m3) Fresh Air Rate (l/s) = Number of occupants x Outdoor Supply air per Person => Supply Air Rate (AC/h) = Volume flow rate (m3/s) / Room Volume (m3) 3 /s) = Fresh Air Rate / 1000is moored at one of => Freshwill Air Rate The primary energy source be (m provided when the (l/s) structure => Fresh Air Rate (m3/h) = Fresh Air Rate (m3/s) x 3600 the route mooring nodes. Atthe these nodes a mains power will connected this Usually ventilation choice would be decidedsource by the best Air be Change Rate. => Fresh Air Rate (AC/h) = Fresh Air Rate (m3/h) / Room Volume (m3)
power source is part of the city grid. Power will also be used to charge the multiple AH For example, if supply is 10 air changes hour and the Fresh Airare Rate is 5.6AC/h generators which arePsychrometric located onthe the service level, per these generators bypassed Chart then thisItaly equates to 56% meaning that at every air change the system is supplied with Venice, when connected and charged with the power that is stored used when the structure is 56% fresh air with 44% of recycled air being used. 30the being moved or in the event Comfort of a power cut to the city. Plant rooms are shown on Zone - Sedentary Air Conditioning construction section. To calculate Passive solar heatingsupply rate, ) H = mThermal x Cp xmass (tr - teffects 25 s Natural ventilation H = Sensible heat gain (kW) Due to its ability to move, the structure will throughout the day track the solar path m = mass flow rate of air (kg/s) and continually orientate for optimal solar gain and solar lighting. If required20the Cp = Specific heat capacity of air (1.005 kJ/kg K) building can also manoeuvre position(˚C)for perfect aerodynamics in order to enhance temperature tr = Room to 15 Supplyas airittemperature the natural ventilationts =draw creates a(˚C) negative pressure at the vent panels. m = H / (Cp x (tr - ts))
10
The Aluminium Cladding panels will have a matte brushed finish so that solar glare 3 /s) Venice = mass and flow rate / density air (kg/m Volume (m3of does not become an issue forflow therate City the(kg/s) people bothofusing the)structure => Supply Air Rate (AC/h) = Volume flow rate (m3/s) / Room Volume (m3) 5 and not using. Using this finish will also allow the structure to blend with the wider ventilation choice would be decided by the bestin Airthe Change Rate. context from distance Usually it willthe become just another large building lagoon. DBT(°C) 5
10
15
20
25
30
35
40
45
50
AH
Acoustics is a major Psychrometric part of thisChart project and the reverberation times are key to any Venice, Italy performance. As described within DSIT-A the average reverberation time for the 30 following types of performance are, Theater is 1.0 to 1.3 seconds, Cinema is 0.8 to Comfort Zone - Sedentary Passive heating 1.2 seconds and Concerts are 1.0solar to 2.0 seconds depending on the type of concert. 25 Thermal mass effects The proposal uses and actuating timber and fabric wall panelling system to allow for Natural ventilation adaptation and accommodation of multiple types of performance. 20
Working out the reverberation time the following calculation is used V = Volume of room A = Total room absorption RT = 0.16V = S1 x α1+ S2 x α2+... S = Product surface area A α = Absorption coefficient of material DBT(°C) 5 10 15 20 25 303 The proposed auditorium volume is approximately 2580m
For 100% Timber with seating area 256m2 side walls timber x 0.05 to 0.15 90m2 rear wall timber x 0.05 to 0.15 240m2 ceiling timber x 0.05 to 0.15 144m2 seating occupied x 0.80 to 0.85 96m2 floor timber x 0.05 to 0.15 Total 1.8
= = = = =
35
40
12.8 to 38.4 4.5 to 13.5 12 to 36 115.2 to 122.4 4.8 to 14.4 149.3 to 224.7
For 50% Timber 50% Medium Drape with seating area 128m2 side walls x 0.55 = 70.4 + (6.4 to 19.2) 89.6 45m2 rear wall x 0.55 = 24.75 + (2.25 to 6.75) 120m2 ceiling x 0.55 = 66 + (6 to 18) 144m2 seating occupied x 0.80 to 0.85 = 115.2 to 122.4 96m2 floor timber x 0.05 to 0.15 = 4.8 to 14.4 Total 295.8 to 341.9 1.2
15 10
Warming Good air distribution is a requirement for an auditorium to provide a comfortable environment for the users. According to the Chartered Institute of Building Service Engineers (CIBSE) an auditorium should be subject to 6 - 10 air changes per hour. The easiest way to ventilate an auditorium is to use mechanical ventilation which in most cases is provided in one of two ways. The Auditorium as stated mechanically ventilated 1. Upward ventilation withspace high extraction - this isisa cheaper means of ventilation due to being able to use the rise of in warm air andand propeller fans below. in the ventilated seating as natural described DSIT-A shown ceiling. The issue with this technique is that a draught can be felt when fed in from below the seating at an air velocity of more than 0.5 Cooling m/s. 2. Downward ventilation means that there is no chance of draught at the seating. Like warm air rising the cool air will fall within the space but dose require the use of high velocity supply which can be noisy. This system also uses low level extraction which is when surface mounted not aesthetically pleasing and therefore to hide requires large wall voids for vertical ducting to the roof for alternative extraction. KOTOBUKI - Ventilated seating KOTOBUKI’s ventilated seats uses a system known as ZAC which can provide both Warming heating and cooling within the same system. Warming uses the warm air from the upper tiers and is recirculated via the activated seating in the lower tiers. Cooling is operational only in occupied seating and the direction of the air stops draughts from being noticed meaning that higher velocity air speeds can be used, directional controls are also available to the seat occupier. This seating has been used within the projects listed below; • Seoul Arts Center - Korea - 2523 seats • Royal Albert Hall - UK - 1550 seats • Bridgewater Hall - UK - 2400 seats • Matsumoto Performing Arts Center - Japan - 1800 seats Cooling
fans only when needed. Shown below is a diagram of how the system works. 1. Cold air enters the building via vents at ground level. Completed: 1999 2. The cool air is feed into the auditorium through vents in the seating deck. 3. Warm air within the room rises circulating the cool air. Building Use: Theatre 4. Vents in the ceiling take the warm air from the auditorium and stage to the roof void where the tower bases are located. Capacity: 400 seat main auditorium 5. The warm air is pulled up the towers by the negative air pressure due to cross winds around the H-pots. Ventilation: Natural Ventilation 6. H-pots stop condensation from forming within the main towers which could cause potential damage. using the KOTOBUKI 7. In exceptional circumstances mechanical fans can be used. Reason for precedent selection. Although the system has solved the issue of noise generated by the ventilation system The Contact Theatre was a refurbishment one of the key aspects of the project 22 with at times noise from aircraft and road traffic can be heard via the towers and vents. being addressing the auditorium ventilation, which was originally mechanical but was loud especially during the hotter months of the year when the system was run longer. Performers and the audience complained about the noise generated so the system would be turned off which lead to the auditorium being warm, stuffy and uncomfortable. Short and Associates designed a natural ventilation system which uses mechanical fans only when needed. Shown below is a diagram of how the system works. 1. Cold air enters the building via vents at ground level. 23 2. The cool air is feed into the auditorium through vents in the seating deck. 3. Warm air within the room rises circulating the cool air. 4. Vents in the ceiling take the warm air from the auditorium and stage to the roof void where the tower bases are located. 5. The warm air is pulled up the towers by the negative air pressure due to cross winds around the H-pots. 6. H-pots stop condensation from forming within the main towers which could cause potential damage. 7. In exceptional circumstances mechanical fans can be used.
Auditoriums require 6 - 10 air changes per hour. A person requires an average of 8 - 15 litres of fresh air per second known as Outdoor Supply air per Person (l/s/p).
Richard. A. F. Arthur - DSIT - A
Ventilation rate (m3/h) = Air Change Rate (/h) x Room Volume (m3) => Ventilation rate (m3/s) = Ventilation rate (m3/h) / 3600 Ventilation rateseats (muses /h)a system = 6 known to 10as xZAC2580 25800m KOTOBUKI’s ventilated which = can15480 provideto both heating cooling withinrate the same system. the warm air =>andVentilation (m3/s) = Warming 15480uses to 25800 / from 3600the upper tiers and is recirculated = 4.3 to 7.2m3/s via the activated seating in the lower tiers. Cooling is operational only in occupied seating and the direction of the air stops draughts from being noticed meaning that higher velocity air speeds can be used, directional controls are also available to the seat occupier.
3
3
/h 24
the equation below is used. x Outdoor Supply air per
1000 3 => Fresh Air Rate (m3/h) = Fresh Air Rate (m /s) x 3600 - 15 => Fresh Air Rate (AC/h) = Fresh Air Rate (m3/h) / Room Volume (m3)
50
Environmental Design
Although the system has solved the issue of noise generated by the ventilation system at times noise from aircraft and road traffic can be heard via the towers and vents.
To calculate the within air flow rateslisted (fresh and recirculated) This seating has been used the projects below; • Seoul ArtsAir Center - Korea - 2523 Fresh Rate (l/s) seats= Number of occupants • Royal Albert Hall - UK - 1550 seats Person • Bridgewater Hall - UK - 2400 seats 3 => Fresh Air Rate /s) - Japan = Fresh Air Rate (l/s) / • Matsumoto Performing Arts(m Center - 1800 seats
5
45
KOTOBUKI - Ventilated seating
For example, if the supply is 10 air changes per hour and the Fresh Air Rate is 5.6AC/h then this equates to 56% meaning that at every air change the system is supplied with 56% fresh air with 44% of recycled air being used.
Richard. A. F. Arthur - DSIT - A 25
26 27
RT = 2.8 to
=
76.8
to
= 27 to 31.5 = 72 to 84 RT = 1.4 to
These calculations show the auditorium is suitable for all performances using basic data for test purpose.
28
Fresh Air Rate (l/s) = => Fresh Air Rate (m3/s) = => Fresh Air Rate (m3/h) = => Fresh Air Rate (AC/h) =
250 x 8 2000 (l/s) / 1000 2 x 3600 7200 / 2580
= 2000 l/s = 2 m3/s = 7200 m3/h = 2.8 AC/h
29 06
07
30
Mechanical Ventilation System Using these calculations the auditorium ventilation system can work as follows; For 10 air changes per hour the system can recycle 72% of the air at each change with 28% being fresh air. For 6 air changes per hour the system can recycle 67% of the air at each change with 43% being fresh air. I am aware of Building Regulations part E: Resistance to the passage of sound. Also part F: Ventilation has been consulted. In both case the proposal is compliant.
- 25 -
22
5mm Pressed Aluminium Cladding Panel with Ventilation fins.
23
150mm dia Extraction pipe.
24
Mechanical ventilation extraction unit.
25
150mm dia acoustic baffled intake pipe.
26
245mm JJI Joist with insulated foot.
27
22mm OSB
28
100mm Kingspan Kooltherm K12 Insulation (TC = 0.020 W/m2.K).
29
245mm JJI Joist
30
25mm Kingspan Kooltherm K12 Insulation (TC = 0.024 W/m2.K). Richard. A. F. Arthur - DSIT-B
Visualising Environmental Design Heating, Cooling & Lighting Summer
During the summer months the solar lighting angle is around 63Ëš with lighting shown above providing a large percentage of natural light to the atrium. The aluminium cladding will absorb a proportion of the solar heating gain and also reflect away. Cool air from the lagoon surface will be drawn into the building filtered and allowed to pass into the spaces. Within the atrium space a natural stack system will be working while in the auditorium there will be a displacement system working with mechanical extract. If required the electrical underfloor heating system can be used. In areas of the building that are not exposed to natural light and at night the building will use LED lighting patterns to provide optimum light distribution. Heating, Cooling & Lighting Winter
During the summer months the solar lighting angle is around 20Ëš with lighting shown above providing a percentage of natural light to the upper levels of the atrium. The underfloor heating will be used to provide the majority of the required heat. Within the atrium space a natural stack system will be working but some of the vents my be closed to retain the heat. A displacement system working with mechanical extract will be used in the auditorium and the stage areas. In areas of the building that are not exposed to natural light and at night the building will use LED lighting patterns to provide optimum light distribution. - 26 -
Richard. A. F. Arthur - DSIT-B
Electrical Lighting Proposal
- 27 -
Richard. A. F. Arthur - DSIT-B
Fire Strategies For this section Building Regulations Par B: Fire safety was used. It is understood that currently the 3rd floor is non-compliant due to there currently being only one door from the balcony back to the atrium space, this will be addressed. All other areas comply to the regulations and recommended travel distances. For cinemas and theatres there are three categories of escape distance and two location types. The risks are high, normal and low in each of the two locations of seating in rows and other areas. These are also distance sub divided by the number of escape routes. On the diagrams above a normal fire risk level has been used to show the escape radius with the solid red dot showing the escape location. The section shows smoke extraction and the vertical escape routes. Other than the entrances to the front of the building where there is an external area of pontoon to be evacuated off all other escapes exit directly on to the water. At all escapes the is a safety locker with life jackets and inflatable rafts, For the exits on the 1st floor there are also escape slides.
Ground Floor (Services) 4no. Escape Routes
2ndFloor 4no. Escape Routes from auditorium
1st Floor 4no. Escape Routes - 1no. spatial transfer
3rd Floor 1no. Escape Route - 1no. spatial transfer
As mentioned in the construction section because the structure is made from timber the structural elements will char at a predicted rate rather than deforming as steel would when exposed to high heat. The fire equipment and systems that will be in place and available are; • Fire detection and warning system with both auditory and visual signals. • Fire extinguishers of differing type. • Fire action plan and escape route signs. • Fire curtain at the front of the stage. • Emergency lighting. • Gas fire suppression systems in areas where other forms of suppression is not wanted (plant rooms and bilge pumps).
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Richard. A. F. Arthur - DSIT-B
Surface Analysis - Gradient Digital surface analysis has been undertaken to graphically represent the change in face angles of the primary geometry. The analysis was produced using Grasshopper and the following process; - Mesh deconstructed. - Mesh Normals are found. - Angle found between two vectors. - Vectors used are Z (horizontal 0˚ to 90˚) and the Mesh Normal. - Mesh coloured using angles as gradient limits. Major understanding that can be taken from the analysis is the distribution of flat regions on the structure. This can give fast representation of where water shedding will be very effective and potentially areas which require adaptation for faster run off. Blue lines show panel locations and arrangement.
90˚
0˚ Surface Analysis Face Normal in Z axis
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Richard. A. F. Arthur - DSIT-C
Surface Analysis - Point Cloud Further analysis through computer design, geo-locations in the form of a point cloud can be calculated for the corner junction of 6 panels. [shown in Panel Construction]
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Richard. A. F. Arthur - DSIT-C
Panellisation of Structure When the individual panel boundaries (panels will vary [see Panel Typology]) have been created the following information is available; Number of Panels Average Panel Area*
2958 2.26m2
*see Appendix 1 - Individual Panels This appendix lists and identifies each individual panel in a data list. The list shows the Panel Number, Panel Area and the Neighbouring Angles (described in Panel Relationship). Data from the digital model can be referenced to the list for manufacturing and construction purposes. Top - Panellisation of Structure Bottom Left - Panel Centring Middle - Panel Area mm2 Right - Panel Tessellation A triangular mesh was selected for ease of tessellation. The diagram below shows this tessellation and how one method of the construction process from a single point. This method could be repeated at multiple points around the structure.
Panel Centring
Panel Area mm2
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Richard. A. F. Arthur - DSIT-C
Panel Relationship The diagram here shows the digital analysis of the relationship between the panels in terms of the angular relationship involved in the tessellation construction method. On the following pages the model is shown in elevation and plan. This building entirety diagram shows an angular version of the gradient mesh. In this case the greater the ‘fold’ angle connection of two planar panels is visually described. The flatter the relation angle is (180˚ to 170˚) then the angle lines are shown in shades of green. Colouring moves though cream to red where there is the most fold occurrence through acute or obtuse angles (shown in the line diagram below). The data list is appendix 1 shows the neighbouring angular relationship. This analysis has been undertaken to allow for ease of construction and further development possibilities and strategies (described in Development).
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Richard. A. F. Arthur - DSIT-C
Panel Relationship - Long Elevations Side 1
Side 2
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Richard. A. F. Arthur - DSIT-C
Panel Relationship - Short Elevations & Plan Front
Front
Side 2
Side 1
Rear
Rear - 34 -
Richard. A. F. Arthur - DSIT-C
DSIT-B Cladding System This page shows the proposed panelling that was set out in the DSIT-B submission. There are two types of panel used within the system, primarily the system uses a planar solid insulated pressed aluminium panel with the secondary panel being an aluminium glazing unit. Key
Detail - Glazing Panels Scale 1:2
01
5mm Pressed Aluminium Cladding Panel.
02
75mm Kingspan Kooltherm K12 Insulation [plastic encased]
(TC = 0.020 W/m2.K).
03
Aluminium Cladding Structural Connector Gasket, fixed using neoprene
sealed tech screws.
04
Visqueen FB Vapour Barrier.
05
38x38mm Timber stop to provide air-gap and fixing surface.
06
150mm Kingspan Kooltherm K12 Insulation between Timber Beams
(TC = 0.020 W/m2.K).
07
2no. 15mm Gyproc DuraLine MR Plaster Board with 3mm Plaster Skim
(TC = 0.25 W/m2.K).
08
160x400mm GluLam Timbers joined using 6point 8mm flitch plates.
09
Krypton Gas Filled Double Glazing (TC = 0.35 W/m2.K).
10
Aluminium Glazing Frame.
11
Aluminium Flashing.
12
Aluminium 2-way Box Profile Structural Connector.
Detail of Insulated Pressed Aluminium Panel Scale 1:5
09
10
11
12
01 02 03
03 05
04
08 06
07
08
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Richard. A. F. Arthur - DSIT-C
Development of Cladding System Detail - Glazing Panels New Scale 1:5
Shown here is the development of the cladding system to become an entirely glazed cladding system. The system responds to the building materials used within the grand structures of the city (marble) but also through the use of glass there becomes a further element of the designs fluidity. Key 01
Aluminium fixing rail and Gutter, fixed to timber structure using neoprene
sealed tech screws.
02
Aluminium Glazing Unit Supports - providing angle variance.
03
Aluminium Flashing.
04
Aluminium Glazing Frame.
05
Krypton Gas Filled Glazing.
06
1.5mm Marble screen insert.
07
160x400mm GluLam Timbers joined using 6point 8mm flitch plates.
08
Climbing Harness Connector - system uses the fixing rail as safety fix.
03 05
04 06
02 01
07
Detail - Climbing Harness Connector Scale 1:5
08 The diagrams below show the variance provided by a single 148 Aluminium Glazing Unit Support. There are 3 available angles when this same connector is used on the Fixing Rail, from left to right Obtuse 148˚, Acute 148˚ and 180˚. Shown on Detail Glazing Panel New is an angle of Acute 168˚. The number of support rails are listed in Appendix 2 and when read along side Appendix 1 and this document the cladding system would be applied.
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Richard. A. F. Arthur - DSIT-C
Visualisation of Cladding System
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Richard. A. F. Arthur - DSIT-C
Appendix 1 - Individual Panels
Panel Number 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64
Panel Area (m2) 2.61 2.82 2.74 2.75 3.13 2.25 2.40 3.01 2.54 2.38 2.50 2.39 2.08 3.54 2.00 2.25 2.74 2.36 2.97 2.62 2.41 2.42 2.56 3.04 2.69 1.88 1.85 2.61 2.84 2.89 2.77 2.27 1.75 2.44 3.01 2.64 2.54 3.47 2.59 2.59 2.33 2.32 2.61 2.57 2.66 3.14 2.51 2.64 1.89 2.22 2.38 2.19 2.92 1.79 2.57 2.30 2.69 2.56 3.30 2.49 2.55 2.75 2.83 2.48
Angle to Neighbour 1 176 177 163 177 177 161 160 176 176 172 171 171 172 175 174 175 174 173 149 169 152 173 178 173 172 152 172 176 165 177 177 162 171 174 174 178 174 173 175 172 177 165 175 179 176 166 170 175 167 167 179 171 173 169 157 173 176 175 177 174 175 172 178 169
Angle to Neighbour 2 160 171 170 161 163 171 178 177 169 157 167 173 152 149 153 172 168 171 173 178 173 178 174 165 152 172 174 163 163 174 175 157 143 178 148 174 165 166 176 171 173 170 178 174 171 173 162 165 157 175 173 172 147 171 177 175 142 145 151 176 174 173 173 176
Angle to Neighbour 3 170 177 175 171 157 176 176 153 173 173 177 178 171 163 175 163 176 168 173 177 171 178 178 148 167 172 165 178 167 143 173 173 172 179 177 147 175 145 142 173 178 172 178 178 177 170 171 157 172 174 178 177 169 167 172 179 172 168 154 179 144 147 178 133
65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129
2.03 2.46 2.29 2.39 1.79 2.92 1.97 2.51 2.36 2.45 2.59 3.12 3.58 2.54 2.61 2.44 2.87 2.15 2.30 2.11 2.81 2.30 2.72 3.27 2.63 2.52 1.72 2.69 2.84 2.42 2.01 2.43 2.82 2.32 2.46 3.28 2.88 2.57 2.19 2.29 2.72 2.33 2.76 2.08 2.32 2.22 2.03 2.59 2.59 2.09 3.03 2.71 2.02 2.23 3.15 2.50 3.11 2.88 2.37 3.04 2.66 2.37 1.63 2.35 2.47
166 175 151 167 168 169 140 167 173 178 179 170 174 176 173 179 163 171 169 175 176 179 173 168 176 174 155 170 173 173 168 176 172 177 178 169 134 174 175 167 173 179 179 156 177 170 166 173 180 154 177 177 170 177 166 167 179 176 176 178 171 168 165 165 175
- 38 -
140 167 174 150 133 174 169 173 173 173 174 163 154 176 176 144 178 167 166 175 167 170 147 134 156 178 168 155 163 178 168 175 177 165 175 166 168 134 174 167 173 179 171 168 169 173 169 173 173 157 170 159 133 149 131 175 170 178 175 167 177 170 147 178 176
170 175 172 170 169 163 167 175 178 176 176 168 169 134 179 176 179 150 169 172 166 175 173 170 177 180 166 173 176 178 169 149 131 173 178 167 171 173 179 169 161 127 179 175 176 177 133 149 177 171 166 176 168 179 168 176 174 169 178 175 179 170 168 176 178
130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194
2.26 2.80 2.61 2.48 2.40 2.37 2.45 1.90 2.74 2.50 2.67 3.32 2.23 2.52 2.27 2.20 2.81 2.16 2.39 2.38 3.01 2.14 3.40 2.19 3.03 2.03 2.62 2.76 2.64 1.69 2.56 2.69 2.12 2.42 2.15 2.06 1.79 2.33 2.53 2.39 2.67 2.38 3.15 2.82 2.23 2.29 2.66 2.06 2.09 2.43 2.89 3.02 2.24 2.69 2.83 2.53 2.99 2.31 2.19 2.49 2.50 2.09 2.42 2.90 2.40
170 170 173 175 174 147 174 163 174 178 176 171 176 176 169 177 179 177 178 175 172 175 168 178 175 161 166 179 178 141 173 174 178 178 162 174 165 173 173 163 173 177 178 169 175 174 165 168 168 173 160 178 175 171 175 173 173 155 145 175 176 174 174 166 178
154 179 176 168 127 175 174 154 177 173 161 172 177 149 170 168 169 177 174 175 174 168 160 155 178 141 165 169 171 165 176 179 168 145 150 155 163 169 176 175 172 138 178 177 141 174 147 175 174 176 158 166 124 176 173 178 175 178 168 162 172 163 176 178 173
159 178 178 157 174 167 138 166 154 176 174 147 155 173 168 174 175 124 176 178 177 168 178 173 175 170 158 178 177 165 167 174 176 175 170 177 141 178 176 175 174 173 178 177 169 129 159 177 178 158 161 176 174 175 174 175 179 173 175 172 176 150 178 179 176
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195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259
2.32 1.68 1.68 2.56 2.48 2.30 2.67 2.56 2.32 2.03 1.99 2.30 2.03 2.61 3.50 2.23 2.43 2.84 3.22 2.80 2.46 2.50 2.45 2.95 2.55 3.51 3.11 2.42 2.12 2.89 2.32 1.95 3.61 2.65 1.93 1.92 2.06 2.05 2.41 2.59 1.71 2.34 1.49 2.41 2.45 2.37 3.19 2.32 2.07 2.30 2.29 2.34 2.33 2.21 3.41 2.08 3.07 2.46 2.31 2.73 2.95 3.17 3.30 2.34 2.18
178 158 164 164 169 178 176 175 169 162 176 174 176 175 177 178 171 177 178 175 159 172 175 179 175 161 164 172 175 169 179 158 159 177 172 175 178 175 173 172 166 173 166 167 175 174 177 172 175 173 178 178 174 142 172 174 179 178 161 178 174 164 168 175 175
173 167 143 158 173 167 174 167 173 159 178 177 174 172 164 129 175 169 172 174 174 175 158 177 176 177 176 153 175 176 174 158 168 175 160 165 146 168 174 175 164 176 142 175 175 173 173 167 124 161 159 153 172 172 160 158 164 172 172 174 173 177 165 150 178
175 161 165 175 143 178 177 175 178 165 160 150 124 176 165 174 165 177 173 178 173 174 175 173 167 160 176 175 120 174 176 174 153 172 176 176 174 175 174 173 153 179 167 169 160 175 176 164 175 178 168 171 175 162 176 153 179 175 158 174 176 176 171 176 143
260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324
2.30 2.29 2.39 3.34 1.98 2.35 2.09 2.25 1.92 1.63 2.26 2.72 2.33 2.28 2.33 2.61 2.65 2.67 2.36 2.04 1.79 1.47 1.92 2.33 2.29 2.29 2.32 3.09 2.47 2.12 2.27 2.56 1.94 1.91 2.44 2.73 2.80 2.17 2.24 2.40 3.61 2.52 2.53 1.80 2.24 2.07 2.29 3.59 2.20 2.25 1.67 1.79 2.57 2.36 2.50 1.90 3.11 3.33 3.11 3.08 2.20 2.23 2.06 2.34 2.36
176 179 173 177 168 176 178 146 159 170 166 174 173 175 174 178 172 179 179 161 177 153 177 147 161 174 172 176 172 173 179 178 175 169 178 177 176 173 171 167 176 145 176 172 176 172 170 176 165 177 171 171 177 170 176 175 170 155 176 176 174 176 175 172 179
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147 170 174 153 174 175 120 177 176 138 167 172 175 171 174 167 176 172 171 153 175 166 172 170 173 176 175 176 178 175 176 160 175 168 156 174 176 174 165 172 155 167 179 161 143 176 176 177 165 175 170 158 177 176 178 127 176 179 173 170 169 177 178 178 161
167 173 176 172 178 153 175 173 175 166 138 176 173 174 175 176 170 177 174 167 161 166 127 178 179 172 173 173 158 176 176 176 114 174 178 175 176 175 176 172 170 161 178 177 177 177 179 166 166 146 161 177 178 177 175 175 170 177 173 177 156 169 138 165 172
325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389
2.25 2.02 3.54 2.51 1.81 2.05 2.29 1.96 2.18 1.96 1.73 2.23 1.95 2.81 3.93 2.65 2.59 1.92 2.47 2.25 3.94 1.86 2.27 2.08 2.13 2.43 1.59 2.04 2.35 1.85 2.63 2.26 1.95 1.93 3.75 2.81 1.70 1.79 2.78 2.53 2.13 2.14 2.57 2.26 3.55 2.14 2.33 2.47 1.77 2.18 1.92 1.70 1.93 2.45 2.57 1.75 2.44 2.48 2.18 1.86 2.24 1.79 2.01 3.32 2.25
172 178 176 177 144 175 171 176 174 177 164 177 178 171 172 176 175 173 175 173 171 174 176 166 174 151 175 169 176 172 175 179 173 175 177 173 177 179 170 178 168 178 179 170 161 176 177 178 175 142 166 172 170 175 174 178 175 177 178 152 177 177 157 172 155
163 145 166 153 167 175 174 176 173 142 151 170 114 176 174 144 171 166 178 155 161 177 174 165 175 174 141 175 152 178 177 166 176 175 150 175 171 172 175 178 166 176 178 165 170 138 156 146 175 176 174 157 162 179 175 176 177 175 178 176 177 176 169 172 174
179 168 172 175 161 174 174 172 175 174 166 174 175 174 150 167 178 176 171 177 154 176 177 141 173 167 171 178 170 175 166 173 175 153 176 178 158 130 177 178 174 140 177 172 168 178 165 175 108 173 177 167 178 150 179 170 165 178 156 173 176 174 164 174 179
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390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454
1.95 2.59 2.17 3.60 2.16 2.83 2.02 1.62 2.38 2.22 2.45 2.20 2.02 2.25 1.95 3.55 3.31 1.62 1.70 2.09 2.44 2.33 1.75 1.78 2.20 1.76 3.63 1.77 2.46 2.40 2.24 1.90 2.43 1.92 2.32 2.07 1.82 2.08 1.73 2.31 2.27 2.19 2.60 2.36 2.47 1.79 2.43 1.54 1.66 2.55 2.41 2.09 1.61 2.32 2.04 2.23 1.63 2.13 3.85 3.32 2.21 2.91 3.63 2.09 2.04
153 176 176 174 173 175 171 170 166 177 151 175 173 170 174 157 175 169 174 167 178 156 175 166 166 170 177 172 177 178 166 176 176 178 176 166 176 156 176 174 172 178 170 178 175 157 179 142 178 171 175 164 170 168 178 177 178 173 176 172 178 165 172 165 177
172 178 172 154 175 178 161 158 178 172 165 168 176 174 178 177 174 175 178 170 179 174 130 150 170 178 157 170 176 178 176 175 171 176 166 151 108 178 179 173 170 169 179 177 170 171 140 166 176 172 178 177 144 142 176 174 175 163 169 177 165 173 160 156 134
176 175 174 167 173 171 166 179 179 163 176 165 175 176 134 176 165 166 176 166 178 176 175 177 161 170 173 164 179 176 177 176 178 164 175 162 174 173 176 174 177 174 175 174 179 144 175 172 171 177 159 170 169 165 136 178 172 177 160 156 175 177 166 169 178
455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519
1.75 2.73 2.18 2.05 2.39 2.17 1.90 2.01 1.62 2.63 1.61 2.91 1.81 1.74 2.57 1.77 1.84 1.61 2.20 2.30 1.88 2.21 1.90 2.45 2.32 2.28 2.47 2.15 1.69 2.60 2.11 2.47 2.21 3.23 2.33 2.29 1.70 1.61 1.86 2.42 2.13 1.78 1.39 2.22 2.19 1.82 1.59 2.58 2.17 1.58 2.49 2.71 2.32 2.21 2.97 1.85 2.25 1.65 3.20 2.27 2.78 2.63 2.13 2.14 1.71
173 164 174 174 175 172 176 176 177 177 172 172 177 174 173 171 171 172 174 175 172 156 150 179 176 164 175 177 179 174 163 179 177 176 170 171 162 175 172 179 153 0 165 169 151 158 172 173 163 171 176 146 172 175 156 159 143 178 173 171 172 165 139 172 174
- 40 -
176 173 172 175 165 175 139 176 170 179 179 177 171 166 170 178 176 175 152 173 164 164 173 178 176 173 174 171 177 177 178 179 163 172 176 150 156 177 176 176 174 150 153 174 173 170 135 179 171 143 179 175 163 176 177 142 176 173 174 179 173 177 176 169 104
167 179 166 175 176 174 174 171 135 146 176 165 151 153 163 171 175 104 176 172 176 174 166 177 171 165 177 174 175 175 172 176 174 169 142 174 157 175 133 177 156 176 177 177 179 163 172 140 165 166 176 172 170 176 173 174 165 167 157 151 160 171 174 168 172
520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584
1.91 2.39 2.38 2.37 1.57 2.24 6.39 1.89 2.38 3.22 2.36 2.21 2.26 1.89 1.92 2.34 2.41 1.29 2.27 2.01 2.47 1.94 1.93 2.04 1.82 1.79 6.46 2.28 2.17 1.69 2.81 2.28 2.49 1.65 1.59 2.65 2.06 5.35 2.19 2.89 2.16 2.07 2.64 2.27 1.95 2.31 2.00 2.13 2.12 1.57 2.46 1.90 2.26 2.60 2.14 1.52 3.38 1.57 6.18 1.44 1.39 1.89 2.34 2.03 2.58
164 175 179 177 179 0 168 150 179 166 175 152 176 173 167 177 176 179 178 174 175 174 175 175 176 167 167 176 170 173 151 163 169 176 170 167 148 100 163 140 180 176 177 177 176 177 153 171 0 177 176 0 177 157 171 164 172 165 169 169 173 0 179 169 162
175 179 136 179 178 163 100 176 174 168 159 174 177 176 172 179 176 162 0 165 167 178 177 174 174 175 175 175 165 163 171 177 177 178 174 171 176 173 176 170 170 175 173 170 133 179 175 174 178 173 169 174 174 177 174 174 164 175 103 172 165 159 171 164 174
176 154 175 180 170 170 163 172 177 174 176 177 163 153 173 180 179 163 164 163 174 176 135 174 176 176 103 166 162 158 164 171 174 177 173 170 153 174 175 163 174 175 159 164 175 179 174 162 165 165 178 176 172 173 176 171 158 178 177 101 142 145 177 169 171
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2795 2796 2797 2798 2799 2800 2801 2802 2803 2804 2805 2806 2807 2808 2809 2810 2811 2812 2813 2814 2815 2816 2817 2818 2819 2820 2821 2822 2823 2824 2825 2826 2827 2828 2829 2830 2831 2832 2833 2834 2835 2836 2837 2838 2839 2840 2841 2842 2843 2844 2845 2846 2847 2848 2849 2850 2851 2852 2853 2854 2855 2856 2857 2858 2859
1.96 1.97 2.15 2.13 1.53 2.12 2.49 1.17 2.60 2.21 1.96 1.14 2.34 2.07 1.56 1.95 1.49 1.32 1.69 2.00 1.19 1.58 2.08 2.33 1.66 2.31 2.12 2.05 2.07 1.82 1.38 1.95 2.43 1.96 1.98 2.39 1.16 1.74 2.24 2.15 2.01 1.55 2.01 1.05 1.92 1.58 1.00 1.37 1.72 2.08 2.26 1.39 2.01 1.11 2.50 2.32 1.92 2.32 1.63 0.78 2.20 2.26 1.70 2.09 1.22
161 164 163 152 161 177 173 152 176 166 175 154 169 173 135 178 156 158 173 174 163 158 154 171 173 166 172 176 166 163 147 177 173 175 157 162 160 175 163 179 160 149 177 170 173 175 163 152 170 178 143 175 179 143 174 155 162 162 0 147 164 164 167 150 129
152 137 161 176 147 166 178 157 135 170 173 173 152 171 165 177 161 0 175 175 174 154 166 169 170 170 166 177 172 160 0 157 167 159 162 166 149 158 173 178 174 161 164 143 147 167 153 143 0 162 173 153 164 148 129 164 0 150 164 175 160 155 174 154 0
155 156 144 176 167 177 171 91 163 178 178 170 164 150 173 172 172 159 171 168 161 137 163 173 174 173 176 169 177 150 158 173 176 178 152 166 137 173 170 170 173 158 174 173 173 165 157 152 157 176 172 161 172 160 167 162 163 163 163 170 179 161 173 169 174
2860 2861 2862 2863 2864 2865 2866 2867 2868 2869 2870 2871 2872 2873 2874 2875 2876 2877 2878 2879 2880 2881 2882 2883 2884 2885 2886 2887 2888 2889 2890 2891 2892 2893 2894 2895 2896 2897 2898 2899 2900 2901 2902 2903 2904 2905 2906 2907 2908 2909 2910 2911 2912 2913 2914 2915 2916 2917 2918 2919 2920 2921 2922 2923 2924
1.53 2.42 1.19 1.82 1.85 1.26 1.58 1.90 2.26 2.47 1.02 2.00 2.23 1.87 2.29 2.40 1.94 2.33 1.81 1.78 1.73 1.87 0.77 2.06 1.77 2.44 1.63 1.90 1.13 2.43 1.87 1.63 2.40 2.14 2.13 1.32 1.94 1.92 2.39 0.56 2.39 0.65 2.08 0.97 1.19 1.26 2.46 1.68 1.57 2.24 2.03 2.04 1.04 1.91 1.91 1.45 2.39 0.61 2.14 2.26 0.57 1.98 1.76 1.20 1.81
129 170 153 174 166 154 170 179 173 170 153 170 167 158 165 166 178 176 169 175 177 172 171 176 176 171 161 175 152 137 162 177 175 174 179 0 177 174 175 141 161 160 163 168 139 150 151 0 127 165 170 171 149 175 0 127 158 141 173 145 176 0 166 153 172
- 41 -
162 162 161 177 175 134 0 172 170 169 158 161 166 165 148 165 175 135 135 0 0 0 137 177 175 176 141 0 162 166 151 150 159 179 175 149 0 163 127 160 144 139 159 0 152 175 161 158 161 175 171 0 0 0 173 141 170 137 0 158 132 0 0 163 166
175 164 175 157 159 152 158 164 173 174 129 179 150 148 164 174 162 170 150 174 170 166 175 160 164 148 174 179 134 173 158 162 170 135 167 161 178 161 165 171 171 135 176 158 152 161 151 176 177 166 144 174 168 174 175 159 151 160 175 152 160 159 170 175 170
2925 2926 2927 2928 2929 2930 2931 2932 2933 2934 2935 2936 2937 2938 2939 2940 2941 2942 2943 2944 2945 2946 2947 2948 2949 2950 2951 2952 2953 2954 2955 2956 2957 2958
2.22 1.85 1.04 2.17 1.43 1.53 0.66 0.97 1.73 2.19 1.73 1.66 0.14 0.69 1.90 2.08 1.30 0.31 1.02 1.09 1.54 2.28 0.70 1.49 1.10 1.14 1.80 0.65 1.07 1.42 1.59 1.50 1.60 1.63
132 145 162 153 142 0 163 134 168 0 168 107 157 166 156 139 124 139 173 163 0 145 153 135 0 166 136 0 166 152 0 159 0 177
0 162 136 163 153 134 157 173 0 138 168 157 107 0 0 156 139 120 163 167 153 0 162 145 173 0 0 136 152 177 167 0 177 0
165 158 127 145 137 161 176 153 172 145 163 142 136 157 168 157 138 157 173 166 0 139 124 120 173 167 135 162 173 166 166 177 167 159
Richard. A. F. Arthur - DSIT-C
Side Connector Angle 85 88 91 93 95 96 97 100 101 102 103 104 107 108 109 111 112 113 114 115 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180
Number of Connectors 2 2 2 2 2 2 4 2 2 2 6 8 2 2 4 2 2 4 4 2 2 2 4 10 2 2 2 10 2 2 16 8 6 4 6 4 12 20 20 12 16 10 16 10 30 18 26 24 30 24 38 18 24 44 54 54 76 52 74 64 66 78 104 92 114 102 134 146 142 186 206 234 266 304 316 344 500 532 692 682 706 784 862 182
Appendix 2 - Glazing Unit Supports
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References Books / Documents Andrews,M., (ed). Arnell, P., (ed). Moneo, R., (ed). Rossi, A.,(ed) Scully, V., (ed). (1985). Aldo Rossi buildings and projects. New York: Rizzoli. Barron, M., (1993). Auditorium Acoustics and Architectural Design. London: Taylor & Francis Group. Lehnerer, A., (2013). Grand Urban Rules. Rotterdam: naio1o Publishers. Littlefield, S. ed., (2012). Metric Handbook, Planning and Design Data. 4th ed. Oxon: Routledge. Moan, T., Utsunomiya, T., Wang, C. M., Watanabe, E., (2004). Very Large Floating Structures: Applications, Analysis and Design. [pdf] Available at: <http://www.eng.nus.edu.sg/core/Report%20200402.pdf> [Accessed 20 January 2015] Nagata Acoustics., (2003). Walt Disney Concert Hall. [pdf] Available at: <http://www.nagata.co.jp/sakuhin/factsheets/wdch.pdf> [Accessed 22 January 2015] Norwich, J.J., (1983). A History of Venice. London: Penguin Group. Psarra, S., (2012). A shapeless hospital, a floating theatre and an island with a hill: Venice and its invisible architecture. [pdf] Available at: <http://www.sss8.cl/media/upload/paginas/seccion/K016_1.pdf> [Accessed 09 January 2015]
Images Figures 1 & 2:
https://maps.google.co.uk/
Figure 3:
https://itunes.apple.com/gb/app/hi!tide-venice/id469821030?mt=8
Figure 4:
http://aftervinex.wikispaces.com/Watercity
Figure 5:
http://www.tracce.it/?id=471&id_n=32907
Figure 6:
http://wdch10.laphil.com/wdch10/wdch/acoustics.html
Figures 7 & 8:
Nagata Acoustics., (2003). Walt Disney Concert Hall. [pdf] Available at: < http://www.nagata.co.jp/sakuhin/factsheets/wdch.pdf> [Accessed 22 January 2015]
Figure 9:
http://www.mcarchitects.it/project/palestine-school
Figure 10:
http://www.dezeen.com/2013/07/08/crofthouse-by-james-stockwell/
Figure 11:
http://mod-architecture.blogspot.co.uk/2011/06/higher-ed.html
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Richard. A. F. Arthur - Design Studio Integrated Technology
References Websites http://www.worldweatheronline.com/Venice-weather-averages/Veneto/IT.aspx http://www.windfinder.com/windstatistics/venezia-tessera http://www.gaisma.com/en/location/venice.html http://people.umass.edu/latour/Italy/venice_water/ http://www.comune.venezia.it/flex/cm/pages/ServeBLOB.php/L/IT/IDPagina/2420 http://www.comune.venezia.it/flex/cm/pages/ServeBLOB.php/L/EN/IDPagina/22795 http://www.comune.venezia.it/flex/cm/pages/ServeBLOB.php/L/IT/IDPagina/1754 http://www.actv.it/en http://www.adamkhan.co.uk/ http://www.architectsjournal.co.uk/news/daily-news/adam-khans-brockholes-comp-winner-underway/5212917.article# http://www.greatbuildings.com/buildings/Il_Teatro_del_Mondo.html http://aftervinex.wikispaces.com/Watercity http://www.mcarchitects.it/project/palestine-school http://www.acoustics.com/default.asp http://www.nrcratings.com/nrc.html http://www.stcratings.com/ratings.html http://wdch10.laphil.com/wdch10/wdch/acoustics.html http://www.shortandassociates.co.uk/page.asp?pi=30 http://www.kotobuki-seat.com/products/auditorium/zacsystem/ http://www.arca53.dsl.pipex.com/index_files/vent9.htm http://www.structuraltimber.co.uk/timber-systems/glulamclt
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