Building Technology Report

ADVANCED BUILDING TECHNOLOGY ACM011 ROBERT MORGAN

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CONTENTS

01 Introduction and Brief 02 Site Analysis and Context 03 Final Proposal Drawings 04 Precedent Study 05 Architectural Intent 06 Creating the Scheme 07 Building Process 08 Environment and Services 09 Reflection and Conclusion 10 References

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INTRODUCTION AND BRIEF

To the north of Bergen there is a small suburb, Eidsvag, which is an inlet from one of the main fjords running through the area. It has the North Sea to its west and the high, steep mountains to the east that Norway is synonymous with. 60m above Eidsvag, to the east is the lake Jordalsvatnet which is fed by a series of rivers from the steep mountains that rise high both to the north and south of the lake.

As already mentioned, the Bergen area is fortunate to have a series of mountains that surround it. The city itself is a huge tourist attraction and many of those tourists come to hike over these mountains that allow for incredible views over the entire city. This is where the project was born from, the idea of extending the existing hiking route around Bergen over to our new settlement.

From this came the development of the Hydro-electric dam. Currently, Norway is heavily dependent on Hydro-Electricity as their primary energy source with it supplying over 96% of the national demand in 2014. Throughout the country there is an ongoing programme of investment in new H-E stations. Much of the existing infrastructure for these H-E dams can be traced back to the early and mid-20th Century, having to respond to the growing energy demand after the wars. Although, there has been an increasing despondency with the public towards the creation of new dams and I feel that this is because the current model of dam has never been a place for public engagement.

The utilization of the vast redundant mass, inherent in inefficient dam walls, will come through the hiking route where the public will be able to engage with and experience the dam.

This may provide the solution to readdressing our social relations with the essential hydraulic infrastructures. If the traditional ‘divisive wall’ mentality can be physically traversed, society, on the face between two states (civilization and its resource), could begin to better understand waters use and function.

My proposal is towards a new meaning for the dam - away from the image of solitary hydrological infrastructures, and towards a model which is integrated with society, which may help alter the public perception of the essential infrastructures and reduce many of the negative consequences associated with dam management. Through the ideals of this dam, it is hoped that the cultural attitude towards their creation will be re-addressed and that society will be capable of living with dams.

The dam as mentioned would become more than just a wall; it will be a moment during the 22km hiking route that surrounds Bergen and eventually Eidsvag. It will allow people to cross the lake as well as give them an opportunity to view down into the Turbine Station as they walk behind it.

As well as the dam itself my project also includes a small rest-stop and an accommodation unit that extend off the north of the dam. These will be the focus of this report with the dam being a sculptural piece.

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SITE ANALYSIS AND CONTEXT

Unit 2 have been looking to Norway and investigating what it means to have an economy dependent on oil revenue from the North Sea and what would happen if that oil supply ran out? Could Norway’s and by implication Scotland’s economy flourish without oil? Together we have explored what the environmental, resource and economic alternatives are for Norway, a country that is almost solely dependent on oil.

We looked at each area individually; Sandviken is positioned just north of the city centre, it is the ‘Old Town’ of Bergen and is rich in the history that has previously been mentioned. Eidsvag is further north again than Sandviken, it is positioned along the coast of an inlet at the bottom of a valley. It is currently a very sub-urban area made up mostly of detached housing. Further north is Åsane, it is a larger area than both Sandviken and Eidsvag but is filled mostly with warehouses and industrial buildings.

The Eidsvag area consists of an agglomeration of housing around the perimeter of a beautiful marina and a large lake to the east called the Jordealsvatnet. The mountains surrounding this area create a natural amphitheatre with it focusing down onto Eidsvag itself. Separating the lake from the Eidsvag Gulf is a strip of land which once housed the Eidsvag factories. These were originally for mill use; in the 1600’s they were grain mills and then were transformed into copper mills. In the late 1800’s the factories were bought over and modernised into textile manufacturers and distributors. This industry was the cornerstone which fuelled the development of the area.

Today the buildings serve as commercial space, with the surrounding marina primarily occupied by the rich.

This displays that the area is historically circum to a changing industry and the introduction of a new industry would not be out of the ordinary. We found that Eidsvag is in an ideal situation for the Maritime Industry. Its geographical location, being on an inlet of a fjord leading out to the North Sea gives easy access for ships to circulate through. It also gives a chance for infield research to be carried out. Heavily protected by the surrounding mountains from weather conditions, the sea is kept reasonably steady throughout the year. There is also potential for ship building to be introduced as part of the maritime industry due to the fact that the inlet has potential to become a deep water port.

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Hours of Daylight and Twilight

Daily Sunrise & Sunset with Twilight and Daylight Savings Time 10

Winter Solstice 1000 - 1200 - 1400 SITE SHADOW STUDY These diagrams show the shadows over the site during winter and summer solstice and spring/autumn equinox.

As can be seen, during the winter months the sun stays so low that there is never direct sunlight onto the site. This is in complete contrast to the summer where, as Bergen has a high latitude, the sun is almost always on the site, from 6am through to 8pm.

This is going to have an heavy impact on both direct lighting into the building and the heating that could be gained from direct sunlight.

Spring/Autumn Equinox 0800 - 1200 - 1700

Summer Solstice 0600 - 1200 - 2000 11

Median Cloud Cover

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Probability of Precipitation at Some Point in the Day

CLIMATE STUDY Bergen features a temperate oceanic climate. Areas of the municipality at some higher altitude are largely oceanic sub-polar, with cool winters and mild summers. Bergen’s weather is warmer than the city’s latitude (60.4° N) might suggest. The Gulf Stream provides the city with the warmest winters of all cities in the Nordic countries. Bergen experiences plentiful rainfall in all seasons, with annual precipitation measuring 2,250 mm (89 in) on average. This is because the city is surrounded by mountains that cause moist North Atlantic air to undergo orographic lift, yielding abundant rainfall.

Though rain is the predominent percipitation in Bergen they also have a reasonable amount of snowfall during the winter months. This is something to consider during the design phases as snow loads on the roof could play a part in how they could be shaped.

Probability of Snow Fall Being Reported in a Given Day

Snow Depth when there is Snow on the Ground 13

WIND DIRECTION AND STRENGTH Over the course of the year typical wind speeds vary from 0 m/s to 8 m/s (light air to fresh breeze), rarely exceeding 13 m/s (strong breeze). The highest average wind speed of 5 m/s (gentle breeze) occurs around January 11, at which time the average daily maximum wind speed is 8 m/s (fresh breeze). The lowest average wind speed of 3 m/s (light breeze) occurs around August 2, at which time the average daily maximum wind speed is 5 m/s (gentle breeze).

The prevailing wind during the winter is from the North West, coming off the North Sea and during the summer it comes from the opposite direction, moving down over the mountains and through the valley.

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Proposed new Tram Line

Main Road Access

Existing Tree Line Lower Resevoir Upper Resevoir

Views from the Lake

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Site Views

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The Bergen Arcs is a folded stack of Proterozoic and Lower Paleozoic rock units that define a large fold structure that is clearly visible from topographic maps, geologic maps and satellite images. The rocks, strongly influenced by Caledonian deformation and metamorphism, generally show a pronounced foliation or metamorphic layering that dictate the location of valleys and ridges, which makes the arcuate structure quite conspicuous from topographic maps and satellite images alike.

Two of the arcs, known as the Minor and Major Bergen Arc, contain Upper Cambrian to Ordovician greenstone, metagabbro and metasediments interpreted as dismembered ophiolite fragments, overlain by sheared Upper Ordovician – Silurian metasediments.

The Minor Bergen Arc is narrower and contains more intensely strained rocks than the wider and longer Major Bergen Arc. It also contains a higher number of mylonitic basement slivers (gneisses).

Between the Major and Minor Bergen Arcs are the Proterozoic BlĂĽmanen and LindĂĽs nappes, the latter containing Caledonian shear zones where Sveconorwegian (Grenvillan) granulites, many of anorthositic composition, are transformed into eclogite. Conglomerates of this unit show amazing strain gradients and variations in strain geometry. Around the area of Eidsvag the ground here is made of the Bergen Gneiss or Granite. (Folk.uib.no, 2016)

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FINAL PROPOSAL DRAWINGS

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*DRAWINGS ARE NOT TO SCALE*

CAFE FLOOR PLAN

ACCOMODATION GROUND FLOOR PLAN

LOWER GROUND FLOOR PLAN 20

SITE PLAN

SOUTH ELEVATION

LONG SECTION THROUGH SITE

ROOF PLAN OF SITE 21

PRECEDENT STUDY

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Villa Busk, Sverre Fenn, Bamble,1990

V-Lodge, Reiulf Ramstad Arkitekter, Ål, 2003

The house settles on the lot chosen by the designer and sheds light on the physical, morphological and material. The natural elements already present and characterize the site – the six large trees, rock outcrops, the sudden altitude towards the small valley with a creek at the bottom – they become an integral part of the project.

This all-year cabin is located in the mountains above the village Ål, amidst cross-country ski tracks in winter and hiking tracks in summer.

The project has had a particular ambition to adapt to the existing topography and natural surroundings, while taking advantage of the beneficial opportunities of the site.

The ground is just caressed, tamed by the architect who, in building, interwoven with the surrounding dense dialogue, aware that the traces left by man, although modifying the environment, become precise guidelines for who is going to live there. This attitude is something quite different from a misunderstood than “green” as explained by the same architect. The steps convey the feelings of one who walks in the landscape. (Bilà, 2014)

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Simplicity and restraint characterize the lodge in its form, program and materials. The building consists of two bodies united in a V-shaped plan with a south-facing glazed wall at its chamfered intersection. The main branch accommodates the entrance hall and combined dining, kitchen and living zones, orientated in parallel with the contours of the topography. The second branch contains a bathroom, three bedrooms and a youth lodge at the far end, each on stepped levels in alignment with the falling terrain. The exterior is entirely clad in pre-patinated heart pine on the walls and pitched roofs, providing a homogenous skin that blends in with its surroundings. (Ramstad, 2015)

Paspels School, Valerio Olgiati, 1998

Norwegian Vernacular Houses

Designed with clear, simple lines by Valerio Olgiati, the structure forms a striking contrast to similar projects in the area. It is distinguished by an economic exploitation of the site and by the use of materials familiar from agricultural buildings in the region. The three-storey structure in exposed concrete rises like an outcrop of rock from the Alpine meadows. The different treatment of the circulation routes and the functional areas is reflected externally in the -facade. At those points where corridors or staircases occur internally, the fenestration is flush with the outer wall surface. The cruciform layout of the circulation system allows the ingress of daylight from all directions, which results in changing spatial impressions in the course of the day. In contrast to the corridors and staircases, which are entirely in exposed concrete, the classrooms are lined internally with wood. Here, the long window strips are set flush with the inner face of the wall and frame distinct views of the surroundings. The concrete internal walls and the floor slabs, designed as a monolithic structure, form an independent loadbearing framework that is tied to the exposed concrete envelope by shear connector pins.

All abutments between walls, floors, etc. are articulated with shadow joints. (Detail-online. com, 2016)

Until the 20th century, most Norwegians lived and worked in buildings that were designed and built according to vernacular building traditions, what in Norwegian is known as byggeskikk.

These practices varied somewhat by region and climatic conditions and evolved over time, but were largely based on use of wood and other locally available resources.

Since the Middle Ages, most dwellings were log houses with notched corners, carefully crafted to ensure protection against the elements.

Centrally placed open-hearth fires with smoke vents in the roofs gave way to stone stoves and chimneys in early modern times. Specialized buildings became commonplace, organized around farmyards or g책rdstun. The introduction of exterior boarding (weatherboarding) in the 18th century improved housing standards considerably and gave rise to larger houses.

Building traditions varied by region and type of structure. Food storage houses - stabbur were usually built on stilts in ways that made it difficult for mice and rats, but not cats, to get in.

Exterior cladding varied by region, often to take into account local climate conditions. Roofs were often covered with birch bark and sod.

(Wikipedia, 2016)

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Marie Short House, Glenn Murcutt, 1980

Murphy House, Richard Murphy, 2014

Located on farmland in northern coastal NSW the Marie Short House was designed in the 1970s, later purchased and altered by Murcutt in 1980.

The 1974-75 house plan is disarmingly simple with two almost identical pavilions, rotated and slipped; one for sleeping, the other for living. The strategy to repeat and distinguish the pavilions by function is extended to the kitchen and bathrooms where each functional component is individuated, repeated and grouped as a cluster of cells. The spatial contrast between the service and living zones heightens a sense of generosity in the larger rooms.

The house sets out to achieve a number of architectural ambitions. Firstly it acts as a ‘bookend’ to the above mentioned gable, hiding as much of it as possible. The elevational treatment continues the pattern set up by the Hart Street houses of an indented ashlar base, string courses and a significant cornice which is now terminated by becoming the roof edge of a dramatic sloping roof. This roof made mostly of glass with inset photovoltaic cells is designed both to ensure daylight to the adjacent basement flat on Forth Street and also to act as a major collector of solar energy. Inside the roof are a number of insulated shutters which are capable of closing when the roof is in net heat loss mode and opening when there is a net heat gain. In addition the photovoltaic cells power an industrial fan which draws air from the very top of the house to the semi basement to both counter the stack effect but also to store heat in a rock store placed in the solum for night time heating. The external form of the house is completed by a garage with a small roof terrace above.

The 1974-75 house was conceived in terms of existing timber, stockpiled by the client. An expressed post and beam structure draws on farm shed construction techniques. The assembly system and junction details were developed in order to accommodate the client’s wish to pull apart and reassemble the components for future relocation of the house.

This ambition for conservation and reuse was realised when Murcutt altered the property in 1980. In this House Murcutt offers a centred enclosure as well as the spatial repetition and extrusion of a machine. The abstract and original re-presentation of familiar forms such as the pitched roof and entrance porch using local techniques and materials assigns the building an important position within the pursuit and evolution of modernist architecture in Australia.

(OZETECTURE, 2016)

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Internally an interlocking section places the living/dining and kitchen on the first floor with the master bedroom at the apex of the section capable of opening up and closing to the living space. A study sits between entrance hall and living room and a bedroom is placed on the ground floor and a further bedroom in a semi basement. (Architects, 2016)

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ARCHITECTURAL INTENT

PROJECT FOCUS POINT AND ARCHITECTURAL AMBITION This report will be focusing mainly on the accomodation section of the scheme. This is the building situated to west end of the site. As can be seen from the drawings shown previously there is almost three elements to this building; there si the conrete wall that runs across the whole site, the timber framed Entrance Floor that holds the main living spaces and then there is the Lower Ground Floor which holds the sleeping rooms of the scheme.

The intent for this scheme as a whole is to be of a reductional quality, a somewhat utalitarian architecture, honest in it’s materiality and structure. With the nature of the scheme meaning it is going to be in frequent use the materials have to allow for this, being robust and not subject to poor durability. As this scheme is intended to be a moment for hikers during their walks to stop and rest, a strong relationship to the old hiking huts or ‘bothies’ is needed through structure, materiality and down to the fittings that are used through the building. The innate simplicity of the vernacular houses and huts is to replecated with a more modern expression.

This project is about craft and the making of elemts that come together to create the architecture. While this zoomed in response to the scheme is important to understand how it works, keeping an established relationship with the landscape that surrounds the site is key for this scheme to be successful.

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CREATING THE SCHEME

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SITE PREPARATION Space cleared for site storage

As seen from the drawing of the site here, there is an existing road that runs down the hill to the North West of the site. This road is the only current access to the site for vehicles meaning that, if necessary more space may need to be made. Space will be needed to store materials, tools and an area needed for the site office.

I propose for this space to be to the North of the site (represented by the blue rectangle on the map). This space is reasonably flat and is close enough to the site for security and easy of material distribution. The road is single carriageway which is suitable for heavy loads but extra care may be neccessary for wider than normal loads.

Site Outline

Ground excavation work will have to be done from the top of the slope as access to the underside is impossible.

• Excavation is advanced by using earthmoving equipment • Overlying clean soil is removed and stockpiled • Contaminated soil is removed and disposed • Clean stockpiled soil is replaced to extent possible • Excavation sides are sloped or supported • Methods can be combined to achieve greater excavation depths

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1. EXISTING SITE

3. RETAINING WALLS

As mentioned, the site slopes upwards quite steeply from the lakeside. The only access is from the top of the slope. The access road runs to the North edge of the site.

The retaing walls will be erected as the site is excavated to prevent the soil from caving back into the space that was excavated.

The retaining walls will also provide the base for the timber structure to sit on.

2. SITE EXCAVATION

4. TIMBER STRUCTURE

Ground excavation work will have to be done from the top of the slope as access to the underside is impossible.

As mentioned, once the concrete retaining walls are constructed the timber structure will sit on them. The lightweight timber will bare less of a load on the retaining walls compared to the likes of brick, concrete or steel.

•Excavation is advanced by using earthmoving equipment •Overlying clean soil is removed and stockpiled •Contaminated soil is removed and disposed •Clean stockpiled soil is replaced to extent possible •Excavation sides are sloped or supported •Methods can be combined to achieve greater excavation depths

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BUILDING PROCESS

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Timber Purlins STRUCTURAL AXONOMETRIC Timber Rafters - Depth dependent on load calculations and length of span

Timber Posts - Sizes dependent on loads from roof etc Concrete exterior stairs

Concrete Wall

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The axonometric shows the project in it’s entirety.

This drawing shows the elements that make the building as seperate. It shows the build up of the two buildings in my scheme but, as mentioned, the focus will be on the accomodation block.

Edge of Roof

LAYERING DIAGRAM The layering diagram allows to identify potential difficulties that could occur with regards to thermal bridging, waterproofing, construction joints and openings in the fabric of the walls and roof.

Window junctions, lintel, spandrel panel, reveals

Here with this diagram I have pointed where the difficulties that I have mentioned previously could happen. I will work from the Lower Ground Floor to the roof; identifying, analyzing and testing a number of options that could be used and what the potentialities of each of these are.

Possible Problems: Basement and Retaining Wall - Waterproofing and Damp

Floor Junction

Intermediate floor junction - Noise transmition from ground to lower ground floor Window and reveal - Thermal bridging, heat loss and daylighting Roof Junction waterproofing

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Thermal

bridging

and Ground slab, junction with foundation

DIAGRAM OF LAYERS, LOAD BEARING ON INSIDE

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LOWER GROUND FLOOR Basement Wall A key question in foundation design is whether to place insulation on the inside or outside surface of the basement wall. Ive shown the different options tht are available in the diagram opposit. In terms of energy use, there is not a significant difference between the same amount of full wall insulation applied to the exterior versus the interior of a concrete or masonry wall. However, the installation costs, ease of application, appearance, and various technical concerns can be quite different.

Individual design considerations as well as local costs and practices determine the best approach for each project. (Web.ornl.gov, 2016)

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The options in the diagrams to the left here show how a retining wall could be built and where the forces act uppon them.

Rigid insulation placed on the exterior surface of a concrete or masonry basement wall has some advantages over interior placement in that it can; provide continuous insulation with no thermal bridges, protects and maintains the waterproofing and structural wall at moderate temperatures, minimizes moisture condensation problems and does not reduce interior basement floor area. Exterior insulation places the foundation wall within the thermal envelope. This means the wall will be warmer in winter, and moisture is free to dry to the interior.

Because of this, impermeable materials like oil paint, polyethylene, or vinyl wallpaper should not be used as interior finishes.

Though exterior insulation is often more expensive that insulating the interior, the positives that come with it, I believe, are worth the extra cost.

Retaining wall

a. Gravity Wall - this wall holds the earth back mainly through it’s own weight. This wall is susceptible to pivotting under high pressure and could eventually topple b. Piling Wall - this type can potentially hold high loads but that is depending if the piles are deep enough to resist the bending forces c. Cantilever Wall - these use the same earth pressure trying to topple it to stabilise itself with a seccond lever arm c

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d. Anchored Wall - this uses heavy duty cables driven into the soil or rock to stop toppling. They are fixed by expanded anchors 31

CONCRETE WALL The long concrete wall is the main element of the scheme. It is important that this element is completed to the highest standard, the formwork that is chosen creates the right surface, the thickness of the wall the right size.

I have taken precedent from the Paspels School by Olgiati. The wall is composed of interior concrete wall that is structural, the exterior concrete wall is hung from this by steel sheere bars. A layer of insulation is sandwiched between the two layers of concrete.

As mentioned the formwork that is chosen to make this wall is highly important, not only for the texture that comes from the different materials but the way in which it is constructed. I have looked at a number of different options to see what the best option would be.

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TIMBER PANEL FORMWORK

LOW GRADE PLYWOOD FORMWORK

Timber for formwork should satisfy the following requirement:

Resin bonded plywood sheets are attached to timber frames to make up panels of required sizes. The cost of plywood formwork compares favourably with that of timber shuttering and it may even prove cheaper in certain cases in view of the following considerations:

It should be, well seasoned, light in weight, easily workable with nails without splitting and free from loose knots Timber used for shuttering for exposed concrete work should have smooth and even surface on all faces which come in contact with concrete.

It is possible to have smooth finish in which case on cost in surface finishing is there.

By use of large size panels it is possible to effect saving in the labour cost of fixing and dismantling.

Number of reuses are more as compared with timber shuttering. For estimation purpose, number of reuses can be taken as 20 to 25.

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HIGH GRADE OSB FORMWORK

STEEL FORMWORK

RAW MATERIALS USED

Low thickness swelling and high dimensional stability

This consist of panels fabricated out of thin steel plates stiffened along the edges by small steel angles. The panel units can be held together through the use of suitable clamps or bolts and nuts. The panels can be fabricated in large number in any desired modular shape or size.

Steel forms are largely used in large projects or in situation where large number reuses of the shuttering is possible. This type of shuttering is considered most suitable for circular or curved structures.

High loading capacity

Steel forms compared with timber formwork:

Firm fit of fasteners even close to the edges

Steel forms are stronger, durable and have longer life than timber formwork and their reuses are more in number.

Steel forms can be installed and dismantled with greater ease and speed.

The quality of exposed concrete surface by using steel forms is good and such surfaces need no further treatment.

Steel formwork does not absorb moisture from concrete.

Steel formwork does not shrink or warp.

Debarked softwood from domestic forestry Paraffi n wax emulsion PU resin Water CHARACTERISTICS

Unsanded surface is recommended Up to three cycles and more with corresponding handling and care Use of mould releasing agent is recommended Recommended board thickness 20 mm The high grade OSB gives a smoother finish than the standard plywood boarding. There is also an oppurtunity to re-use these boards for fittings and the furniture in the accomodation.

The boards come in a standard size of 2500mm x1250mm. If the design of the wall could match the grid format that the boards will create it will reduce the amount that would need to be cut for modification.

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FORMWORK LAYOUT DRAWING I have opted to go for the High Grade OSB formwork as this I feel will keep in line the most with architectural ambition of the project. The finish that the OSB gives is clean but not as clean as the steel. This helps keep the idea of a rustic look to the architetcure. Though I could have gone for a timber formwork to give a closer relationship to the traditional norwegian houses, having to build such a large wall with that formwork is not feasible in terms of cost and the amount of material used.

The OSB will also then be able to be recycled into furniture, doors, fittings and such therefore creating less waste once the project is finished. This is turn brings the cost down which is always a positive.

The wholes from the wall ties will be filled to keep in line with the clean and even look of a more contemporary hut.

Elevation of Concrete Wall with the outline of the formwork 35

INTERMEDIATE TIMBER FLOOR As mentioned in the layering diagram section, a potential problem that could arise would be noise transfer through from the ground floor to the lower ground. The amount of impact noise heard within a lower storey will depend upon many factors although primarily on the force with which the impacting object struck, the vibration transmission characteristics of the floor structure and the floor covering. (Gov.scot, 2016)

FLOOR IMPACT

DIRECT TRANSMISSION FLANKING TRANSMISSION

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In Scotland new and refurbished residential properties are controlled under the Building Standards Regulations to ensure a minimum performance standard. The standard method of measuring and rating sound insulation is provided within International and British standards, BS ISO EN 140 1 and BS ISO EN 717 2 respectively. (Gov.scot, 2016) Noise is a complex quality to measure and control due to the variation in frequency spectrum, volume and perception. The method of noise transmission may be via air or structure.

The following are some typical sources of domestic noise: television / radio (airborne) amplified music (airborne) people speaking or shouting (airborne) doors / cupboards closing (impact) footfall noise (impact) furniture being moved such as chairs (impact) The introduction of a high quality insulation layer will lessen the transmission of noise through to the lower level. This could also become the insulation layer that houses the underfloor heating pipes.

SAWN TIMBER FLOOR JOISTS

TIMBER COMPOSITE FLOOR JOISTS

TIMBER AND METAL WEB FLOOR JOISTS

This is a more traditional form of construction technique. The timber is able to span the required lenghts that are needed in my building but would be verging on the maximum sizes in all measurements. This eventually becomes expensive and other options could possibly be more cost effective and benefit the structural integrity of the building.

These timber I-Beams can reach spans of up to 14 meters with the right depth. The I-Beam is made up of a plywood board centre beam and flanges made from laminated veneer lumber. The engineered timber i-beam joists deliver strength and rigidity, virtually eradicate floor movement and its associated problems thus resulting in greater floor performance.

These joists are parallel chord trusses utilising stress graded timber chords. These chords are plated together with engineered and manufactured structural metal components that make the metal web. These joists are similar in strength to the timber i-beams but allow for space in the floor that services can be run through. Though this could be a positive attribute to a bigger building this scheme has little if not no servives running through the floor so could be an expense that isn’t exploited.

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CONCRETE TO TIMBER CONNECTION From the layering diagram it can be seen that this area in the construction could become susceptible to thermal bridging problems.

One thing I want to happen in the project is for the concrete wall to seem a stand-alone entity from the rest of the structural architecture. I also want there to be an expression of the wall on the inside of the space.

The initial options I explored had the timber extrior running right to the concrete wall.

Though it is set back from the exterior edge of the concrete the language doesn’t allow the concrete to become an individual. I then looked at setting the structural timber away from the concrete wall to bring the timber cladding further from the concrete exterior. This was still not the finish I was wanting, the timber was still not allowing the concrete to stand alone. After going through a number of ideas I eventually started looking at the architecture of Richard Murphy. In his architecture he uses the effect of clerestory windows. One of the best examples of this is seen in one of the precedents that I looked at, his own house in Edinburgh.

The clerestory window will give the concrete wall space and the timber cladding will leave it to be idol. Though I explored a number options for this it started to become over complicatedin detail. With the timber structure reaching down behind the concrete wall, from the interior I felt the concrete wall was lost. As part of the architectural intent is simplicity I went back one of the original details and worked with that to put a window in. This I feel works the best.

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ROOF TO WALL CONNECTION There are a few things to consider when looking at the roof. I’ve looked at whether to have a hidden or revealed gutter. In keeping with the architectural intention I’m looking to relate back to the traditional hiking huts. Gutters were not used and rain water would either run off or be soaked up by the sod roofs. Though a gutter can be quite a nice detail I want to keep the architecture as peared back as possible, thus a hidden gutter is what i”ve gone for.

In terms of the structure, much like the intermediate floor, timber i-beams will be used.

As mentioned these are structurally more sound and a lot cheapeer than sawn wood.

When I first looked at the rafters I had in mind that, when using sawn timber the structure could be exposed, allowing the occupier to understand where the structure sits and give a rhythmic quality to the interior. I decided against this further into the project as the roof build-up became quite thick so as to meet the u-value standard. Also, with the structure hidden it allowed the space to become as simple as possible, once again relating back to the architectural intent.

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LOADS The three main loads that the foundations have to support are dead loads (static weight of structure, walls, roof and floors), imposed loads (for example building users and furniture) and wind loads. These loads can be calculated to determine the dimensions of the buildings foundations (Cooke, 2007).

Dead Loads are calculated on the next page.

Live Loads: All live loads are loads exerted in a vertical plane. As this is a residential building the loads here are going to predominently people and furniture. The live load tipycally given to a residential home is 1.92 kN/m2.

As Bergen can be susceptible to moderate snow fall, snow loads is another live load to consider.

Wind Loads: Shown in the site analysis the winds can be reasonbly strong from the North West in the winter and the South East in the summer. The building is sheltered on all sides other than the south meaning positive pressure will be on that side, especially through the summer and the negative pressure will be felt on the North.

Adequate bracing will be needed to ensure that racking does not happen.

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FITTINGS AND FURNITURE Opposite are a selection of images that represent the quality of interior fittings that I want my building to achieve. The pare-down nature of the examples shown will correspond to the honest nature of my architecture.

The furniture will be much of the same, simple and subtle. There is an oppurtunity to use the OSB formwork that was used for the concrete wall for the furniture, turning it into chairs, beds, tables etc.

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FIXTURES Here are another set of images, this time showing what the ambition is for the more permanent aspects of the interior. I want the doorways to be simple with an expression of their workings hence why I have gone for the sliding barn-like doors opposite. I feel these are representive of the doorways in the old Norwegian houses where often they would just rest a piece of timber over the doorway.

For the kitchen the oppurtunity for the OSB formwork to be used for the units is poosibel.

Rather than the OSB be taken away or thrown it will be re-used saving materials. It will also give a visual relationship for the users between the hard concrete and the softer timber.

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ENVIRONMENT AND SERVICES

08

HEATING Vertical Distribution

With both the buildings being reasonably small they can have they’re own individual heating units. This becomes easier as the two buildings are removed from each other. After speaking to the service engineers he advised that a combi boiler for each building would be all that is needed for the scheme. Heating will be provided by an underfloor heating system that will run through the whole two floors of the scheme.

Underfloor Heating:

Main Pipes

Boiler

Zone Thermostat

Seen in the section and plan here is the location and direction of the underfloor heating. I’ve also located the point where the piping will drop vertically to distribute the hot water through the lower ground floor. Zonal thermostats will be located in the main spaces so as the control of heating is tailored to the individual that is using the space.

Critical Analysis: After some research I found that there are different methods of laying the underfloor pipes that provide a more efficient way of heating the space. The system that is seen in most new developments have an uneven distribution of the heated water, this results in one area of the room becoming warmer than the area further from the distribution point. The diagram shown here gives the alternatives that keep an even temperature through the space. These would be a better option as the heated water wouldn’t be wasted on one part of the space.

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ARTIFICIAL LIGHTING

Consumer Unit

The artcificial lighting is going to play a strng role in creating the architectural atmosphere that is intended in the design. As there is a small amount of naturallight coming into the spaces the artificial light will be used for a large amount of the time.

The lighting therefore needs to be durable and robust yet, in keeping with the architectural intention of utalitatrianism they must be simple in design.

The artificial lighting won’t look to illuminate the whole spaces but specific areas within the space when being used. Therefore the light will be low and dull rather than bright and open. This will be much like the candle-lights that would have been used in the traditional hiking huts.

Suspended Lights

Double Light Switch Wall Light

Single Light Switch

Here are some examples of what the artificial lighting would be, some in terms of design and some because of their lighting quality.

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VENTILATION As both the buildings are relatively small, the option of natural ventilation for the majority of the rooms is feasible. There are rooms where, after speaking to the service engineers, need mechanical ventilation.

Naturally ventilated - These spaces, as mentioned, will be relatively small and occupated almost constantly. They will have access to fresh air where the occupiers can control the freshness of the air to their preference.

Mechanically ventilated - Where this occurs spaces will be susceptible to high moisture levels (bathrooms/WC) and spaces where the air could become contaminated (kitchens).

These spaces, especially the kitchen areas will need powerful air replacment systems.

For natural ventilation to work from a single opening the room must be of the right dimensions. By rule of thumb the depth of the space must be equal to or less than two and a half times the height. As the lower ground rooms meet this requirement the natural ventilation will work. Speaking to the service engineers they also confirmed that the window sizes are also big enough for this all to work.

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MECHANICAL VENTILATION NATURAL VENTILATION

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DAYLIGHTING The architectural intent for the spaces in terms of lighting is for them to be of little natural light to mimic the old traditional huts and mountain houses of Norway. Windows to the outside will be small and will be made for allowing views out more than light in. This will give an atmosphere of enclosure and sanctuary.

This means that artificial lighting will be utilised through the whole building.

There will be a roof light over the stairs that will allow light into the hallway, entrance area and then down into the Lower Ground Floor area.

As the living and kitchen area is deep in plan the light from the south windows will not be enough to give adequate light to the whole space. The only way to bring light into the area would be a roof light over the space that would bring light down.

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Ground Floor Bedrooms

DF = 2.24 x 0.72 x 0.9 x 44 / 60.07(1-0.5squared)

W = 2.24 A = 60.07 T = 0.72 M = 0.9 ฮธ = 44ยบ R = 0.5

63.87 รท 45 = 1.5 therefore Df = 1.5

Living/Kitchen Room

DF = 3.71x 0.72 x 0.9 x 44 / 42.52(1-0.5squared)

Lower Ground Floor Bedrooms

DF = 1.12 x 0.72 x 0.9 x 44 / 12.7(1-0.5squared)

W = 3.71 A = 42.52 T = 0.72 M = 0.9 θ = 44º R = 0.5

105.77 ÷ 31.89 = 3.3

W = 1.12 A = 12.7 T = 0.72 M = 0.9 θ = 44º R = 0.5

31.94 ÷ 9.52 = 3.4

therefore Df = 3.3

therefore Df = 3.4

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U-VALUE CALCULATIONS OF BUILDING ELEMENTS Using the appropriate information provided my manufactures of the specified products and the information provided within the database the BRE U-value calculator has built in. U-values were calculated and used through the process, as visible with sketchbooks to see the requirements for material sizes and spec for the construction of each part of the Union.

All the results show that the proposed details and spec of constriction materials provides a building that performs beyond the required regulations and will continue to do so for a number of years.

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FEE CALCULATIONS Adjacent is the results taken from imputing the relatvent information into the FEE excel spread sheet provided.

Though I’m unsure of Norwegian guidlines, the target in UK for ventilation rates is currently at 10 m3/m2h. As this is still reasonably high and the chances are that the norwegian standards will be lower I have opted for the passivehaus standard of 5 m3/m2h.

This is achievable today through rigourous building work and quality control when the building is being constructed.

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Functional specification for building envelope Carbon Emissions for space heating

13.8

Envelope permeability & 50 Pa

Element Glazing (facade) Glazing (roof)) Ground floor Walls Roof

5

kg CO2/ m2

m3/m2h

U-value (W/m2K) 1.90 1.70 0.10 0.21 0.11

MVHR efficiency (%)

0

Total area of glazing in facades

13

m2

9

m2

Total area of glazing in roof

Technical specification for building envelope

Thickness of insulation (m) = thermal conductivity (insulation) (W/mK) รท design U-value (W/m2K)

Floor insulation wall insulation roof insulation

rigid board, thermal conductivity 0.024 W/mK, 100 mm thick thermal conductivity 0.04 W/mK, 270 mm thick thermal conductivity 0.04 W/mK, 180 mm thick

Carbon Emissions for cooling, ventilation, lighting and hot water to be less than

1.2

0.19 0.36

kg CO2/ m2 57

REFLECTION AND CONCLUSION

09

In reflection this report has given me a good oppurtunity to understand the way in which the project comes together at a detailed level to achieve the overall architectural ambition.

Going through each structural phase of my project it has allowed me to make changes to the components used. This has given me a deeper understanding of how my building will work not only in structure but functionally and in form.

Though I believe the building that has come from this process will be a fantastic space to experience there are a few things that I would maybe want to reconsider or explore further.

I would have liked to explore the idea of the concrete wall being a single element more, could it have become completely stand alone from the timber structure? How does the concrete wall express itself throughout the whole building, more than just a visual thing?

These are questions I’d like to look further into to maybe make the concrete a stronger piece of architecture. Although I still feel that it is successful in accomplishing what I set out to achieve.

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10

Architects, R. (2016). Richard Murphy Architects: Murphy House at Hart Street, Edinburgh. [online] Richardmurphyarchitects.com. Available at: http://www.richardmurphyarchitects.com/ viewItem.php?id=2455 [Accessed 6 Jan. 2016].

Bilà, L. (2014). Sverre Fehn, Villa Busk, Bamble,1990. [online] Atlasofinteriors.polimi-cooperation. org. Available at: http://atlasofinteriors.polimicooperation.org/2014/03/20/sverre-fehn-villabusk-bamble1990/ [Accessed 6 Jan. 2016].

Deplazes, A. (2005). Constructing architecture.

Basel: Birkhäuser.

Detail-online.com, (2016). School Building in Paspels | DETAIL inspiration. [online] Available at: http://www.detail-online.com/inspiration/ school-building-in-paspels-103802.html [Accessed 6 Jan. 2016].

Folk.uib.no, (2016). Geology of the Bergen Arcs. [online] Available at: http://folk.uib.no/nglhe/ BergenGeo.html [Accessed 6 Jan. 2016].

Gov.scot, (2016). The Development and Production of a guide for noise Control from Laminate and Wooden Flooring. [online] Available at: http://www.gov.scot/ Publications/2005/03/20901/55206 [Accessed 7 Jan. 2016].

Littlefield, D. (2008). Metric handbook. London: Architectural.

McLeod, V. (2010). Detail in contemporary timber architecture. London: Laurence King Pub.

REFERENCES

Metsawood.com, (2016). FINNJOIST I-BEAM. [online] Available at: http://www.metsawood. com/uk/Products/Finnjoist-i-beam#tabs1-three [Accessed 7 Jan. 2016].

OZETECTURE, (2016). Marie Short / Glenn Murcutt House - OZETECTURE. [online] Available at: http://www.ozetecture.org/2012/marie-shortglenn-murcutt-house/ [Accessed 6 Jan. 2016].

Phillips, D. and Yamashita, M. (2012). Detail in contemporary concrete architecture. London: Laurence King Publishing.

Ramstad, R. (2015). An All-Year Cabin For A Large Family In Norway. [online] CONTEMPORIST. Available at: http://www.contemporist. com/2015/02/06/an-all-year-cabin-for-a-largefamily-in-norway/ [Accessed 6 Jan. 2016].

Schneider, J. (2016). General Response Action – Removal, Excavation Methods. 1st ed. [ebook] Richland, p.2. Available at: http://www.hanford. gov/files.cfm/Removal_Excavation_Methods. pdf [Accessed 2 Jan. 2016].

Web.ornl.gov, (2016). DOE Building Foundations Section 2-1 Recommendations. [online] Available at: http://web.ornl.gov/sci/ buildingsfoundations/handbook/section2-1. shtml [Accessed 8 Jan. 2016].

Wikipedia, (2016). Architecture of Norway. [online] Available at: https://en.wikipedia.org/ wiki/Architecture_of_Norway [Accessed 6 Jan. 2016].

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