Integrated Design Report Richard Andrew Fitzroy Arthur 33254828 Leeds School of Architecture Leeds Beckett University 27th April 2015 Available to view online at www.richardarthurdesign.co.uk
Richard Andrew Fitzroy Arthur - 33254828
This report is available online at:
www.richardarthurdesign.co.uk
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Integrated Design Report
Contents List of Illustrations
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Report 1: Design and Technology A personal Position The Design Studio Context The Design Thesis Technical and Technological questions Further Development
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Report 2: Management and Law Planning Issues Development Appraisal Scenario Procurement & Risk with Architectural Practice Professional Reflection
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References
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Curriculum Vitae
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List of Illustrations Conceptual proportion drawing authors own
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Photograph of Venice looking across The Basin of San Marco authors own
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Early design process authors own
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Sketchbook showing initial ideas of Master-plan Phases 1, 2 & 3 authors own
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Example of Grid Deformation Study authors own
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Geographical Implications and Historical Context authors own
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Master-plan interaction map authors own
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City Docks authors own
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Vaporetti construction and maintenance yard authors own
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BIM Maturity Diagram (Bew - Richards) Sinclair, D., 2012, p.3
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Report 1: Design and Technology Contents A personal Position The Design Studio Context The Design Thesis Technical and Technological questions Further Development
Report 1
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Figure 1: Conceptual proportion drawing
Figure 2: Photograph of Venice looking across The Basin of San Marco
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A Personal Position I have always been interested in the built environment but it wasn’t until my 3rd year of architectural studies that I began to truly understand and create a ‘Personal Position’. I became enthusiastic about using the local climate, culture and material in guiding my architectural process, understood then as a vernacular process. This way of working was continued while working on my year out, how I found it easier to engage clients and develop a design proposal once I understood the vernacular constraints of a project. My personal position in architecture has evolved over the course of the MArch, primarily because I made a decision to step out of my comfort zones and use my time on the masters to learn new methods and tools to develop myself as a designer while allowing greater development of my existing skills. I am currently interested in resilient system modelling design which works within a specific context. I design for an adaptive social and cultural landscape, within a highly transient environment. Using my developed and evolving understanding I am able to extrapolate informative data and implement it within design. This is done by combining physical source data with computer models of activities, flows and infrastructure. I feel that in combining the two techniques a strengthened architectural output is realised.
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Figure 3: Early design process - study > understand > design > model > test > evaluate > study
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The Design Studio Context I am a member of the Abstract Machines studio, where the objective of Abstract Machines is to produce an architectural response in which performative diagrams are embedded deployed and extrapolated within material and social systems. We design using computational methods along with physical methods balancing them together in a logical process of study > understand > design > model > test > evaluate > study‌ I feel the best possible description of what Abstract Machines is attempting to undertake is described by Ludger Hovestadt while making observation of the work being carried out by Alex Lehnerer, he writes; “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.â€? (Lehnerer, 2013: 267)
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Figure 4: Sketchbook showing initial ideas of Master-plan Phases 1, 2 & 3
“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 fishinggrounds, 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, 2012: 3)
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The Design Thesis 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, cultural and spatial qualities that exist within the city. I also intend to describe trough design how the environment will develop and interact directly / indirectly with Venice so that it becomes a part of rather than an entity in the location. The thesis is located within the Venetian lagoon in close vicinity to the city. I am proposing a series of floating pontoon structures, from a multi-use performance house to support structures and small independent structures which will integrate within the differing ambiances that are found throughout Venice. The design/s will alleviate the issue of the display and performance of the Contemporary Arts within Venice where it is currently displayed and performed within unsuitable historic buildings or warehouses which find it harder to attract an audience unless large amounts of time and effort are exerted to advertise the location. The city of Venice embraces change because if it did not then there would no longer be a Venice. So why should the new and contemporary not be accommodated for in a way that is fitting and more appropriate? With my thesis ‘An Archipelago of the Contemporary’ I intend to resolve this issue. There will be 3 structural phases that make up the archipelago master plan. Phase 1 is a single primary structure which is a multi-use (seating and or standing) performance house for music, dance, theatre and film genres of contemporary art. During seated performances the structure has a capacity for 425 people seated in the auditorium (main hall and balcony), standing only has a maximum capacity of 600 people using 2.5 people per m2 and an additional 100 seated people if the balcony is used during a standing performance. This structure will be the main focus of my design thesis. Phase 2 is designed around the support of the primary phase 1 structure. These structures are either performance support for the primary structure (for example, dressing rooms, rehearsal spaces or prop and set design). Other forms of support are smaller single use / mixed use spaces (galleries / dance studios). Final stage of support will be for the user of the spaces (Bars, Restaurants and Campi [squares]). Phase 3 structures are smaller still and in most situations they would act independently within the city away from the Phase 1 & 2 structures which will on occasions aggregate together to form new large island extensions of Venice for the contemporary. Phase 3 structures would be accessible to all and in most cases the structures would be open to the elements therefore only making subtle reference to the other structures through appearance and use. All of these structures will be supported by floating pontoons to counter the changing tidal levels and the acqua alta events (flooding). These events at times will allow the structures to integrate further with the city. For example during an acqua alta event the smaller structures could float off the canal and into a campi, where it would remain until the next flooding event.
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Figure 5: Example of Grid Deformation Study
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Technical and Technological questions As a member of Abstract Machines I have been taught and have explored the use of Rhino and Grasshopper to study, analyse, develop and produce performative diagrams and models to enable me to design the adaptive social and cultural landscapes mentioned in my personal position. Grasshopper is a tool known as a plugin for Rhino, which allows a designer to generate and explore new geometries using generative algorithms. Within my thesis grasshopper has been used as a tool to analyse and test through to design. One of these areas I have used it is in the production of a weekly analysis describing the tourist movements and volumes in the primary attraction locations of the city. To do this the yearly data was compiled and used along with geographical data and events throughout the year. All of the data then deforms a grid imposed across the city. A greater deformation shows higher tourist footfall in depicted areas. This study has aided in the identification of locations where my structure/s can influence the city or be influenced by the city at differing times of the year. Influence could be directly linked to the local and tourist population. Another analysis has been of a physical geographical nature, describing and defining events of acqua alta and weather conditions which will enable development within design. I have studied the city using material tectonics of solid and liquid in a multitude of forms. Grasshopper has allowed the development of a structural system which provides variation not only to the eye and touch when close but from a distance. The system would become bespoke for each individual stage of the plan. This has been made possible by not only studying geometries and material qualities thorough computer simulations but also from physical to the computer and back to physical. Having this process has allowed me to understand how a material behaves in both the physical and digital realities to the point that I can further define and predict an outcome in both variations. This becomes an important technological ability for development of design.
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Figure 6: Geographical Implications and Historical Context
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Further Development Thinking about the larger position of the project as a master plan for development and growth along with my architectural position, I would firstly provide design concepts for other uses of the technology and technique allowing for a further depth of interaction with the permanent populace of Venice. From this developmental stage I would attempt to expand the project to locations with similar geographical implications and or historical context. This would give a new foundation to the thesis though the environment which is to be built within but the cultural, social and political influences will cause adaptation to the final outcome. This would be possible through the tools which have been designed tested and developed allowing simulations with some minor primary source data, of which most is becoming open source, in turn providing a far faster analytical process to undertake and progress into the design stages but keeping to the key and fundamental positions I have set out throughout the project.
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Report 2: Management and Law Contents Planning Issues Development Appraisal Scenario Procurement & Risk with Architectural Practice Professional Reflection
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Phase 1 movement routes Phase 2 movement routes Phase 2 interaction area Phase 3 interaction area
Figure 7: Master-plan interaction map
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Planning Issues As described in section 1.3 The Design Thesis the main focus of my design thesis is single primary structure which will form a multi-use (seating and or standing) performance house for music, dance, theatre and film genres of contemporary art. During seated performances the structure has a capacity for 425 people seated in the auditorium (main hall and balcony), standing only has a maximum capacity of 600 people using 2.5 people per m2 and an additional 100 seated people if the balcony is used during a standing performance. With my project being situated within (floating on) the Venetian Lagoon this both creates and negates issues that may occur with regards to planning. In the most part although the structures will be permanent on their individual pontoons they will have the ability to move due to their floating nature, so in some ways the structures of the master-plan could be considered temporary to each location through dismantling, relocation or reuse. This would only not be the case if as mentioned previously one or more of the structures are floated off the water ways because they have made use of the flooding caused by the acqua alta, this would be a conscious and approved decision made by the user of the structure and the Venetian authorities. With regards to transport, Venice has an extremely well run and efficient water-bus service. This service has the ability to be adapted for special events and in response to the acqua alta. I feel it would not cause a big disruption if the primary structure was added as a varying stop into some of the routes. A specific new specialised serviced could also be designed into the master-plan to further alleviate any issues or disruptions. With the realisation of the thesis the added infrastructure will add to / reinforce / enhance the existing on cultural, social and environmental levels from micro through meso and to macro levels of integration within the city. One key aspect of the structures that has needed to be addressed is that on some of the structures there will be waste created. This waste will be both human bodily waste and material waste. For both of there will be waste storage and disposal areas. Within Venice there is an effective waste collection service for the material waste, this is in the form of a barge where by the structures could have a conveyor system (the primary performance house) where the waste is delivered via the conveyor onto the waste barge, all other structures would more than likely require manual labour to transfer the waste to the barge. Human body waste will be put through a treatment process before being either removed or re-used. The brown waste water from sinks, toilets and other liquid based waste will be processed by a sewage treatment unit located within the pontoon (the location is for ballast and buoyancy reasons), grey water will be stored in a storage tank where when not being emptied it will be re-used within the toilet systems, solid waste will be also stored for short periods of time before being removed by a bespoke tanker barge which will pump the waste from the tanks. In some instances structures may be able to link directly into the Venetian sewage system. These precautions have been taken so not to further contaminate the lagoon or cause any unwanted and unpleasant air pollutants.
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Figure 8: City docks
Figure 9: Vaporetti construction and maintenance yard
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Development Appraisal Scenario Due to the adaptation and variance within the location of the thesis proposal there will be no defined site. However there will be locations where long-term docking or mooring could take place. These locations would be serviced by grid power, telecommunications and waste management as mentioned within the previous section. With these implications the ‘land ownership’ would be in the name of the City of Venice. In doing so the structure/s would also be owned by the City of Venice, meaning the project would be publicly paid for and owned. Using a public approach would enable faster temporary requisition or hire of locations within the city for construction and maintenance with the infrastructure in-place at a lower cost, in some cases this could be written into site lease agreements. I had originally envisioned that the project would be privately owned by La Biennale di Venezia. Doing so would have put the control of use, cost and development in the hands of a prestigious cultural organisation which may have been advantageous. I made the decision not to do this for the following reasons. Firstly the positioning and locating of the structure/s would require a negotiation process which being publicly owned can be avoided. Venice can rent the structure to La Biennale di Venezia and other parties or solo ventures to gain an extra income, in doing so a monopoly and agenda of a privately owned development can be averted. The proposal is not just targeted to the tourist population but also the local population and the incorporation of the project within both populations becomes easier if there is primary involvement through public ownership. If however during the lifetime of the structure it would become advantageous to Venice that the development is sold to a third party this would be possible due to the adaptability of the system employed.
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Procurement & Risk with Architectural Practice Throughout the structures of the master-plan there are three primary structural elements which will require specialist attention; these are the pontoon/s, primary external and internal timber structures and the glazing requirements. It is for this reason BIM (Building Information Modeling) would be appropriate and utilised. The process that would be followed is as follows (for the purposes of this report RIBA guidelines and documentation have been used); 1. Architectural design (2D & 3D design) of all elements would be undertaken to Stage 3 of the RIBA Plan of Works 2013 where the 3D visuals will have been presented and a final conceptual design will have been approved by the client (City of Venice). Within the Architectural Design team a Lead Designer will be appointed. Levels 0 & 1 of the BIM Maturity diagram will be completed at the end of this stage. 2. Using BS 1192:2007 Collaborative production of architectural, engineering and construction information – Code of practice the model would be distributed to the specific subcontractors (eg. pontoon designers). Work would be carried out using a plug and play 3D information model. This will be overseen by an appointed project manager who would be referred to as the Model Manager at this stage. There will be collaboration here between the Model Manager and the Lead Designer to clarify the required outputs and inputs at each stage of the design progression for the Technical Design at Stage 4. Models at this stage will be individual where integration of model components will be managed by the Model Manager. This will form the majority of Level 2 on the BIM Maturity Diagram. 3. Towards the end of Level 2 looking forward towards Stage 5 of the Plan of Works the Lead Designer and the Model Manger will begin planning of asset management (4D) and outline cost models (5D). 4. When all issues of technical design have been completed a Single Integrated BIM Model will be finalised which will be distributed to all subcontractors for final checking and sign-off. At this stage all subcontractors will become legally liable under their individual indemnities for their construction elements. Parts 4D and 5D can be finalised and part 6D (Asset Lifecycle Management) of the Maturity Diagram can be calculated. 5. With the completion of Level 3 of the BIM Maturity Diagram Stage 5 (Construction) can commence. At any stage during construction there is an amendment required the requirement will be requested by the Project Manager and the amendment will be made in accordance with the Single Integrated BIM Model. 6. Asset Lifecycle Management data is issued to the client on completion of final inspections within Stage 6 Hand-over and Close Out. By the end of this stage all charges will have been made.
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Primary concern within the design will be the loading and engineering of the pontoons. The pontoons will require a sophisticated bilge and buoyancy system (this has been diagrammatically described in figures 1 & 2). The project will be computer design lead and in the fabrication of the of the primary shell computer automated construction methods will be employed. Construction requirements will be designed to allow for the most cost effective methods of construction and availability of labour. As the project is a publicly funded project the ethos of ‘time is money’ will be a factor at all stages of design and construction. For a costing estimate Spon’s architects’ and builders’ price book (Langdon, 2014: 74) has been consulted. Building price per m2 of Concert halls, including seating and stage equipment seamed the most appropriate. The cost listed is £2,175.00 to £2,700.00 or approximately 3,040.00€ to 3,770.00€ using current exchange rates. The approximate m2 of the design is 7,360m2. Due to the complexities of the design the estimated building cost has been calculated using the higher cost per m2, this gives a total estimated cost of £19,872,000 or 27,747,200€. Using a fee of 4% for a New Build Traditional contract which has been calculated as the median fee for a project of this size by the Architects Journal ‘AJ 100’ (Tether, 2014) the architectural fee of the project will be approximately £794,880 or 1,110,000€.
Figure 10: BIM Maturity Diagram (Bew -Richards)
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Professional Reflection My long term goal is to firstly gaining a further understanding of the role of the architect outside of an educational environment, this will be done by working as an architectural assistant within an established architectural practice. One enough experience has been gained I wish to progress with my own personal architectural evolution and look to complete the RIBA Part III. After working and gaining a portfolio of professional work and contacts I would like to be in a position where firstly I could be working within a practice as an associate or eventually a director, this is also an option through ownership of my own practice. Along with progression through professional practice I would be interested in becoming involved in a parttime academic path within a university as a design tutor. I had the opportunity during the second semester of my first year of the MArch to be an assistant 1st and 2nd year studio tutor. During the course of the degree I have continued my extracurricular activities of being a Rugby Union Referee with the Yorkshire Referees Society. It was at one of these games that my current occupation of architectural student had been printed within the match day programme, a spectator read this and contacted me with details of a practice he knew was recruiting. As of the 8th of June I will begin my employment with Halliday Clark Architects as an architectural assistant. This was an offer made to me after a successful interview in March. Halliday Clark Architects are a national architectural practice based in Shipley within West Yorkshire. The practice has grown over 22 years and delivers Architectural, Interior Design, Masterplanning and Product Design services. The project that I will be involved with will include residential, educational, commercial and cultural buildings, located across the UK. After being introduced to the practice and the work that they undertake, I feel that working at Halliday Clark will enable me to progress with the evolution of my personal position in architecture due to the work which is carried out being driven by the vernacular aspects climate, culture and material. Again as mentioned within my personal position I will be required to work outside my comfort zones due to the necessity of learning a new technique and computer program in the form of Revit. I am extremely pleased to be given this opportunity without the hassle that I endured finding my year out position between undergraduate studies and post graduate. I look forward to the further experiences and opportunities this will bring.
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References Langdon, D. ed., 2014. Spon’s Architects’ and Builders’ Price Book 2014. [e-book] Abingdon, Oxon: CRC Press. Available through: Leeds Beckett University Library Catalogue <http://catalogue.leedsbeckett.ac.uk/> [Accessed 25 April 2015]. Lehnerer, A., 2013. Grand Urban Rules. Rotterdam: nai010 Publishers. Norwich, J. J., 2012. A History of Venice. [Re-issue edition] London: Penguin Group. Sinclair, D. ed., 2012. BIM Overlay to the RIBA Outline Plan of Work. [pdf] RIBA. Available at: <http://www.architecture.com/files/ribaprofessionalservices/practice/general/bimoverlaytotheribaoutlineplanofwork2007.pdf>
[Accessed 11 April 2015]. Tether, B., 2014. AJ100: survey analysis + data. The Architects’ Journal, 239(19), p.154.
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Richard Andrew Fitzroy Arthur - 33254828
Richard Andrew Fitzroy Arthur
BA(Hons)
Nationality Date of Birth Address (Home) Address (Current) Mobile Email Website
British (UK) 19-10-1990 2 Tweed Close, East Ord, Berwick-upon-Tweed, TD15 2LU Flat 3A, iQ Leeds, Cross Chancellor Street, Leeds, LS6 2TH 07805348845 rafarthur5bs@hotmail.com www.richardarthurdesign.co.uk
Availability
From 8th June 2015
I am looking to work within a multidisciplinary practice that will enable me to develop my skills and understanding of the profession. I strive to push beyond my comfort zones.
Education 2013 - Current
RIBA Part II (due to complete May 2015) MArch Leeds Beckett University
2009 -2012
RIBA Part I (2:1) BA Hons Architecture University of Lincoln
2006 - 2009
A Levels (BCC) Berwick Community High School
2002 - 2006
Standard Grades (8 x A-C) Jedburgh Grammar School
Computational Tensegrity Torus Tunnel (MArch 1)
Professional Experience Sep 2013 - Current
Maden Eco Ltd. External Consultant Renewable Energy Applications
2014 - Current
Leeds Beckett University Sketchup Tutor for Film School (2015) Assistant Tutor for years 1&2 (2014) Other professional roles & experience.
Nov 2014
British Council British Pavilion Steward 2014 Venice Architecture Biennale
Project concept sketch for Venice (MArch 2)
Jun 2014 - Sep 2014 Maden Eco Ltd. Jun 2012 - Sep 2013 Architectural Assistant Residential Design & Build Renewable Energies Jun 2011 - Aug 2011 Edwin Thompson Architectural Assistant Residential Design Agricultural Design
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Mirrored Tension Torus (MArch 1)
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Architectural Skills Proficiency in
Auto CAD Google Sketchup Adobe Photoshop Adobe Illustrator Adobe Indesign Model Making Office
Understanding of
Rhinoceros Grasshopper Rendering software Website Design RIBA Plan of Works, Contracting and Fees Construction techniques
References Employer
Mr Simon Maden & Mr Andrew Maden Directors of Maden Eco Ltd. simon@madeneco.co.uk 01289 333110 Letter of Reference available on request.
Academic
Mr Keith Andrews Design Studio Tutor K.Andrews@leedsbeckett.ac.uk
Character
Mr Colin Senior Coach (Rugby Referee) colin_senior@hotmail.com 07836 296131
ARCHmedium competition entry.
3D Visualisation of no.2 Chapel Street proposal (Maden Eco)
Experience, Interests & Awards 2008 - Current
Rugby Union Referee - Level 7 Yorkshire Referees Society Borders Rugby Referee Society
2008 - Current
UKCC Badminton L2 Coach (BE Registered)
2013
ARCHmedium Competition Entry Entered by Leeds School of Architecture
no.2 Chapel Street during construction (Maden Eco)
http://en.archmedium.com/Concursos/End_RMCP/ Results.php
2011 - 2012
University of Lincoln Badminton President
2009 - 2011
East Midlands University Air Squadron Rank: Officer Cadet
2009
100 PNR SQN 168 PNR REGT RLC (V) TA Rank: Private
2008
Planning Elevation for extension proposal (Maden Eco)
Duke of Edinburgh Gold Award
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