An Essay In Brick by Ryan Cooksey

PRODUCED BY AN AUTODESK STUDENT VERSION

An Essay In Brick By Ryan Cooksey PRODUCED BY AN AUTODESK STUDENT VERSION

An Essay in Brick Ryan John Cooksey S17123027 Portfolio 2 - Design Resolution BA(Hons) Birmingham City University DATE: 21st May 2020

Summary Throughout the design exploration (Book 1), I have recognised that the construction industry is accountable for a large proportion of emissions contributing to the problem of global warming, somthing that is currently extremely topical. When exploring Digbeth it’s clear that the ‘workshop of the world’, ‘a city home to a thousand trades’, has been producing goods that have built throw away products is an example of the linear economy, contributing to the global crisis. Long after the products produced have become waste, the building will also follow suit. I have explored that brick is a material used in masses within Digbeth, which in recent years has become part of an unadventurous circular economy. With the waste material being used as an aggregate, such as hardcore and temporary roads. What I find depressing is that something that was once ‘beautiful’, serving details and presence to a facade is now mixed with less inventive materials such as a fence post as part of a compacted base. I explored the significance of masonry, through recognising its value of aesthetics and embodied energy. I Focused on the permanence that masonry materials hold. In an aim to celebrate the aggregate and find a form that allows authenticity true to the material. Book 1 concluded with the aim to propose a community hub that celebrates brick and ‘lets brick be brick’.

The Brief This portfolio is required to respond to and challenge the functional brief set out in ARC6011 ( Book 1). By continuing with the 100 trades studio approach set out to test this proposals and generating a suitable schedule of accommodation. It has been encouraged to utilise the themes and approaches from the initial Design Exploration module to inform a resolved spatial planning, conceptual and contextual response for the building. Interior layouts need to be detailed indicating likely furniture arrangements and demonstrate the material treatments of surfaces. This portfolio demonstrates a creative and plausible technical intent to help bring the project to a convincing level of resolution. This portfolio demonstrates the technical intent that enhances this design resolution. By clearly communicating the choices that have been made relating to structure, materials and environmental strategy in support of the design across all three scales explored in the module.

1000 Trades Studio Breif Birmingham: City of 1000 Trades, Workshop of the World. A young city built on small scale industry and production, a workshop of highly skilled craftspeople producing a huge range of products. Making, production and industry are an intrinsic part of the cityâ&#x20AC;&#x2122;s heritage. However, during the latter part of the 20th century, technological innovation, improved transport links and increasing automation shifted production to areas where production costs were lower and access to transport connections easier. Smallscale industry within the city was replaced by large scale manufacturing in peripheral locations or ultimately overseas. Today we operate in a linear economy where flows of products and goods are global rather than local. Throughout my exploration I explored how we can challenge business-as-usual construction through the lens of sustainable production. 1.3 Billion tonnes of solid waste are produced worldwide each year (Circular Construction Challenge, 2018). I Discovered that there are many examples of reducing, reusing and recycling, from zero waste restaurants to tiles made from building waste. But how can these experiments be scaled up to the scale of the building or the city? By supporting existing businesses and creating new opportunities for (re)making, sharing and exchange, I began to develop strategies that sustain and enable productionbringing people, technology and ideas together in a cooperative, productive and sustainable approach to making (and remaking) the city. The next steps are to use this exploration an individual brief to propose a community hub that expresses my initial research.

The inspiration To express it to drive. And when you want to give something presence you have to consult nature. And there is where design comes in. and if you think of brick,for instance,and you say to brick, “what do you want to be brick”? and brick says to you “I like an arch”. And you say to brick “look, arches are expensive, and I can use a concrete lintel over you. What do you think of that? “brick”? brick says “…I like an arch”. Louis kahn

Contents 1.0. The Site ............................................................... 8 2.0. Working with brick................................................14 3.0.Orientating and marking out the foundations .......36 4.0.Bricks and Mortar..................................................63 5.0. I want to be a brick...............................................122 6.0. Bibliography.........................................................136 7.0. Refrances..............................................................137

Section 2.0

Locating Digbeth: Firstly, it is important to recognise the history of Birmingham, and Digbethâ&#x20AC;&#x2122;s relationship to industry. Known as the workshop of the world Birminghamâ&#x20AC;&#x2122;s presence soured with the turn of the industrial revolution. The city evolved into distinctive segments, Digbeth to the west of the city is where the site situates itself.

ST.Georges And ST.Chad

Jewellery Quarter Eastside

City Core Westside And Ladywood

Digbeth

Southside And Hiigate

Locating Locating TheThe SiteSite

Site Site

Demolition of the building on Site, storyboard Story Board On-site (De)-construction flowing on to (Re)-construction within the community hubs creative workshop

Removal of the current Building

Positioned East of the core Birmingham Digbeth is a more industrial part of the city. The site itself is a car park, North of the Chiltern rail line between Birmingham Moore Street and London Marylynne. Accessible from sides of the site, with high buildings overlooking the north of the site as seen in the site elevations . The building that is currently on site is to be demolished. It is a unused warehouse that was part of the building that was on the site previously, demolished in 2014. The rubble from this will be left on site as the aggregate will be recycled within the construction process and then used within the workshop. To the left is a image showing the current site and the removal of the workshop.

A Short Clip of the existing site with context

Here indicated the elevation on the site with the building being demolished and the material being recycled in to material that will then be used within the workshops of the proposed design.

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Visualising the site:

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to m

On the first encounter with the site itâ&#x20AC;&#x2122;s clear that regeneration is necessary. The immediate area to the site shows industrial character, with tired aesthetics through age. The permeance of the viaduct sparked the solid and void exploration exercise. While the viaducts mass of suspended material under compression was sparked a focus on weight.

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A B C

Photo montage elevation

Moss Lighting Ltd / Car Repair centres here are a series of single story brick buildings with steel framwork allowing for an open plan layout inside. these buildings have various used including car repair centres to storage to lighting distrabuuters and waste desposal. it is excpected that with area of the site will have regular noise pollution and dust + smells in the air from the waste units.

Site

Here the site sits north of the Chiltern railway viaduct, a key feature within the development stages. To the left of this Trent Street and approach that pedestrians will most likely take when traveling tow street from the city centre, and Birmingham Moore Street train stat university s both BCU and Aston will both approach from this direct startegy needs to be in place for direct and obviou

View A

View D

e of this site which should be referred to to the right is Oxford Street. This is the wards the site. As this is the most direct tion. Also those that may use it from the tion. With this in mind a clear circulation us assess on to the site.

View B

View C

View E

View F

Ladbrooke Hotel Here is the Ladbrooke hotel, ornimental concrete almost frames the brickwork between the structure. on the left is an extension to this building that doesnt eactly follow the orginal material layout. with a carpark area to the left of that.

Whittaker Fleet Care Ltd & B4131 New Canal Street

Working with brick The following chapter highlights the properties of bricks, understanding the character of a brick will certainly help the design process. The following studyâ&#x20AC;&#x2122;s how to use and map to avoid unsightly cuts and unsymmetrical openings. As, well as how to avoid a pushing the structural properties too far, and discreetly resolving these issues.

Contents 116

Exploring Brick Bonds

Locating aggregate recycling centres

Exploring the grades of aggregates

Poetics of brick

RE-Birth of Bricks

Brick bonds within digbeth

History of bricks

The Brick

The Mortar

Understanding the Bond

Bricks are on the move

How to deal with subsidence and prevent cracking

Spacing Expansion joints

Continuing with the observational exploration, brick appears to be the most common material throughout Digbeth. When focusing on a frame, suddenly the variety of patterns, brick colours as well as various stages of weathering, make each frame an individual. When noticing the multiple effects that the brick can achieve, this sparked an interest in developing the exploration with brick as the driving material. Understanding the opportunities of brick was explored within â&#x20AC;&#x2DC;Solid and Voidâ&#x20AC;&#x2122;, to recap on those the next pages are a reminder of the value of recycling aggregate, where that process is currently happening and how the newly processed material will influence this proposal.

Above are multiple frames of brickwork that can be found within Digbeth, the close-ups allow the viewer to see value rather than see the building as a whole where the value of these bricks could be interpreted differently, for example, the one of a place of worship would be valued more than one of a factory.

Location Of Aggregate Recycling Centres To gather an understanding of the locations where waste aggregate within Birmingham is taken to be recycled/disposed of, here are all of the aggregate recycling centrer in the immediate surrounding area. I then went on to contact Talbots Transport & Recycling to generate a case study on the process.

Cannock

Aggregate Recycling Company

RMC Raw Material Company

Bordesley Street, Digbeth

Aggregate Recycling + Processing Wolverhampton

KDS Recycling Concretes + Aggregates Recycled Aggregate Services

West Bromwich Coleshill Birmingham

Pegagus Grab Hire Facilitys Stourbridge

Solihull

Kidderminster

Talbots Transport & Recycling Stourport-on-severn

Complete Recycling

Exploring The Grades Of Recycled Aggregate

35mm

After my visit to Talbots, I then went on to (De) construct bricks into various grades. This exercise is to understand how the grades of aggregates cast into a brick product perform. By completing this exercise, I will be looking at the durability of the products; their aesthetics also textures the colour variations. For this first line of exploration, I have used the waste material to construct a typical brick form. These crushed aggregate 5mm experiment will be the colour of the bricks that are massproduced for the design. In todayâ&#x20AC;&#x2122;s world, the practise of reducing the materials from obsolete buildings indiscriminately to rubble (or, when talking of wood, to chipboard or fuel) has become untenable. It shows total disregard for the potential value embodied in the extracted material. The dismantling of old buildings to the benefit of new ones is nothing new. The history of architecture is full of examples of recycling and reuse. The Romans recycled their rubble in situ to make concrete. At a time when transport took time and required a lot of energy, both human and animal, everything within reach was welcome. Abandoned buildings were used as quarries for materials intended for construction or ornamentation. Bricks were cleaned and reused as they were, timber sawn and redimensioned, blocks of stone chiselled to size again. Contractors conducting demolitions, up until the early 20th century, took care to break as few components as possible. Demolition sites routinely turned into yard sales, unless contractors needed the materials for their projects.

As the aggregate size decreases the properties of the brick do as well, cavityâ&#x20AC;&#x2122;s and voids begin to become smaller whilst the what appears to be solid gets greater.

25mm

12mm

5mm

Sand

As the aggregate size decreases they begin to look more like their original form, however character is lost when the aggregate gets to this size.

Soil

Poetics of bricks with various lighting Here the i have photographed bricks at various times in the day and throughout the night. I am trying to achieve that bricks have ever changing aesthetic depending on the lighting. in the same way metals can look beautiful with various lighting and weathering, so can a brick. by showing i want to pursue a building using one of the oldest building materials available. Personally from this i feel that i have proven that one single wall can have many appearances at various times of the day. So a celebration building entirely made from brick is justifiable and 1. It allows brick to be expressive in its rawest form. 2. It allows a brick to be a brick. 3.celebrates the rebirth of otherwise waste material.

simplicity

‘Rebirth bricks’

The of Liu Jiakun’s work were formed from earthquake rubble mixed with materials such as wheat stalks and cement for new constructions. This is a similar process that the bricks that i will use from the raw aggregate materials will be formed from.

China has seen its fair share of tragedy. Much of it within living memory. From the madness of the Great Leap Forward through the barbarism of the Cultural Revolution, political events have decimated the population. But natural disasters too have taken their toll. Famously, the Tangshan earthquake in 1976 – that lasted just 15 seconds – resulted in the death of between 250,000 and 655,000 human beings. The numbers are vague because the authorities hushed it up.

‘Treasuring the value of ordinary lives will be the foundation of our nation’s revival’ It is a much more mundane use of recycled materials than found in Wang Shu’s architecture, but simplicity rather than showmanship is something of a hallmark of Liu’s work. His West Village – Basis Yard project, for instance, seeks to celebrate the vitality of ‘everydayness’, which he sees as ‘the main content and primal pleasure of human life’.

Designed by Ludwig Mies van der Rohe and Lilly Reich. It was the German Pavilion for the 1929 International Exposition in Barcelona, Spain. Still to this day, it is regarded as an essential building in modern architecture.

I have recognised this as a valuable case study as it is known for its simple form and its spectacular use of extravagant materials, such as marble, red onyx and travertine. The interaction between people and materials is what is so special about this precedent.

Stretcher Bond Courses of stretchers

External facade Brick Pattern.

Common Bond

A course of headers inserted every 4th to 6th course

Flemish Common Bond

A Flemish course inserted every 4th to 6th course

Flemish Bond

Courses with alternate Headers and Stretchers. Following course centers Header with Stretchers

Flemish Garden Wall Bond

A course of Headers followed by Three Stretchers

English Bond

Alternating courses of Headers and Stretchers.

After recognising the vast about on brick / masonry in Digbeth, this is a mapping exercise that identifies various bonding patterns that were visible on the external faรงades within my Digbeth site line. This Will later inform various studies such as, Possible ages of buildings as well as its original purpose. The following is a time line of the brick bonds found on site. This allows investigation to estimate a commission date for the buildings on site. Ryan Cooksey Sophie Roper-Hall

See design exploration task Group Members: Ryan Cooksey Dan Ward Sophie Ropert-Hall

Brick bond history History Of Brickwork

Introduction Of Cavity Walls

Strecher Bond

Common Bond

Flemish Bond

Becomes Ornimental

English Bond

Flemish Garden Wall Bond

1900

1800

1700

Common Flemish Bond

1600

Original Established Brick Pattern

Contemporary Patterns

1400

Irregular Brick Patterns

Ornimental Patterns

Hand made 7000BC - 1885 Production brick 1855- present Fired Brick 3500 BC 1850 Brick Ties Lime Cement 4000BC

1880 Cement Cavityâ&#x20AC;&#x2122;s 1920

Ryan Cooksey Sophie Roper-Hall

The brick

Based on the perimeter of the building and approximating

the openings, it would be the equivalent of building a 193.3

m2 brick wall Or

455 m3 of material approx 830,844 kg of material based on the the weight of a recycled aggregate brick.

Metric Brick (215 x 65 x 102.5)

Bricks come in two standard sizes metric and imperial, above is a 1:1 representation of the difference in size. At this point, I had decided that I would be using an imperial size brick throughout my project. The reasons being: if you take the surrounding area the buildings have been constructed using an imperial brick, this is a consequence of the time of construction for most of these industrial buildings, so it only right to propose something that respects this. Secondly, the use of a more prominent brick relates to the key terms that describe this proposal, Weight and permanence especially. Also, as the bricks that will be used on-site will be manufactured with the waste aggregates removed from Digbeth, the size of the moulds can be adapted.

Imperial Brick (230 x 75 x 110)

The colour : There will be a range of colours within the bricks that are produced for this proposal based on the aggregates crushed as explained in the previous page. The texture of the bricks will also vary from brick to brick as an effect of being individually made.

Mortar Like most materials, ceramics are affected by water penetration. So ensuring that water cannot sit on the face of the brick is crucial to prevent the appearance of the brick being altered. Water penetration is most common along the western facade where the prevailing wing is. The processes begin by water being driven into the brick via small cracks that are primarily caused in the production process where the material is drying at a quicker pace. Also cracks are formed by expansion and contraction. These gaps are then filled with water, when cold the water freezes, when water is frozen it has a larger volume so the pressure causes the gaps to open more, over time these will fracture the brick enough to ‘blow’ the faces off of them—making the facade look unsightly.

‘Blown’ brick faces

Unsightly brick replacements

Weather-Struck (Trowel)

Recessed

The mortar joint has importance to prevent sitting water as diagrammed below.

Bucket handle

The bucket handle allows the water to be directed away from the joint, preventing any penetration of water into the uneven surface of the bricks.

Trowel approach is more traditional and suited to Digbeth. Likewise, the aim is to direct water away from the mortar joint, this approach, however, allows an effect of a slight shadow and deeper texture to the bricks.

Racked approach, as demonstrated, will be the most likely to cause blown faces which as noted with the precedents above to look incredibly unsightly and can lead to problematic damp issues.

Understanding the Bond

Understanding the Bond in plan

Flemish Bond

Reclaimed Imperial brick: 230 x 110 x 75mm

0 75

CO-(Brick) CO+(Brick +1)

CO+(Brick +2)

CO+ CO CO-

Brick + 2 Joints Brick + 1 joint Brick Dimension

E.g. Openings in brickwork E.g. Panels with opposite return ends E.g. Piers or panels between openings

To ensure that there are no cuts required a systematic approach needs to be taken to ensure. understanding the size of the brick will allow an equation to be formed that can be used for each and every opening required.

Header

Stretcher

Queen closure

The brick pattern must be followed to avoid cuts, above is a plan view of how bricks will be laid in a Flemish bond pattern. understanding the courses in plan will help design openings and reveals so they are symmetrical on either side.

Reveal

Openings must alien

with full bricks

Using the Formula

Not using the formula

2 Cuts required

4 Cuts required

Using the formula that i had worked out above is an example of how the openings will look if this formula is used across the entire site, notice that both sides are symmetrical, and neither require any more cuts than necessary. the only cut should be a queen closure but as the bricks are being made especially for this proposal, they would have their own mould so when cast they do not require cutting on site. This reduces waste and also reduces the amount of time that is required on site to cut the bricks.

Here is an example where the formula hasnâ&#x20AC;&#x2122;t been used and an opening has not been strategically positioned within the building. Notice that there is now 4 cuts required and that the reveals of the opening are not longer symmetrical. it is important on a building that is a celebration of brick that these details have been thought through with care.

Bricks are on the move All types of materials will experience movement; one of the most noticeable is masonry construction. Masonry is exposed to the external environment meaning that bricks and motor are subject to thermal expansion. Thermal expansion is a result of temperature fluctuations thought the yearly cycle. Walls facing the prevailing wind are more likely to be affected by moisture due to wetting and drying. The continuous cycle of wetting and drying expands the materials when wet and contracts them when dry. Other elements leading to cracking include the ground. The surrounding ground is expected to settle once construction is complete. The uneven effects of the ground known as ‘soil creep’ allow the footings to pivot/rock. Causing the base of the wall to be under stress, un-level and crack. Other issues include chemical releases such as sulfur.

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Subsidence

Here one of the foundations has begun to subside, and as a consequence, there has been an added stress to brickwork surrounding the opening. As there hasn’t been an expansion joint as part of the design, the stress has caused a crack through the window reveals. Looking unsightly and not structurally sound.

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Expansion and contractions cause stress on masonry walls, so vertical and horizontal expansion joints are necessary to avoid unsightly, potentially structurally damaging cracks. The following pages investigate why such problems occur, successful and unsuccessful expansion joints and ideas to be implicated into the details of my design.

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Examples of Cracks in masonry

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Subsidence

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Cracks as a result of subsidence

Subsidence

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Subsidence

Cracks as a result of subsidence

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How to deal with subsidence and preventing cracking

Compressible filler

Fixed

Sleeve allows expansions and contraction

Sealant

Expansion tie with sleeve

As Built Vertical expansion joints are necessary to ensure that cracking within masonry does not lead to structural damage. Here are examples of scenarios where vertical joints are successful. At the required interval, an expansion joint is implemented. As the figure suggests if the ground changes inconstantly either or both sides of the expansion joint can move freely. This is similar when in the scenario that a wall expands or contracts. To ensure that there is not a thermal bridging issue. In most cases, silicon is applied between the expansion joint. The reason for using silicon is for its material properties. Silicon is an elastic product, so it can change shape if movement occurs. This is in addition to a foam strip on the inner side of the brick.

Poorly executed vertical expansion joints

Here there has been no attempt to fill the expansion joint. This will lead to internal damage as damp enters the join under a driving wind.

Slipping

The expansion joint has been filled with motor, rightly so a expansion joint has been incorporated, however filling it with mortar will crack as soon as movement occurs as motor is not elastic.

This expansion joint is incorrect in many ways. Firstly it is not within 3 meters of the wall, so this will affect the structural strength. Secondly, the silicon in insufficient, this will lead to damp entering the building.

Expanding

An aluminium plat has covered the expansion joint, however, this looks out of place with 3 material changes happening in such proximity. It is almost apparent that something is being hidden.

A drainpipe is present in this example so it would have been aesthetically better if the drain pipe was to cover the expansion joint so that it was not visible. This is easily achievable by changing the position of the guttering outlet that feeds the drainpipe.

Here there has been no consideration to match the bright red bricks with the yellow foam. This will undoubtedly look unsightly when complete with no efforts to be discreet about the joint.

Shrinking

Spacing Expansion joints

Joint spacing every 12m (Structural Wall) 12m

Expansion joints are incorporated to allow movement. It is essential to understand these dimensions as my design is primarily constructed with brick. This study will possibly dictate the sizes of spaces to ensure that joints are not required as they look unsightly. However, if expansion joints are required, i should be looking at discreetly hiding them. Below is a annotation of the structural grids that clearly shows the rules that have been followed. Studying various guides allowed me to diagram the distances between structural, internal and external walls. Forming a structural grid that ensures that these distances are not exceeded which in return would risk cracks.

3100

Joint spacing every 6m, (external wall, ie. garden wall)

7200 mm

6200 mm

9400

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BY AN

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7400

Joint spacing needs to be continuous around corners (Structural Wall)

ERSIO

6800

1300

I 4600

5200

5600

5800

7800 mm

5800 mm

18 7000 mm

5800 mm

5000

5100

PRO DUCE D BY

5200

22 61

UDE

SK ST

TODE

AN AU

erm

5800

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Abrupt Changes in height

Multiple changes in direction

Expansion Joint

Movement Movement

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Movement

Cracking under stress

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Cracking under stress

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Movement

Multiple changes in direction can be problematic. If any of the walls was to be effected by expansion or shrinking, cracks could climb the corners of the wall leaving severe structural damage. In order to avoid this, it is necessary to have at least on expansion joint as demonstrated on the right.

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Abrupt changes in height requires a expansion joint. This is because of the mass of the two walls change dramatically. If there was ground movement the heavier wall would subside. This would have an effect on the masonry leading to cracks. See the right figure has an expansion joint allowing vertical movement to occur without cracking. The left figure would crack if subsidence occurs.

Orientating and marking out the foundations This chapter explores the design development of the site, from exploring the site from both an environmental point of view to a user experience aspect. Then massing models have been used to gain a form and proportion on site. This development then transfers into resolution diagrams and thoughts, that map the foundations of the proposal.

Contents 138

Observations

Massing

Permanence of a boundary wall

Development

Servant and serve spaces

Workshop identity

Reference to the viaducts arches

The formula in practice forming the landscape

Recovered brick frames forming the landscape

South Light

Solar Observations Here are some site observations. The sun path is key to this proposal for positioning workshops so that they have a consistent level of Lux throughout the day with a low level of shadows. These areas will benefit the best from daylighting from the north-facing windows. Other areas such as the halls will need to have considerations to how they are illuminated without direct sunlight. As the viaduct is to the south of the site it is expected that there will be constant shading mid-day. at 16m high i will have to analysis the shadows length over the site.

Noise polluti

Here is some site analysis focusing o to the site. Towards to the south of th every 7-10 minuets, with this in mind the site has the Typhoon building whic currently functional. West of the site is and scrap yards, so noise and dust are that the â&#x20AC;&#x2DC;dirty / dustyâ&#x20AC;&#x2122; areas of the site raw material tipping piles, whilst the c locate

ion Observations

on the effects of noise pollution and vibrations close he site, the viaduct is operational with trains passing this will be the noisiest location on the site. North of ch the majority of the facade facing into the site is not s a hotel while to the east. There are Service centres e expected. With this in mind, it should be considered e are located here. Such as the workshops and the clean areas that are better suited to a quieter site are ed towards the north.

Vehicle and pedestrian Circulation suitable vehicle entrance areas

Unsuitable entrance vehicle entrance areas

Access Observations Accessibility on to the site is a crucial aspect of this proposal as there needs to be though into how the public can be separated from the large vans/ tippers collecting and dropping off materials to the site. So I have highlighted the areas where it would be unsuitable for junctions to occur this is either because it is on a corner of a rod or close to the viaduct which would cause blind spots for the divers and create difficult tuning circles.

An understanding of the dimensions of the vehicles that will be entering the site is crucial. These will affect the turning circles necessary, as well as loading bay sizes. The dimensions will also affect the design of the proposal suggesting the width and height of the punched holes in the brickwork wall surrounding the site. Also, there needs to be a consideration for the tippers hight when offloading raw material within the site.

Zoning The Site based on observations

Circulation to mirror the

Dirty / Dusty areas - Raw Material tipping zone - Raw material stores

3000 m2 Massing floor plan Clean environments - Foyer (40m2) - Office (40m2) - Reading room (64m2) - Activity room (45m2) - 2 x Seminar rooms (25m2) - Lecture theatre (154m2) - Hall (320m2) - Events space (30m2) - Classroom (60m2) - Second hall (130m2) - Toilets (35m2)

Massing

The brief states that there needs to be about 3000m2 of floor area proposed on-site. It also states that the community aspect of the building should be open to the public all hours, whereas the workshops may not. Combining this with the research on the dusty areas and the clean areas, it makes sense to split the site and floor plan in to separate buildings. So the proposal here is to split the workshops, which will inevitably be dusty environments creating noise pollution. Close to the viaduct which shares similar aspects. This space will most likely be closed outside of daytime hours. That then leads on to an

e circular economy Split Floor plan Dirty environments - 4 x Workshop / studio spaces (120 m2 each) - Bio-mass boiler & plant room (25m2) - Post room (10m2) - Toilets (35m2)

Clean environments with dusty elements - Collaborative space (200m2) - 2 x Seminar rooms (25m2) - Facility stores (10m2) - Toilets (35m2)

Dusty Zone (workshops)

Clean Zone (seminar/ halls)

Exhibition zone

Here is the original massing of the 3 buildings, in proportion to the floor area needed. exhibition space which will be slightly cleaner and no machinery for noise pollution. This space again will Zoning Although the building are separated it shouldnâ&#x20AC;&#x2122;t be felt that people can not move from one most likely be closed off to the public at unsociable to another fluently, the i dea is that those who use this space will learn in the clean areas, hours. The final zone will be a clean area, again then put the skills in to practice on the dirty areas. exhibitions, classrooms, seminar spaces, lecture hall and meeting rooms will be located here. The idea of Theassite hasisbeen zoned in relation to some of the site analysis splitting the buildings is sensible there control that studies the pollution, noise, dirty/clean areas. Separating over the circulation of users, limiting them to particular these areas will allow the mass modelling process to begin. areas a specific times. Also, from an efficiency point Understanding that individual rooms need to be within the same of view, only the used areas will be lit, ventilated and building allows the design process to begin. heated. Controlling the areas also allows there to be no crossover of dusty to clean spaces.

Experimental House by Alvar Aalto

An Original sketch that made it in.

Various brick bonds within a bond

The mortor line will again be laid with a sperate brick bond.

IMG_12

Here is an example where sections of walls have either been recovered from other sites or built to resemble them, this is interesting the way that each secure / frame has its own identity however it is doing the exact same job, this expressive of brick related to the book 1 where I mention the re use of brick panels. I would assume that an arrangement such as this would attract interactions between itself and the user. Pharaps the tactility of this would be inform a space, As a reflection to this case study now the project is complete. This has informed the light tunnel and in the same way as this project I have lined the walls with various brick patterns to encourage interactions.

Whislt i found the experimental house, i then sketched a quick idea in my note pad, so this was comleted before any design developement. it suggests that the stylepaviving could resemble a brick bond from a larger scale but with varuious brick bonds within the bond layout. Towrds the developemn this will become noticable that it was used to design the hall of bricks and expecially the external lasdscaping .

Permanence of a Boundary wall PER KIRKEBY Antwerp sculpture park (DENMARK)

Bounding the massing models without a clear circulation

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Designing with a clear in and out circulation

The experience of exploring the spaces echoes that of a walk in a labyrinthine Baroque garden, Per Kirkby spaces create a willingness and urgency to want to explore the contents within the walls of the sculpture. The consistent material has a massive effect making the sculpture look heavy and as if it has been carved out of one solid material. Designing a solely brick building is an idea that I would take forward. The openings have been positioned in a way that is obvious when found but not in sight of the main facade adding effect.

Two simple early phase sketches indicate the intentions of a boundary wall that will enclose the site to mirror the Per kirkeby sculptures. Likewise to the Per Kirkbey sculptures i will only punch holes through the walls when absolute necessary, these will be for access reasons. The idea of a continuous wall will provide permanence to the design.

Development The workshops are now positioned parallel to Oxford street. This is much better positioned to draw attention from the passing public as they will be able to see inside. This workshop could also be designed to be more visible.

Oxford Street view

â&#x20AC;&#x2DC;Uâ&#x20AC;&#x2122; Shaped Community centre This allows a much larger tipping bay that would allow the tipper into the site without disturbing external traffic. However, by positioning the workshops here, it means that there are issues when it comes to moving the raw material on site. Being tipped on the East of the site means that the material has to travel across the site to enter the workshops. This could cause issues with the interactions between the public in terms of circulation as it would be necessary to separate them when operating.

This indicated the size of the opening and the issue that it is not clear where the public should head towards on arrival. The workshop wall now takes up the length of Oxford Street, this was massed this way to provide viewing windows so that the public can be drawn into the building, by being interested in the workshops. The workshops towards the north of the site would benefit from south lighting, those at he south would be in constant shade from the viaduct

This idea came that the community centre could be u shaped to provide a private courtyard area before entering the external exhibition zone. Thus providing direct circulation from the roads. This is problematic as there is no suggestion where the public should head towards to meet the main entrance. Also, in the security of the site is poor as there will have to be large uncontrollable openings.

Development

After accessing the first mass modelling, some key issues were raised. The â&#x20AC;&#x2DC;clean areasâ&#x20AC;&#x2122; worked well in terms of daylighting and circulation

Oxford Street view

however, the workshops would not function efficiently. To resolve this, the workshops are now positioned at a right angle on the site. This allows a much larger tipping bay that would allow the tipper into the site without disturbing external traffic. By keeping this zone in the corner of the site, it means that it can be closed to the public when tipping. Whilst still being visible and accessible to the public tipped. This position of raw materials is apparent to pedestrians bot in and outside of the site.

This massing model takes on the thought process of traffic passing though the site, this wasnâ&#x20AC;&#x2122;t deemed the best option as controlling pedestrian circulation would have been challenging when vehicles are on site ( dropping or collecting materials) This idea is also compromised as there would not be much security on the site at an evening . The external space is now visible to most massing spaces within the proposal. It is providing two areas that could

have the possibility to have two different uses. The idea that circulations routes will punch through the walls of the building is still a strong theme that will be carried relating to solid and voids. The Entrance space is serving as a car park / bike rack / pedestrian access point. This was raised as an issue as the mixing of these is not suitable and could cause danger. The next massing models refer to this.

Development After accessing the first mass modelling, some key issues were raised. The â&#x20AC;&#x2DC;clean areasâ&#x20AC;&#x2122; worked well in terms of daylighting and circulation; however, the workshops would not function efficiently. To resolve this, the workshops are now positioned at a right angle on the site. This allows a much larger tipping bay that would allow the tipper into the site without disturbing external traffic. By keeping this zone in the corner of the site, it means that it can be closed to the public when tipping. Whilst still being visible and accessible to the public tipped. This position of raw materials is apparent to pedestrians bot in and outside of the site.

Solid Boundary Wall

Presentaion rooms

Main builidng with all other facilitys

Workshops

Workshop wall

Tipping and material loading bay

External space

The workshop wall now takes up the length of Oxford Street, this was massed this way to provide viewing windows so that the public can be persuaded into the building, by being interested in the workshops.

The tipping bay has now been positioned at the rear of the site in line with the archways of the rail bridge, these voids in the arches would provide a suitable open storage area for material drop off s. Staff parking is also now positioned at the rear of the site.

The external space is now visible to most massing spaces within the proposal. It is providing two areas that could have the possibility to have two different uses. The idea that circulations routes will punch through the walls of the building is still a strong theme that will be carried relating to solid and voids.

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Development Information gathered from the concerns previously here is massing that follows the rules discussed. The massing has been colour and annotated to provide information about circulation and external landscaping. This model is successful as it follows the rules set out; however, it has many faults.

Hall 1 Office

Reception Foyer Social Area Exhabition Space

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- Within the design process, it was confirmed that the external raw materials should be visible from both the road and from various locations from within site. - The loading bay is a issue, although it is necessary to have vehicle circulation on site. Allowing vehicles to drive straight through the site is not a good idea. For visitors safety, the loading zone needs to have the flexibility to be closed off when being used. - There doesnâ&#x20AC;&#x2122;t appear to be enough room surrounding the workshop for on-site machinery such as forklifts to operate.

Classroom

Workshop

Classroom

Workshop

Wash down

W/C

Post Room Raw material Workshop Boiler room / Biomass

- The workshops are completely out of view from the road so visitors would be aware that there is an operational workshop for them to use.

on data collected from: Newfert Foundation (2012) Neufert Architects . data. London: Blackwell publishing Ltd

16 Tonne Tipper (Inward Material)

9.4 Metres

Large Van deliverables + collections

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Allowing vehicles to enter the site

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Tail lift Van for de

Servant and Serve spaces

The idea has been developed from the Louis Khan precedents studies that the site may work well with servant and serve spaces. That there are larger blocks that are designed for the workshops , collaborative spaces etc. Linked by narrower service areas. The spaces that are used to link the workshops would consist of utility s such as wash rooms, toilets, storages, facilitys etc.

eliverables + collections

Reference to the viaduct arches

The idea of servant and serves space then allows the opportunity to then have various roof heights , the change in roof hight would then allow those looking at the building to understand what areas of the building are the areas to be used compared to those that just provide a service.

90 degree through the site

After identifying that the habitable workshop spaces will be much larger, taller blocks, it is right that they have the better views on to the site. Above is an annotation that resembles the viaduct arches. These arches equally spaced will act as a lighting and circulation source to the workshops. Also they will allow clear views into and out of the workshops from the external exhibition zones. At the rear of the building there will be windows over looking Oxford Street, these will be desk windows so that the public interacts with those in the workshop.

Lay-by scenario

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Various roof heights

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6 Metres

Radius 8m

Drive through site

Developing the identity of the workshop roofs.

Barrett’s Grove by Groupwork + Amin Taha

Workshop 2 Pitched roof? Flat Grassed Roof

Flat Grassed Roof

Workshop 3 Pitched roof?

Workshop 1 Pitched roof?

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Why a green roof? The thinking behind the green roof mainly is because of the lack of green, vegetation within Digbeth. A Study within the Exploration stage backs this statement. Although the building is ‘an essay in brick’, unless you are looking at a roof plan, the roof is not visible. The secondary reason for a green roof is attributed to collect dust. Especially with the building this is and the location within Digbeth a green roof would help respiratory issues within the close circulation.

Brickwork seamlessly folding into a stepped roof. This precedent has bee the insight in to how a stepped roof can be fabricated. Recognised with a sterling prize this design has influence my proposal

Roof Detail Sketch

22.5

40o Stepped Roof

22.5o Stepped Roof

Brick slips

The 45 degree roof will provide a pitch high enough to only allow 10 % of the floor area to have direct sunlight on 21st July, this is good as in an environment such as a workshop it is idea to have a constant light source (Daylight is preferable). not only does the pitched roof allow more space internally but it is more obvious from an external point of view the difference between the workshop areas and private areas of the site. The pitched roof also benefits from an environmental strategy point of view. Stale air is allowed to sit in the inhabitable roof space. Also a mechanical window system will provide stack ventilation

The 22.5 Degree roof doesnâ&#x20AC;&#x2122;t seem to have the same effect as the 45 degree. It is important for this workshop space to have its own identity. Moving on to the detail of the roof, externally the roof could either be a cladding system, that will provide a smooth roof effect, however as I feel that it is important to let a brick be what a brick wants to be..... i fee that stepped bricks is the better option. For this to be

Bricks on brackets stepping back

successful there will have to be a primary roof system, Concrete would be the preferred option. Then bricks will be stacked and secured using steel angles. Internally there is an option to either plasterboard the vaulted ceiling. However, due to the nature of the project especially as it is a workshop where bricks are the key material, it is only right to repeat the external finish internally.

Reference to the viaduct Arches NOISREV TNEDUTS KSEDOTUA NA YB DECUDORP

External

Internal

External circulation

Brentwood School NOISREV TNEDUTS KSEDOTUA NA YB DECUDORP

This would be a good method to control direct sunlight penetrating the building on the south faรงades.

Cottrell & Vermeulen Architecture (2020) Brentwood School wins Brick Award. Available at: https:// www.cv-arch.co.uk/brentwood-school-learning-resource-centre-has-won-a-2016-brick-award-for-besteducation-building/ [Acsessed on 10 Jannuary 2020].

External circulation

53 This is a model visual - standing inside a module but within the external circulation

This is a visual - From a external viewpoint

This is a visual - Demonstrating external consistency

This is a visual - Demonstrating internal consistency

Model Making Evaluation External Internal

Modelling this building has given me some ideas regarding the attention to detail above the arches as well as the structural grids and spans of arches. After identifying that the purpose of the additional arches that form an open external space were initially to prevent direct sunlight reaching the glass of the building, this is something that i could consider within my project. But it is the build up of the structural grid that I need to explore more to understand the construction of the building. For that reason the next page i have modelled and exploded this building.

Modeling and understanding the fabrication of the components of Brent-wood School

1. There is one arch dimension that is consistent thoughout the design 2. This element is then multiplied 4 times and positioned to create a box 3. This then creates a module that is then replicated to create spaces 4. Positioned together there is a strong structural grid that begins to take place

5. This grid is then topped with a concrete slab to act as the roof or floor to the next storey 6. This then creates a module that is then replicated to create spaces 7. Multiple modules are then positioned together to begin to create form and spaces. 8. Windows are then added internally where the internal rooms are positioned 9. This is a visual - standing inside a module but within the external circulation

The build up of the structural grid and understanding the construction of the building throughout this modelling exercise has helped me understand a greta deal about how important the structural grid is in refection to the opening that are available.

Craddock Cottages, Surry Precedent

Harvey Court Precedent

Gottlieb Paludan Architects Delft, Holland

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With an essay in brick, it there needs to be a continuity of materials used. If the brick is not used, this needs to be precise. Here is a precedent that I studied, Craddock Cottages, Surrey have used the idea that concrete lintels have been added with various shaped bricks to form the facade of openings. As you can see, there is a continuity between the bricks used within the wall and the arranged bricks used to clad the lintel.

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The distinctive brickwork of the new domicile for the Delft City Archives takes its motif from a bookshelf, and thus the architectural scheme is clearly manifested in the facade.

Exploding the aesthetics of various courses of brick over an arch Adam Richards Architects

Bricks that need to be cut Bricks Forming the arch

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Arched brick window openings with deep reveals give cadence to the long side elevations, expressing the weight of the walls. The sense of motion created by this stepped form is emphasised by the patina of the brick skin; blackened bricks around the arched brick window openings create an optical illusion, a trace of movement through space.

Here are a few sketch ideas to detail the arches that bridge openings. At this stage it may be too early to decide what style turns out to be the one that is used. The above show an arch where the headers of the bricks follow down to the ground, The middle suggests that the headers will be rotated 90 degrees , of which will then turn in to a border that could possibly form the window sills or details above.

Lastly the third indicates that the brick will stop at the shoulder of the arch. Neither of the above styles have an effect on the amount of bricks that need to be cut as the top graphic demonstrates. There is a possibility as the bricks are made for this proposal that the bricks are cast to with the radius of the arch within them.

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3 Courses of Brick to form the arch

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Columns based on the formula

Openings must alien with full bricks Here is the development how the columns and the external landscaping area have been designed to for a Grid (Flemish brick bond pattern to resemble the pattern used on the building)

The columns likewise to openings have been designed using the formula to ensure that there are no unnecessary cuts within, also to ensure that the bricks on either side of them are always symmetrical. This is important on a building that is an essay of brick as the fine details are extremely important.

he base of the columns then flow in to the ;landscaping pattern as diagrammed to the right of this page. The column lines continue across the site to the next columns, whilst the gaps in-between are proportioned to become bricks in the pattern of the Flemish bond.

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All Widths must be the same

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All Widths must be the same

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All Widths must be the same

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All of the Landscape lines will follow the rule of pillars PR

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The columns a line with the the column on the opposite side of the site.

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The Length of the openings become proportionate to that of a brick based on the widths of openings.

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All pillars across the site must follow this rule

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All pillars across the site must follow this rule

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The widths of the openings become proportionate to that of a brick

All pillars across the site must follow this rule

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All pillars across the site must follow this rule

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All pillars across the site must follow this rule

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Shigeru Ban’s Nepalese Emergency Shelters Designer/team: Shigeru Ban Architects Competition 2019...... Ongoing

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This project is suitable to the studio as it is a precedent of a circular economy, by building a structural frame, which means that there are no load-bearing walls. A light structure allows recycled bricks to be used in large cut panels to create a partition. The use of various blocks and patterns also presents an attractive aesthetic as it generates interest when looking at multiple textures. The idea that a low skilled workforce can erect it means that it promotes self builds that are sustainable. And as a vast population are slums, this is a justifiable way to build homes. work/demolition work, they are straightforward to collect otherwise used as crushed rubble. The light frame can be sustainable if constructed in timer. This also allows the rooms to have many user’s as the partitions can be removed to suit the current purpose of the building. The thatched roof system is also a sustainable approach. The simple shelter is designed to be easily assembled by almost anyone. Using connecting modular wooden frames (3ft x 7ft or 90cm x 210cm), salvaged rubble bricks are used to infill the wall’s cavities while paper tube trussing supports the roof. This, as Shigeru Ban says, will allow for “quick erection and nearly immediate inhabitation.” structurally it is comprised of a series of modular structural frames with windows and doors and walls made of rubble brick. The basic design allows for erecting by a low skilled workforce, creating a circular economy.

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As an exploration to the two previous precedent studies below is a wall element that expresses components from both. the various coloured card etched with brickwork represents the Nepalese emergency shelters. This is linked to the Design Exploration (book 1) which underlines the initial purpose of recycling and celebrating old brick. Secondly this model is inspired by the Church of Christ Obrero in the way that the brickwork has been laid at 30 degrees adding some aesthetic affect. I have then taken this further by discretely glazing the other faces.

Overcoming direct south light

Flemish Bond

Stretcher / Flemish Bond vertically

Stretcher Bond

Bricks and mortar This chapter explains the construction proses of the proposal from macro scale showing how the building will sit within its site context, then leading on to meso. Exploring the buildings structure, layout circulation and uses. Finally looking in to the bricks and mortarâ&#x20AC;Ś.. The details, micro scale highlights some of the key junctions throughout the proposal.

Contents 64

Location

Entering the site

Exploded drawings

Understanding the structure

Circulating the proposal

Approaching elevations

Exploring the voids

Exploring the community hub

Rendered community hub section

Hall of bricks

Environmental sections

Raw material workshop

100

Exploring elements

110

Carl Andreâ&#x20AC;&#x2122;s influence on furniture and sculptures

111

Views

118

The experience

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It is expected that those visiting will most likely be travailing from the Centre of Birmingham where among the vast amount of integrated transport and parking. so the approach to site will be from the East, within this in mind the entrance has been positioned off Centre towards the east, also large opening in to the hall and workshops will catch pedestrians interest. note the services, drop off zones are to the East of the site, that is so that there is minimal disruption between the public and those carrying out a job, such as tipping material on site. Those requiring accessible parking or bike racks, would be directed towards the loading bay where there are sufficient parking bays for the estimated number of users on a busy public exhibition day.

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As the development work in Book 2 explains, it was a decision to keep the private and public access spaces separate. Tipping zone (3) has been designed to the correct dimensions to allow a 16tonne tipper to turn within the courtyard with ease, again explained in the development work. This entrance also serves accessible parking bays/bike racks (2). Positioned at the rear of the building as It is assumed that those who need this would research or called the community hub in advance for directions. By keeping and vehicle traffic to the south of the site, the north is safe for pedestrians to roam freely (1). A roller shutter door has been incorporated to allow serving the biomass boilers easier again; this is towards the south of the site (4).

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The main entrance and north of the site.

1. Foyer The main entrance to the community hub building is positioned directly in front of the access to the site. Walking into this space, you are directly met with the reception desk as well as seating placed to funnel visitors through.

4. Services and toilets. Services are positioned in the same place on both the ground and first-floor, allowing ease when fitting services to them. Central within the building, the walls become load-bearing, allowing open spaces outside.

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Upon entering the site the opening forces you towards the foyer area, this is because the perimeter wall surrounding the site folds 90 degrees and aims you wards the main doors,. the doors itself as seen on the visuals are like the other openings on site, the brickwork pealing back funnels you in to the entrance. Avoiding the community hub entrance a private garden enclosed by the perimeter wall displays work processed within the workshops. in a Carl Andre style as explored.

9. Lighting Vent:

Arches within the hall provide light to enter from the light shaft, providing a well lit stage to host events . 10. Entrance landscape

2. Reception Desk

6. Accessible toilets

A small reception desk will be there to greet visitors when they enter the building, this will be and open space to allow interactions between the staff and the public.

Accessible toilets have been provide in all floors of each building meeting the standards required in the approved document M, Diagram 18, page 50,

3. Independent workspaces:

8.Main Hall:

11. Entrance Space

The independent workspace is an area that is concealed at the north of the building, fantastic for natural lighting this area will be used by the public for separate work/ a social area. Desks have been designed into the deep revels, to reduce the number of space desks take. The central part of the room will host seating at irregular patterns in order to encourage circular conversation within the space. The internal walls have also been adapted so that the reveals are occupied with either storage space or seating.

The main hall is accessed by a large open arch mirroring the other arches that are on-siteâ&#x20AC;&#x201D;taking advantage of the lecture theatre that is above the room boasts north daylighting lighting from windows 2 storeys high. As well as North and East lighting, the south of the room is lit with a light shaft; this stretches the width of the room. At the base, arches are cut into the wall to release the light. This light that enters the space could provide lighting that is used as a staged area within this hall.

The classrooms are situated in a separate building. This is so that when these rooms are not needed they can be closed off, this reduces the running costs as wells as the spread of people using a building. Cutting the circulation benefits both environmental and control of people

The landscape takes on the structural strategy to mark out paths and material variations.

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Main Enterance

Main Hall

Foyer

Light Tunnel Exhibition Hall

Classroom 1

13 13. Classroom 2

15. Wash down area.

Serving Areas (corridors / Lobbies )

Classroom 2 is a larger space that has seating and tables, storage and an interactive area that overlooks the site through arched windows.

Due to the nature of a workshop, it is expected that there should be an area provided to allow equipment to be cleaned. Each workshop has one integrated into the studios. This is because it is inevitable that some equipment may need cleaning multiple time in one session. so this access is key

Each building shares a common theme, The idea of the larger blocks of the workshop, collaborative space etc. Linked by narrower service areas creating a Louis Kahn effect of- servant and serves space. These corridors and lobbies that serve the rooms exceed the requirements states in the Approved Document M, Diagram 10.

14. Storage. Storage has been present throughout the proposal occupying â&#x20AC;&#x2DC;dead spaceâ&#x20AC;&#x2122;, these would be used for general cleaning products for each building.

10. Classroom 1 The classrooms are situated in a separate building. This is so that these areas can be closed off at an evening when they are not needed; this reduced the running costs of the building. Classroom 1 has educated seating as well as an area at the west to allow for interactive activities.

Accessible openings. Across the site, every door has been designed to the standards set in the Approved Document M, Diagram 9. This is because it is expected that anyone should have access to each element of the proposal. N

17. Work shop 2

19. Site managers office.

This workshop is designed for more seminar based create and make activities with seating formed so that people are interacting with each-other and the external landscapes.

Due to the nature of this proposal, there must be an on-site site manager. This is to overlook the maintenance requirements. Tucked away in the servent areas of the scheme, it is out of sight to most public spaces, while being in direct contact with the workshops and boiler room, and refuse areas.

Accessible openings.

18. Services Room

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The south of the site is the where the workshops and facilitys are. Access can be gained directly from the accessible parking bays to the external exhibition area of the site, preventing walking the perimeter of the site. You will notice the forklift positioned between workshop 1 and 2 this is because there has been an area big enough for a forklift with a load to make a clean turning circle. This is necessary as the plans suggest the rolling shutter doors provide direct access for forklifts to enter all 3 workshops and the exhibition hall. This is required as the sculptures made from these materials will be too heavy or big to move manually. it is these areas where the serve and servant spaces are the most obvious, as explored in the development the various roof heights and pushing and pulling of walls. out of the entire floor area of this space it is only the workshops and hall which extrude upwards and out to the external landscape. This works well in this instance as there is no views that look into or out of areas such as t he biomass boiler room and storages for example. This allows these areas to become discreet. here it is most obvious that the inner facade all mirror the arches of the viaduct apart from the only wall directly facing south. This would have caused many environmental strategy issues, instead a solid wall will be used as a backdrop for community events.

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The Loading entrance and south of the site.

This is the first workshop that forms the circular motion of workshop rooms. Here raw materials are brought in via the rolling shutter doors from the material drop of the zone and begin to be (De)constructed. It is expected that any extensive material needed to be cut will be done so outside within area???? Zone ?????? Provides a shield between the dust of the material being cut and the public. Tall Ceilings allow daylight to reach the deepest regions of the workshop; this is essential for many reasons (see the environmental strategy for more information). Arched windows will enable the public to interact with the workshop while mirroring the arches of the viaduct that is situated behind.

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Across the site, every door has been designed to the standards set in the Approved Document M, Diagram 9. This is because it is expected that anyone should have access to each element of the proposal.

The boiler room with the house the biomass boiler used to provide heat and provide secondary power to the building. Also, this building will be where the services linking the solar panels on the taller roofs of the community hub will lead. also in this room, the mechanical extraction units will be positioned. (more detail on the environmental sections). This room has direct access to Oxford Street for maintenance and delivery purposes. This shutter door has been positioned at the rear of the site, so it doesn't affect the aesthetics as it doesn't appear to be part of the scheme.

21. Work shop 1

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Serving Areas (corridors / Lobbies )

10m 20. Shower and changing facility

24. Loading Bay

25. Material drop off zone.

Due to the nature of the workshops, it is expected that there will be people who would like to change into more suitable clothing. Also, this space offers a shower facility if required. Again all areas are to the standard of the Approved document M, Diagram 22.

The loading bay is capable of allowing vehicles up to 16 Tonne to be able to turn around with ease in this area (see design book for this research). This large circulation area was necessary as the vehicles used to deliver/collect materials and products from the site would require such size. This bay shares the opening with accessible parking for the same reasons as described in the Accessible parking notes. It would be assumed that deliveries would be on days where the building is at a low user rate otherwise as this area has a wall perimeter, it can quickly be cornered off during loading/unloading.

The material drops off zone takes advantage of the arches within the viaduct using that floor area as a tipping bay for raw materials. Here it is expected raw materials will be dropped loosely in a visible pile. This relates to book 1 (design Exploration) as the building wants to express the value and possibilities of recycled aggregate. This zone will be private. However, visitors using the workshops will have access. The position of these piles of total will be visible by pedestrians on Trent Street; this should provide interaction between the site and the pedestrians

23. Accessible parking. Here are some accessible car parking spaces meeting requirements the Approved Document part M, Diagram 2. It is essential to ensure that accessible parking is present to avoid discrimination and poor experiences with the proposal. It was decided that there is enough parking availability elsewhere within proximity, so general parking is not present on-site, however, bike racks are positioned by the accessible parking. The parking is at the rear of the proposal, 1. To save space, it would be assumed that most people would either be aware of or research the accessibility of the building before visiting 2. It shares the same opening as deliveries; this reduced the number of openings within the perimeter wall.

Turning circle. Here there is enough room for a forklift to rotate fully; this information can be found in the Design resolution book.

26. Classroom 3 Classroom 3 is a much smaller room; this room would be suited for small gatherings or meetings. Again a meeting table and seating, plus storage are provided.

Workshop 3 26

Workshop 2

Workshop 1

Accessible parking / Bike racks

18 19

Loading Bay 20

Tipping Bay

The first floor. Why are the staff and facility rooms on the first floor? The First floor only serves private offices and the lecture theatre. The thought process behind the offices bing on this floor was to maximize the ground floor area for public use. Also, to create as many opportunities as possible to have opened to allows pedestrians to look into the building. The offices on the first floor will not have as much noise of circulation traffic. In section, you will notice that the ceiling height has been reduced above the offices.

6. Accessible toilets

7. Viewing point:

The lift is positioned with the other services in the centre of the ground floor, to avoid confusion the lift is opposite the staircase. In order to meet the needs of those who need it, the lift is to the standards required in the approved document M, Diagram 11, page 34, allowing passengers also to join.

Accessible toilets have been provide in all floors of each building meeting the standards required in the approved document M, Diagram 18, page 50,

on the landing of the staircase, a viewing point has been designed, looking into the light shaft that illuminated the back of the ground floor hall, this space has a bench incorporated within. The light shaft will be a focal point expressing detail of the building, â&#x20AC;&#x2DC;its bricknessâ&#x20AC;&#x2122;.

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5. Lift:

29. Staffroom The staffroom has its own accessible toilet as well as seating and eating areas.

31. Staff meeting room The staff meeting rooms have enough space for the advised number of staff that will be present. This space is lit with North and North West daylight. Notice it is also positioned in the furthest corner of the building from the halls; this is an attempt to remove the noise pollution that may occur.

30. Managers office Within this space, there is also a managers office, lit with daylight from the north.

28 Lecture

The stepped lecture theatre i this has been purposely done are cast as well as direct lig presenter and audience. Ac located at the fro

32. Staff

The staff office provides work into the walls to reduce the fl again, storage and seating load-bearin

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e Theatre.

is only lit buy north lighting; e to reduce the shadows that ght that is in the eyes of the ccessible seating has been ont of the room.

f office

kspaces that are integrated floor area needed for desks; is also integrated into the ng walls.

29 32

27 Gallery space,

Here the double-height ceilings allow for a spacious gallery space; this allows light to penetrate the deeper parts of the building as well as aid ventilation.

10m

Exploded Isometric view of the public spaces

Exploded Isometric view of the workshop spaces

B 7200 mm

C 6200 mm

D 6200 mm

9400 mm

7400 mm

h 6800 mm

I 4600 mm

J 1300 mm

1 5200 mm

7800 mm

5600 mm

3 5800 mm

5800 mm

7000 mm

5800 mm

5000 mm

5800 mm

5100 mm

7 m 5800 m

22 6100 mm

23 6100 mm

20m

5200 mm

1F ?? mm

1G 7400 mm

1J 17600 mm

6800 mm

10 11 4400 mm

5800 mm

13 14

5200 mm

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15 5400 mm

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that the based of the arches have been lined in a way that they can project across the site to meet another arch base. These projections then form the parallel lines used to map a brick bond on to the landscape.

Load baring arched openings

Key:

0= Ground Floor G= Represents the vertical load bearing wall Here is the meeting point of 2 load-bearing walls

16 16 = Represents Horizontal load bearing wall

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Load baring walls and a flat roof

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1= First Floor G= Represents the vertical load bearing wall

Here is the meeting point of 2 load-bearing walls

16 16 = Represents Horizontal load bearing wall

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Here is the primary structure of areas of the proposal that require a flat ceiling. A solid brick outer skin (Flemish Bond) with a brick internal skin in some cases where the walls are exposed, Block internal skin where plasterbord is used as an internal finish. With a pre cast concrete slab that sits on the internal load bearing wall. PRODUCED BY AN AUTODESK STUDENT VERSION

Here is the primary structure of the workshop walls, A solid brick outer skin (Flemish Bond) with a brick internal skin in some cases where the walls are exposed, Block internal skin where plasterbord is used as an internal finish. With a pre cast concrete roof component, angled to sit on top of the inner load bearing wall.

Here is the primary structure of areas of the proposal with arched openings that require a flat ceiling. A solid brick outer skin (Flemish Bond) with a brick internal skin in some cases where the walls are exposed, Block internal skin where plasterbord is used as an internal finish. With a pre cast concrete slab that sits on the internal load bearing wall. The load is then transfered down to the base of the arches. PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

The structural grid is based on the expansion joint analysis at the development and research stage. Not only that but to ensure that bricks will not leave opening unsymmetrical the formula has been used to position openings. All of the internal facade openings are identical to mirror the consistently equal viaduct arches. Note

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Load baring walls with a pitched roof

Structural Grid based on brick analysis

The basic strategy is simplistic in the way that a grid is formed in each building, All of the load-bearing walls are masonry, with most walls at 830mm thick at all times, Refer to Book 2 for development on this. The bases of the arched are always parallel to another base of an arch on the opposite side of the site; these lines will later begin to form the landscape plan.

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Workshop 2

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Also suggests which slabs will be produced using some crushed aggregates to add effects and tactility as explored in book 1 solid and void.

Concrete Span

AB C

Concrete Span

Concre

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Slab Type

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Min Thickness: 325mm

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Notes

This can be achieved without as a single span as it is below the 11m of the maximum span of a posttension flat slab. single span/depth ratio 30:1, according to Silver.P, Mclean.W and Evans.P (2013)

Slab

6300mm at widest

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Shortest span: 9800mm

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Slab Type

Min Thickness: 210 mm

Notes

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This study analyses the lateral loads, the spans and the type of supporting load bearing wall as explored in the previous page. This page will demonstrate that all of the spans of concrete can be achieved, allowing a thickness of slab that is required to be worked out of which then gets used within the detailing of the proposal.

VERSION

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AUTODESK STUDENT

T VERSION

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AUTODESK

The Load bearing Structure

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This can be achieved without as a single span as it is below the 11m of the maximum span of a posttension flat slab. single span/depth ratio 30:1, according to Silver.P, Mclean.W and Evans.P (2013)

9900mm at wi span

Min Thickne 325 mm

This can be achi single span as it of the maximum tension flat slab. ratio 30:1, acco Mclean.W and

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PRODUCED

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SK STUDEN

T VERSION

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2/3 repeate

Classroom 3

Lateral Load

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Lateral Load

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T VERSION

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B C

Concrete Span

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PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

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Slab Type

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Thickness: 220mm

Thickness: 335mm

Min

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Min

7100mm distance PRODUCED BY AN AUTODESK STUDENT VERSION

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ess:

10000 mm distance

6200mmoitch distance

Thickness: 240 mm

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idest

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Notes

This can be achieved without as a single span as it is below the 11m of the maximum span of a post-tension flat slab. single span/depth ratio 30:1, according to Silver.P, Mclean.W and Evans.P (2013)however would need consideration as it is pitched and out need joining at the top.

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ieved without as a is below the 11m span of a postsingle span/depth ording to Silver.P, Evans.P (2013)

Notes

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otes

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Slab Type

b Type

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Discreet Roller Shutter Doors

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Material Circulation

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Directional viewâ&#x20AC;&#x2122;s

As suggested on the plans the raw materials will be brought in to the loading bay where it will be tipped in to one of the two material drop off, divided by a base of a viaduct arch. Then the material will enter the external sorting courtyard before entering workshop 1,2 and 3. Then the products will be displayed in the exhibition hall creating a production flow. Some sculptures may be then brought outside. All openings are wide enough for a forklift to move objects. PRODUCED BY AN AUTODESK STUDENT VERSION

As you can see, the Shutter doors are discreetly positioned across the site. None of the doors is at an angle do that they are visible from habitable rooms, nor are they visible from the external landscaping. Naturally, shutter doors are not that aesthetically pleasing, so this has been intentional. Workshop ??? has a wall creating a private space to the right of it, this wall severs three purposes; 1. It allows the wall to be continuous, creating an enclosed area in the middle of the site, 2. It restricts the view that pedestrians can see when walking past the accessible /loading bay opening. (it would be unsightly if they could directly see a shutter door)3. It provides an additional private material sorting bay that is external to the workshops. These doors have all been positioned in-line so that the circulation of machinery and raw materials/products via forklift can be done with ease PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

This diagram indicates that all of the private circulation and workshop activity is at the south of the site as, this was the existing polluted area on site. So it made scene not to position the community hub next to an active viaduct.

Public Circulation

The community hub public circulation. Mainly north access for pedestrians, they then look directly at the foyer or open spaces, alternatively access able parking is at the rear with direct access to site. PRODUCED BY AN AUTODESK STUDENT VERSION

Private Circulation

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Aproach........ Bordesley Street Elevation A

Top of Lecture theatre parapet + 12.2mmmmm

Top of offices parapet +8.3m Top of Pitched Roof + 7.2m Top of the parapet + 4.46m

D . S. Motor Repairs

10m

Trent Street

Theatre and main hall. The north facing facade allows consistent daylighting to infiltrate Both rooms. The details above the windows are stepped to encourage light in to the deepest areas of the room.

Interdependent study space and orifices above. Notice that the ceiling is much lower this has been dropped in all of the service areas of the

Stepped Wall The wall is pealed back to be inviting for those approaching the site.

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Elevation Line

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TO DE

T VE

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ST EN T VE RS ION

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T VE

It is on the perimeter wall where the detail of framing brickwork is located. (See detail page).

The main entrance is presented through a hole punched in to the external perimeter wall. notice that the detailing above the door is constant above doors and windows.

Oxford Street

Framing brick patterns

Main Entrance

The Ladbrook Hotel

An Essay In Brick “Even a brick wants to be something”

Drawing Title:

Proposed Bordesley Street Elevation (A)

Drawing Scale:

1:200 @ A2

Project Lead:

Ryan Cooksey

Project Name:

An Essay In Brick

Drawing Date:

6th May 2020

Location:

Bordesley Street, Digbeth.

Trent Street Elevation

Top of railway parapet + 16.1M Light Parapet

PRODUCED BY AN AUTODESK STUDENT VERSION

+ 13m Top of Lecture hall parapet + 12.15m

Top of Boundary wall + 2.45M

Lab 11

Chiltern Rail line The Chiltern rail line connects Birmingham Moore Street with London Marylebone

10m

Private Entrance / Accsessble parking / Bike racks . The opening like others on the site has the wall pealed back to provide an entrance towards the loading bays. The opening is wide enough for a 16Tonne tipper to enter and exit with ease, see development book 2

Classroom 3

Pg. 103

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Elevation Line

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On the ground floor is the main hall with windows that are stepped back to invite pedestrians to look inside.

Bordesley Street

Main Hall (GF)

Classroom 2

An Essay In Brick “Even a brick wants to be something”

Drawing Title:

Proposed Trent Street Elevation (A)

Drawing Scale:

1:200 @ A2

Project Lead:

Ryan Cooksey

Project Name:

An Essay In Brick

Drawing Date:

6th May 2020

Location:

Bordesley Street, Digbeth.

Oxford Street Elevation

Top of surrounding building

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+ 17.4M

Top of Stepped roof + 7.37

Top of Hall parapet + 5.22M

Top of Boundary walls

Top of Services Parapet + 3.41

+ 2.61 M

Framing brick patterns

10m

It is on the perimeter wall where the detail of framing brickwork is located. (See detail page).

Secondary Hall On the ground floor is the main hall with windows that are stepped back to invite pedestrians to look inside.

Service rooms

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Top of railway parapet 15.95m

T VE

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Elevation Line

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An Essay In Brick “Even a brick wants to be something”

This is direct access to the boiler room to allow delivery s to efficiently deliver / repair the machinery, This prevents works occurring on the

Drawing Title:

Proposed Oxford Street Elevation (A)

Drawing Scale:

1:200 @ A2

Project Lead:

Ryan Cooksey

site which would disrupt circulation

Project Name:

An Essay In Brick

Drawing Date:

6th May 2020

Location:

Bordesley Street, Digbeth.

PRODUCED BY AN AUTODESK STUDENT VERSION

On the ground floor is the main hall with windows that are stepped back to invite pedestrians to look inside.

Desks incorporated into the window reveal for public interaction

Biomass Boiler / Service room Access door

Workshop 2

Workshop 3

es / wash / Storage

Exploring the voids ........

Top of parapet + 12.87

Top of parapet + 4.68M Top of classroom roof + 4.48M Ceiling Height + 3.53M Top of Roof Servant space + 3.17M Ceiling Height + 2.22M

20m

Material tipping zone

Vehicle turning bay

See page 94

Accessible parking See page 94

Classroom 3

Access corridor for Classroom 2

Toilet and storage

Classroom 1

The frame seamless. channel to is angled t for environ shadows. T and effects the arches at the base ect could o

Notes The Main Hall: The main hall is accessed by a large open arch mirroring the other arches that are on-site—taking advantage of the lecture theatre that is above the room boasts north daylighting lighting from windows 2 storeys high. As well as North and East lighting, the south of the room is lit with a light shaft; this stretches the width of the room. At the base, arches are cut into the wall to release the light. This light that enters the space could provide lighting that is used as a staged area within this hall. PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Section Line a

is fixed directly to the wall to made the light transition seam The Glazing is slightly angled to allow the water to run in to a prevent standing water. Note on the roof plan that this window to be north facing to reduce the effects of direct sunlight both nmental reason and for disrupting displays by casting harsh The light will cast down the ‘Hall of bricks wall’ creating shadows s, also the light will then reach the base of the light tunnel where within the main hall allow the light to filter into its depths. Here e of the tunnel it is expected that sculptures, Talks, Presentations occur as there will be a direct daylight from above to light the area.

Lecture Theatre

Main Hall (GF) On the ground floor is the main hall with windows that are stepped back to invite pedestrians to look inside.

Bordesley Street

PRODUCED BY AN AUTODESK STUDENT VERSION

Lighting tunnel

An Essay In Brick “Even a brick wants to be something”

Drawing Title:

Proposed Section In Context (C)

Drawing Scale:

1:100

Project Lead:

Ryan Cooksey

Project Name:

An Essay In Brick

Drawing Date:

6th May 2020

Location:

Oxford Street, Digbeth.

Community Hub E,15

0/1F,15

Pg. 89

Height of building in the background + 29.20 Top of parapet + XXX Top of railway parapett + XXX

Top of Parapet + XXX

Top of roof

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+9.28 Ceiling height +8.32

Top of Foyer parapet +51.2 Opening height + 3.98

10m

Main Entrance / Foyer

Interdependent study space

This space will be occupied by the public and used constantly as a main entrance to the community hub. Here the visitors will have views across the site as-well as throughout the ground floor of the community hub. Soft furnishings and adaptable seating will be places in this area, to allow the room to be rearranged when needed. seats will snake in order to provide various views and encourage conversation.

Mezzanine

Stairs to Access the 1st floor TThe stairs will be constructed with concrete, as my exploration book presents brick exposed within concrete a similar thing will happen here, waste brick aggregates will be mixed in with the concrete, then smoothed and polished add an effect

Directl room, equipm Ot

89 Notes Structural walls 13 / 15 have been made obsolete to add more effect to the section. 1Aa

0/1 H, 15

Pg. 89

The Main Hall:

J,15

The main hall is accessed by a large open arch mirroring the other arches that are on-site—taking advantage of the lecture theatre that is above the room boasts north daylighting lighting from windows 2 storeys high. As well as North and East lighting, the south of the room is lit with a light shaft; this stretches the width of the room. At the base, arches are cut into the wall to release the light. This light that enters the space could provide lighting that is used as a staged area within this hall. Mezzanine This level looks over the interdependent study space and foyer, the purpose is to allow light to enter as well as allowing the space to feel open

Section Line

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An Essay In Brick PRODUCED BY AN AUTODESK STUDENT VERSION

Storage

ly under the stairs there will be a storage it is expected cleaning supplies and ment will be placed within this space. therwise used as a furniture storage

Lighting tunnel / Main hall The Glazing is slightly angled to allow the water to run in to a channel to prevent standing water. The frame is fixed directly to the wall to made the light transition seam seamless. The light will cast down the ‘Hall of bricks wall’ creating shadows and effects, also the light will then reach the base of the light tunnel where the arches within the main hall allow the light to filter into its depths. Here at the base of the tunnel it is expected that sculptures, Talks, Presentations ect could occur as there will be a direct daylight from above to light the area.

Main Hall

“Even a brick wants to be something”

Drawing Title:

Proposed Section

Drawing Scale:

1:50

Project Lead:

Ryan Cooksey

Project Name:

An Essay In Brick

Drawing Date:

6th May 2020

Location:

Bordesley Street, Digbeth.

Atmospheric Render

Base of the Grass + 9.27M

Hall of Bricks Viewpoint Hall of bricks viewing platform.

Ceiling Height + 8.34M

Here is the mezzanine level where visitors would stand to gaze in to the ‘hall of bricks’ (See design book).This is the opening that looks into the hall of bricks / light tunnel. Here the walls will be built using as many panels of recovered bricks that are currently within the walls of buildings around Digbeth. As these buildings will be demolished this hall will celebrate bricks and mortar of the workshop of the world. The idea is this will be a changing piece of art as the day goes by as the environmental section suggests there will be shadows cast into this area via the glazed roof. It is expected that this will be a crucial space for those visiting the community hub as the demolition of Digbeth as history knows will soon be replaced with modern architecture as a result of HS2. Also, this links back to the exploitation stages, exploring brick bonds, the interest I had in that then began to form the resolution

Top reveal of the light opening + 6.70M

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Pg. 88

of this building. There is a piece of glazing fixed directly to the wall to made the light transition seam seamless. The light will cast down the ‘Hall of bricks wall’ creating shadows and effects.

The Glazing The Glazing is slightly angled to allow the water to run in to a channel to prevent standing water. Note on the roof plan that this window is angled to be north facing to reduce the effects of direct sunlight both for environmental reason and for disrupting displays by casting harsh shadows.

Top of the Hand rail +4.90 M

1st Floor finished floor height + 4.00M

The Hall

Ceiling Height + 3.44 M

The light from the light will then reach the base of the light tunnel where the arches within the main hall allow the light to filter into its depths. Here at the base of the tunnel it is expected that sculptures, Talks, Presentations ect could occur as there will be a direct daylight from above to light the area.

Top of the Mezzanine + 2.32 M Storage ceiling height + 2.14 M

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Location

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10M

This detail is a Ancon MDC support system The system is attached to, ensuring bolts are fully torqued, the pre-cast masonry unit is then lifted mechanically, supported and fixed to the support system. vertical and horizontal aliment is made .

Here it appears the the support frame is bolted directly to the floor slab in this particular example.

2 11 12

Insulation is present within the support framework to prevent cold spots.

The brick slips have bee matched to the bricks used

Detail 1E

In a similar way to how the brick slips have been attached to a frame work , my design idea uses an identical framing system but modified to allow bricks to appear as though they are stepped back. i will adapt this and fix my frame to the load bearing wall behind

200mm Rigid insulation

215mm Wide x 270 High Concrete block.

4 5

7 8 9

I Beam, this steel beam will support the brickwork

163mm Air Gap, Prevent damp

Special cast brick slips, these brick slips will be

230mm x 110mm x 75mm Brick.

Window frame, see the window frame 1:2 detail.

Mortar

Glazing , to prevent any one or thing falling in to

Steel L plate, This L plate will secure the steel

Special cast brick slips, these brick slips will be

Steel Lintel, the lintel will be specially made

for this purpose, there will be a steel plate welded to the bottom of the steel ( number 4). The steel will be secures to the bloc1k-work.

Steel plate, This will be welded to the base of a 1 lintel (number 3) and will stretch across the cavity.

Steel framework, this will be bolted to the steel

plate above, this is to provide an anchor point for the brick slips.

above the opening.

specially made to be able to allow a fixing that will support them on to the steel framework (number 5). notice the difference in shapes.

the light tunnel, this will have an opening to allow ventilation. The glass is to allow people a transparent view in to the light tunnel in the cavity.

215mm Concrete slab. Adapted as an internal finish in some scenarios.

Flemish bond pattern. As there will not be any plasterboard on this wall, as this area is celebrating bricks.

plate on to the I beam.

specially made to be able to allow a fixing that will support them on to the steel framework (number 5). notice the difference in shapes.

Here This is tunne of rec of bu demo works piece sectio

â&#x20AC;&#x2DC;Hall of Bricksâ&#x20AC;&#x2122; Viewpoint

is the viewpoint on the mezzanine level of the stairs. s the opening that looks into the hall of bricks / light el. Here the walls will be built using as many panels covered bricks that are currently within the walls uildings around Digbeth. As these buildings will be olished this hall will celebrate bricks and mortar of the shop of the world. The idea is this will be a changing e of art as the day goes by as the environmental on suggests there will be shadows cast into this area via the glazed roof.

It is expected that this will be a crucial space for those visiting the community hub as the demolition of Digbeth as history knows will soon be replaced with modern architecture as a result of HS2. Also, this links back to the exploitation stages, exploring brick bonds, the interest I had in that then began to form the resolution of this building. As book one suggests these surfaces will encourage tactility and interaction between them and the viewer.

Notes: The light well not only provides a moment of joy but also a consistent daylighting for the back areas of the main hall.

21st June

(Summer Sun)

Environmental section cutting through the light tunnel and open staircase

Key: Natural Lighting (21st June) Artificial Lighting (Lighting will be LED Lights for both energy saving and to limit the heat released from them. All synthetic lights as well as power will be offset by solar panels on Roof Noâ&#x20AC;&#x2122;4.

21st December (Summer Sun)

Underfloor Heating system Controllable underfloor cooling vents Solar Shading (Solar shading will be a constant effect from the viaduct as it runs from East to West. Stack Ventilation (There will be a possibility for stack ventilation, The pitch of the roof will be tall enough to hold stale air, Glazing above will be opened to allow air circulation. Cross ventilation ( cross ventilation will occur when the doors and windows are open on the elevations of the site as well as when the shutter doors are opened. Mechanical Ventilation ( ventilation will be present to remove dust and stale air away from the workshops) PRODUCED BY AN AUTODESK STUDENT VERSION

Section Line

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Stepped window reveals intraduce more natural daylight at a wider angle

90â&#x20AC;&#x2122; walls prevent some direct south sunlight.

Chiltern Rail-line

Top of railway parapet + 16.03M

Top of railway arch +13.09M

Base of railway arch +8.17M

Top of Classroom Parapet + 4.72M

Material tipping zone The material drops off zone takes advantage of the arches within the viaduct using that floor area as a tipping bay for raw materials. The arches within the viaduct have been measured against the tipping height of a 16tonne tipper ,there is sufficient room for tipping to occur beneath the arches. Here it is expected raw materials will be dropped loosely in a visible pile. This relates to book 1 (design Exploration) as the building wants to express the value and possibilities of recycled aggregate. This zone will be private. However, visitors using the workshops will have access. The position of these piles of total will be visible by pedestrians on Trent Street; this should provide interaction between the site and the pedestrians

Discreet worksho

Vehicle turn

Here workshop activities tha externally will be done so h cutting bricks, a water system grey water (see environmenta

with drainage to remove wa

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Notes: J,21

This drawing intercalated how the space will be occupied, notice that the wall covers the roller shutter door, this is to create the illusion that brick is continuous throughout the building . PRODUCED BY AN AUTODESK STUDENT VERSION

Pg. 102

Section Line

at have to be completed here, this would include m will be in place using the al section) system, along

ater away from the site.

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Accessible parking

Here the vehicles will turn and exit the site, (see Book 2 for development) . This area has a turning circle over the size necessary for a 16 tonne tipper to make an entrance and exit from site with ease.

Here are some accessible car parking spaces meeting requirements the Approved Document part M, Diagram 2. Bike racks are positioned by the accessible parking. Positioned at the back of the site to avoid crowds entering or exiting the main doors when there are events occurring on site.

An Essay In Brick “Even a brick wants to be something”

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ning bay

Vehicle turning bay

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op courtyard.

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10M

Drawing Title:

Proposed Section (loading bay)

Drawing Scale:

1:50 @ A2

Project Lead:

Ryan Cooksey

Project Name:

An Essay In Brick

Drawing Date:

6th May 2020

Location:

Bordesley Street, Digbeth.

Workshop 1

Top of railway parapet + 16.03m

The roof detail 7

Detail 2B 10 11 12 13 14 15

1 2 3

4 5 6

Workshop glazing

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+ 8.16m

Base of the pitched roof

+ 3.61

Key 990mm wide, Coping stone angled inwards to the roof. (To prevent water dripping sown the facade)

Flashing to direct water towards the gutter, Prevents splash backs when coming off the roof.

Drip, Preventing Water running back in towards the building

Guttering to direct water towards outlets,

230mm x 110mm x 75mm Brick. Flemish bond pattern.

DPM Drip, Preventing water reaching going backwards towards the roof.

Mortar

Continuous Air gap

Stacked Bricks to form roof, 110mm x 75mm, Bricks will be stacked and fixed to Steel Brackets no-11

150mm Rigid insulation

Steel Angle brackets, This detail will be fixed to the Marine ply as well as fixed to the underside of the brick

DPM, Preventing water reaching the Marine ply 75mm x50mm tanalised timber. acting as a frame between the roof and insulation, Form-

18mm Marine ply

150mm Rigid Insulation

300 mm concrete roof slab at 37 Degrees.

Concrete Roof slab foot. Cast as an continuous piece this will join the Block-work at the correct angle.

215mm Wide x 270 High Concrete block.

101

O,22

Pg. 94

Raw material workshop 1.

Above is the raw materials workshop. Here is where the raw materials will begin to be processed. Known as the ‘messy’ space. The workshops are all interlinked with roller shutter does as explained, this is so that a forklift is able to pass in and out of this area weather that be to move machinery or materials. Arches are continuous across all of the

workshops as well as the identity of the pitched roofs. there is always a constant link between the workshops and external exhibition zones. The desks have been inspired by Carl Andre’s work using bricks as table legs and concrete and a worktop.

Multi-purpose External Landscaped area. See Page 114

10M

21st June

Stale air controlled by remote window system

(Summer Sun)

21st December (Summer Sun)

Roof Ventilation

Clean, Filtered air Cross ventilation is key in this area will be constant at this height.

Stale air at this height will be removed via stack ventilation

+ XXX

Top Of Shutter Doors + 1.8m

Average Head height + 1.8m

Water storage tanks will positioned near the workshops to collect roof water as grey water. This grey water will be used within the equipment wash down rooms as wells as washing down the material tipping bays and watering plant s.

Little direct sunlight at midday, ideal for creative spaces where contestant daylight is preferred. this is achieved by the large arched openings facing directly north.

103

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Key: Below are localised environmental considerations across the site. PRODUCED BY AN AUTODESK STUDENT VERSION

Mechanical Window

North facing light Tunnel glazing

The windows in the workshops and light tunnel will be mechanical in order to achieve stack ventilation. These will be electronic to react and close to any rain that may occur.

The light tunnel will have glazing that is angled towards the north, this have been designed this way to remove overheating that may happen, but also to reduce the shadows created by direct sunlight, North light is much more even so this will be preferred this light tunnel where product and sculptures are presented below.

Artificial Lighting (Lighting will be LED Lights for both energy saving and to limit the heat released from them. All synthetic lights as well as power will be offset by solar panels on Roof Noâ&#x20AC;&#x2122;4.

AUT

ODE

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STU

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DUC

DEN

Underfloor cooling system.

ERS

ION

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PRO

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Underfloor Heating system

Solar Shading (Solar shading will be a constant effect from the viaduct as it runs from East to West.

South facing solar panels

Grey water

Solar panels will be positioned on the tallest building facing south to get the maximum amount of direct sunlight, this will Contribute to the electricity used within the building.

Grey water will be used to wash down and keep the dust down within the loading bays, it will be used within the wash down areas to clean tools, irrigation and also water that is used within the toilets.

Stack Ventilation (There will be a possibility for stack ventilation, The pitch of the roof will be tall enough to hold stale air, Glazing above will be opened to allow air circulation.

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NT VERSION

DESK STUDE

BY AN AUTO

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Mechanical Ventilation ( ventilation will be present to remove dust and stale air away from the workshops)

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Localised extraction units

Extraction units

there will be localised extraction units within the workshops to remove any dust or toxins created.

The ventilation system will be positioned don top of the flat roof above the bio-mass boiler and storage rooms. These ventilation system will also feed the mechanical ventilation that removes fumes and dust particles within the workshops.

DUC

PRO

Drainage ( Rainwater will be classed as Grey water, This will then be stored and recycled within the toilets and material loading bay wash downs )

Extraction Units

Cross ventilation ( cross ventilation will occur when the doors and windows are open on the elevations of the site as well as when the shutter doors are opened.

ODE

NA UT

ION

ERS

STUDENT VERSI

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BY AN PRODUCED

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DEN

STU

the thermal mass is a large factor across the site. The nature of the thick walls and 150mm of insulation will keep the building at a controlled temperature though out the year.

DUC

PRO

DB Y

ODE

AUT

DEN

STU

The Process of Aggregates

Aggregates arriving on site

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Exploring the full life of a brick, ‘cradle to grave’, it appears that the majority of the process is part of the linear economy. It is only at the end of the USE stage that there are some possibilities for ‘Circular economy’. It is the Demolition and Aggregate Recycling Plant stages that I’m interested in. Highlighting the vast amount of material within Digbeth that has the possibility to be recycled and reused, As demonstrated the embodied energy, aesthetics and details of some of the waste materials should be recognised and celebrated. With this in mind I want to explore if it is possible to avoid this valued material from being mixed with less valuable material when recycled. For example; avoiding a detailed piece of masonry being mixed with worn road surfacing both being produced in to type 1 hardcore. Which as a product isn’t highly valued nor does it provide any sense of celebration to design or embodied energy.

The delivery vehicle will enter the site via Trent Street in to the loading bay. Here the tipper will have a large enough turning circle even with cars parked in the accessible parking bays to reverse in to one of the tipping bays (see Vehicle sizes page) There are two material bays which have both adapted the openings of the viaduct to become open material bays. The bays were designed in this way so that they were sectioned off from the external exhibition zone, however they can be visible from both Trent Street and the workshops. This is so that people understand raw materials aesthetics and value as it arrives on site. Most importantly these will keep the materials dry.

105

Tipping the Material, under the bridge.

The circulation of material on site

Comfortable Clearance *16T Tipper*

The material bays have been utilised from the arches of the viaduct. The height to the shoulder of the arches is sufficient enough for a vehicle up to 16 Tonnes to tip its load. This is key as the materials can be placed in the bays without additional moving needed. Also this diagram shows that the roller shutter door that leads in to workshop 1 is discreet behind a stepped wall. This is this way to attempt to hide the services doors that contradict the building being solely made from aggregates.

External exbibtion Final position before taken elswhere

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This diagram explains the circulation of materials and products throughout the site. As the plan suggests materials will enter from Trent Street. Then the materials will begin a process starting with workshop 1, the â&#x20AC;&#x2DC;messyâ&#x20AC;&#x2122; workshop. Before entering workshop 2 and 3. There are service roller shutters that are between each workshop, these will be used as access for equipment and forklifts if needed to move materials around the site. The External exhibition and private gardens will be the final destination for products made in the workshop. it is expected that this space will be filled with art such as those made by Carl Andre.

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Elements model

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Section of the elements mod

15 2

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16 17 9

18 11 19

20 6

990mm wide, Coping stone angled inwards to the roof. (To prevent water

160mm Deep Guttering (Copper). open faced

230mm x 110mm x 75mm Brick soldiers to from an arch

dripping sown the facade)

DPM, Preventing water reaching the cavity

Mortar

Additional Bauder Capping Sheet / Membrane to secure the metal trim (Refer to the Specification for the correct option)

15 16

so that the water can be seen interacting with the material.

Drip incorporated into coping design. (To

prevent water dripping sown the facade)

Copper Flashing, with

163mm Air Gap, Preve

200mm Rigid Insulatio

Insulation Grip incorp tie. This is to maintain a

thermal line within the ca

Copper Flashing, Sealed in to the brickwork with all weather metal grip fill. copper was used for its natural material attributes changing during weathering. also, because of its properties water shines off creating an aesthetic look.

preventing water leakage

ED BY AN AUTODESK STUDENT VERSION

215mm Concrete slab

nal finish in some scenar

del (Detail

107 PRODUCED BY AN AUTODESK STUDENT VERSION Exploded assembly view of the elements model

1D)

30 22

27 26 28 24 25

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RSION

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a drip into guttering es.

PRODU

ent damp

porated into a brick

consistent air gap and avity.

b. Adapted as an inter-

rios.

AL150 Edge / Drainage trim. Secured in place by separate pieces of torch applied Bauder Plant-E Capping Sheet. For vegetation/substrate build-up depths greater than 150mm, a bespoke perforated edge/drainage trim is required. Additional Bauder Capping Sheet / Membrane to secure the metal trim (Refer to the Specification for the correct option)

Bauder PE Foil. Reducing heat loss and heat gain.

Bauder Protection Mat. To smooth out the rough surface of the concrete which could penetrate the membranes

Bauder Filter Fleece

Extensive / Biodiverse Substrate Minimum 80mm deep & 300mm wide. Width must be increased to at least 500mm when positioned adjacent to opening roof lights, windows or door openings. In accordance with both gro green and fll roof codes.

DES40 Drainage Board (Refer to the specification for the correct board to be used)

Wild low lying seeded grass

Gravel channel to direct water towards outlets, also to slow the speed of the water.

Elements model

As explored drainpipes and the way that buildings deal with the removal of water from a building can look unsightly if it is an afterthought. In this case, a standard down-pipe would look extremely out of place and unsightly. This is why attention to conceal/incorporate a downpipe into the building. Firstly you will notice that there is an expansion joint behind the copper casing. Again this is to avoid a necessary but ugly part of construction being on the show. Covering the expansion joint is a copper component; this is 110mm deep to avoid water splashing outwards. Also, it has been designed to overlap the front facade slightly to provide a complete level junction. Various styles of the casing were tested, but the open case was favored as you could see the full effects of the weathering as well as water interacting down its face. The material choice of copper came from its properties when weathering. Irregular patterns and shades of golden green provide some links to the state of Digbeth and materials found within the local area. The design of the openings needed to be over the top in order to stand out. By ensuring they follow the rules of another opening on site.

Video Of Working 1:2 Scale Model

Experimenting with the downpipe

109

1:2 Scale model.

Carl Andre’s Brick Art

IMG_14

IMG_16

IMG_15

IMG_17

IMG_18

All of the above images are Installations of Carl Andre: Sculpture as Place, 1958– 2010 at the Geffen Contemporary at MOCA,

Similarly to Andre s scavenging this proposal is scavenging waste aggregate that has no value, and attempts to make something beautiful out of it.

Carl Andre is a scavenger. On Friday nights, before the Manhattan neighbourhood where he has lived for 30 years became gentrified, he used to walk the streets, picking up shards of discarded metal from outside machine shops. Occasionally, he was stopped by the police. “It’s scrap,” he would say when challenged. “It has no value.” To which a member of the NYPD once remarked, like a character from Beckett, “If it has no value, why do you want it?” (world press, 2014).

Andre s work would be well suited in the external areas of this proposal, for that reason I will design similar artwork that can sit within the courtyard landscape.

111

Workshops 1/2

Workshop is the â&#x20AC;&#x2DC;messyâ&#x20AC;&#x2122; raw material workshop, here you would expect there to be a constant dust that is why localised extraction ventilation has been incorporated as-well as an electric widow above to create an effective stack effect as explained within the environmental sections. Exposed brickwork cladding on the pitched ceiling is a reminder of the expression of brick. Raw materials will be brought in from the loading and material storage bays, accessible through shutter doors positioned at the ends of

all three workshops to allow effective circulation. These have been designed so that forklifts are able to enter in to the workshops. As it is expected that machinery maintain ace or replacement is inevitable. as wells as the types of sculptures and art that will created using bricks will be heavy, which will require mechanical transportation. The arched openings that look on to the external exhibition area frames those within the workshop providing consist-ant north light ideal for model-making where harsh shadows are a burden.

113

Above is workshop 2, this workshop looks out on to the external landscaping area. Designed to be a workshops where seminars are able to take place, the seating and tables have been arranged so that there will be forced contact with others in the same workshop. The load baring wall has been designed in a similar way to the other openings on site, stepped back brickwork then makes way for shelving in both workshop 1 and 2. The work benches have been designed with the Carl Andres sculptures in mind, to have a constant reminder of the purpose of the proposal, the legs of the tables will be

bricks that have been stacked, and rotated to their centre to create an uneven stacking effect. Likewise with all of the other workshops, The pitched roof will be a primary source of constant daylight though out the day, there will be not direct sunlight due to the height and angle of the roofs, which is perfect when in a creative environment where constant light is key. To the left of the image is Oxford Street, this is where seating integrated in to the walls will be allocated, allowing pedestrians to look in towards the workshop.

Interdependent study space

This is a visual that looks into the independent study space of the community building. As the visual suggests, there will be desks that are integrated into the walls of the building, this will maximise the amount of floor area within the building. As the openings pages suggest, this will allow the interaction between those inside and outside of the room. The load-bearing wall on the right-hand side of the graphic will have similar cut-outs providing a bench seating. Other than that, lightweight seating and furnishes will complete this study space. There will be no direct sunlight as all windows are north or north-west facing.

Poetics of brick openings (Window)

This is a visual of an opening that steps back to allow a person on the external part of the building to enter up to 500mm to feel enclosed and part of the space the other side of the wall. The openings as the later pages explain have been angled to provide maximum daylight but limit direct sunlight. Notice that the brickwork follows the formula that was set out in the earlier pages, allowing a symmetrical opening with minimal brick cuts.

115

Arch formed in the same way of Craddock Cottages, Surry Precedent on page 55. In the same way the bricks are made especially for this project from waste aggregates, the lintels will also be moulded using the same technique. So these will all varies in colour and texture.

Various paving to form landscape as explained on page 58.

Poetics of brick openings (Arch)

No cuts and symmetric Various paving to form throughout the pillars. landscape motor joint as explained on page 58.

Various paving to form landscape as explained on page 58.

This visual shows again that the brickwork follows the formula that was set out in the earlier pages, allowing a symmetrical opening with minimal brick cuts Also it shows the arches. The arches will be supported by a curved lintel created especially for this project in the same way that the bricks have been. The crushed aggregates will be cast in to the correct shape like the lintels of the Craddock cottages in Surry, a precedent analysed earlier in this book.

Here is the social external area. Here the areas have been divided by the landscaping grid lines. Each ‘brick’ that is formed will contain a variability of landscaping techniques. Here you can see that there is some fixed landscaping, the benches would be large pieces of art within the landscape. These will not be intended to be able to be moved as they are formed to follow the lines of the landscape creating some small and some larger social areas, these benches

also act as dividers. other ‘Bricks’ would be filled with various hard or soft materials, for example various paving stones in various brick patterns, then soft landscaping such as grassed or planters. To the left of the image the boundary wall is visible this wall consists of framing brick patterns and integrated seating areas, both explored within the development of the proposal. Other areas will be frames for sculptures and pieces of art such as Carl Andres work.

117

Constant landscaping pattern though-out site, in the Flemish brick bond style. Each ‘brick’ would be made up of various brick patterns

Brick pattern framing on external wall.

Seating incorporated in to the perimeter wall

Carl Andre brick art (See Page?)

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Dog Leg wall to provide privacy also security if gates are implemented. Green spaces for Vegetation

Boundary wall Continues

Entrance

Locating the external exhibition area.

Other than the seating wich will be large prices of rubble carved for seating the rest of the lasndcape has flexability. Allowing the external area to be used for other community events when neeeded, here are a few examples of how the space could be adapted.

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Projection wall (south facing)

A Typical Day

Here the visual shows the typical day of the outside landscape area. It is here where various community spaces can take place. Notice that there are some fixed furnishings on the site, but other than that any sculptures or pieces of art will be able to move when this area is needed for different reasons.

Here spa uses regu

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119

Community Events Space

e is an example of how the external landscape could be adapted to a community events ace, here tepees, and seating can be arranged. The large area provides flexibility for many s. This particular one is showing a community products sale. Something that may occur ularly in this proposal as it is a base for creative-minded people seeking a workshop area.

Film Showing

(Articulating the Large surface areas)

This external area could be repossessed at summer evenings to provide a space for external film showings. The uninterrupted wall that forms provides a large enough surface area to act as a projectable frame as there are no openings nor details along this walls. The seating would follow the landscaping lines that are evident though out the project. Alternatively this space can also provide the backdrop for bands and local performances to also take place. As the workshops are completely separate to the rest of the site they have the ability to be closed whilst the community building can be in operation to provide shelter and toilet facilitys .

Bordesly Street approach View

This is the approaching view from Bordesley Street. The stand out features should be the constant use of material, as well as the perimeter wall that conceals the majority of the building.

Aerial perspective view

This view shows the relationship between the serve and servant areas of the building, of the site, it also indicates the solid boundary wall that surrounds the site.

121

Aerial perspective Entrance view

Chiltern Rail line carriage window view

This aerial perspective view overlooks the site. It is clear to see the interaction between the entrance space and the public garden that sits behind the perimeter wall.

Likewise, with the view that was generated on the design exploration book, I have replicated the view that passengers on the Chiltern railing (London - Birmingham) would see as they approach/leave Birmingham.

Pointing the details This chapter explores some of the openings across the site, how they will be constructed and why they have the shape they do influenced by environmental strategies.

When you want to give something presence you have to consult nature and there is where design comes in. if you think of brick,for instance,and you say to brick, “what do you want to be brick”? and brick says to you “I like an arch”. And you say to brick “look, arches are expensive, and I can use a concrete lintel over you. What do you think of that? “brick”? brick says “…I like an arch”. Louis kahn

123

Contents 124

Integrated seating

126

Integrated workspaces

128

Opening styles

130

Deep window recesses

132

Discreet Glazing

134

Framing brick bonds

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Integrated seating

External garden / exhibition zone

After acknowledging the Per Kirby and the Louis Khan precedents, I have begun to investigate the opportunities that a thicker wall has to offer. The research up until now is suggesting that the thicker walls are providing more permanence and weight to the building. I now want to make these walls use-able. The idea is that the inner wall and the insulation is consistent throughout. However, the external facade can reduce and increase in thickness as it is not load-bearing and also because of the large air gap between the insulation and the external facade allows this to happen.

Integrated seating

External private social area

Green soft landscaping PRODUCED BY AN AUTODESK STUDENT VERSION

Green soft landscaping

Green landscaping

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Carl Andreâ&#x20AC;&#x2122;s style models

Integrated seating

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Initial sketch diagram

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This would have to be on the internal walls of the proposal as they may get misused if they were external. These act as benches without being obvious; the material is working hard for the user. These will allow the user to sit externally and enjoy the Building and sculptures.

Above is a visual of the external private social area, This space is a cornered off and provides a quiet area within the site for visitors to sit and enjoy the experience.

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125

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Section of the seating

Plan of the seating area. 13

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Elevation of seating area. Cooksey_Ryan_Solid & book-portfolio_1

Void_

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4 5 14

10 3

1 2

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Key

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1 Mortor

18mm Marine ply.

2 Imperial reclaimed brick 230mm x 75mm x 110mm in the Flemish bond pattern. 3 30 mm Air gap

Finish Internal Floor

Stepped back

Tanalised Timber

200mm Rigid insulation

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As you can see the seating sets back in to the wall, and also provides a cavity and insulation before the interior load bearing wall.

4 Copper Flashing, chosen to match the other elements of the building for its weathering characteristics. also acting as

Workspaces integrated in to the wall

Opening Location PRODUCED BY AN AUTODESK STUDENT VERSION

Integrated seating

Workspaces Integrated into the wall

The internal workshops could have workspaces that are integrated into the walls. This then allows maximum lighting for those working and also provided the opportunity for pedestrians to be extremely close to work that is being produced. This may pull pedestrians into the building to have a closer look and be part of the workshop experience. Externally there will then be an interaction between the person inside the workshop and those that are pedestrians.

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External View

Internal View

127

Plan of the seating area.

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Section of the seating

N AUTODESK STUDENT VERSION

9 5 4

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3 2 1

Elevation of seating area.

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Key 1

Mortar

200 mm Rigid insulation

Imperial reclaimed brick 230mm x 75mm x 110mm in the Flemish bond pattern.

1 Course of brick with a DPC, Preventing damp, also providing a fixing for the window frame

Window Frame Detail, See window frame detail page for more information at 1:2

Stepped back brickwork

215mm Concrete block (adapted as an internal finish in some scenarios).

Continuous insulation line.

163 mm Air gap

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This opening uses the Flemish bond pattern to provide a stepped effect in the brickwork. The headers within the bond act as supports that carry a stretcher on the course above. This pattern continues to form a pattern above the opening.

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This detail as the diagram suggests allows slightly more lighting into a building. This is ideal for north-facing windows.

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Square style opening

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Flemish Style opening

In this example there will be a flat finish ac as recognised and explained This window opening would be used wher The over hang acts as a shading device p to the build

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Titles

In this example, an arch has been formed over the top of the openings, which as the diagrams suggest will start at the shoulder of the wall. This design works well in the sense that it mirrors the site ( the viaduct); however, it doesnâ&#x20AC;&#x2122;t follow the scheme of the squareness of the external and boundary walls.

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chieved by detailing using brick slips d within the tech book. re the need to reduce direct sunlight. preventing direct sun to enter deep in ding.

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Arched opening

From a light point of view, the tallest part of the arch will allow more light than if it was flat. This is something that could be considered on a north-facing window where the light is consistent with no concerns for overheating.

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Deep window recesses This is the window opening style that I preferred. This will be used for north-facing openings where the maximisation of north light is essential. At the top of the window steps out, this allows a higher angle of the sun to enter the spaces. For windows where there is the direct sun, and it is needed to reduce the amount of sunlight due to environmental issues that it causes, the square opening will be chosen.

Views Created

On the street faรงades, it would be interesting to pull people into the walls as if they were part of the brickwork to have a good look at internal spaces then. That is what this opening offers.

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This opening allows the public who are outside to feel engaged with the workshop area. The openings are stepped back for 2 reasons, 1. To encourage north facing light in tot he building. 2. To provide a reveal for pedestrians to walk inside to the appreciate the thickness and mass of the walls above, the pedestrian will feel part of the wall due to its thickness.

Views Created Views Created

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1086mm

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Plan of the seating area. PRODUCED BY AN AUTODESK STUDENT VERSION

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BY AN AUTODESK STUDENT SectionVERSION of the seating

4 5

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3 1 2

Elevation of seating area.

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Imperial reclaimed brick 230mm x 75mm x 110mm in the Flemish bond

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1 Course of brick with a DPC, Preventing damp, also providing a fixing for the window frame

Window Frame Detail, See window frame detail page for more

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Continuous insulation line.

200 mm Rigid insulation

10 215mm Concrete block (adapted as an internal finish in some scenarios).

Stepped back brickwork

2560 mm

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Mortar

163 mm Air gap

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Stamp Window Precedent

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Incorporating the idea in to my concept.

Detail 2

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Mortar, Bucket handle pointed.

42mm Dense Rigid insulation

80mm Spax Screw, This is to fix the frame in to the brickwork security.

grey Aluminium L plate to secure glass panel in to place.

Window frame, Aluminium

230mm x 110mm x 75mm Brick. Flemish

Glazing silicon grip to secure the glazing to the metal L plate

Glazing

Silicon to seal the gap between the brick and the window frame

Beading that clips into grooves within the frame that secures the Glazing in position.

Glazing Panel

Glazing Bar

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After deciding that the building should be true to itself and puss that all materials are brick, it would be a shame to see window and door frames. With the initial ides to remove these from sight, I came across a precedent called ‘Stamp Window’. Their design won awards in window innovation 2010. After studying their design, it is clear that they allow the glass to fill the opening without framing insight. This relationship between brick and glass is very aesthetically, and this is something that would suit my design process. Below are photographs of the detail in place.

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IMG_21

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Detail 1

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133

Detail 2 1:4

10 5 7

12 5 3 4

9 11 External

8 6

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Internal

1 6

Internal

10 5

12 5

3 4 9

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External

This is an example of the detail when the wall is flush internally and externally. Internally the framework of the window is not visible. This is because it has been positioned into a channel within the opening. The insulation can be seen to meet with the window frame preventing thermal bridging. Externally to pose the illusion that a frame is not present another panel of glass that has no part of the window is positioned using an L Framework held in place with window Sealent. This glass panel can then be removed in need to replace

This is an example of the detail when the wall steps. Internally the framework of the window is not visible. This is because it has been positioned behind a brick that is part of the stepping of the opening. The insulation can be seen to meet with the window frame preventing thermal bridging. Externally to pose the illusion that a frame is not present another panel of glass that has no part of the window is positioned using an L Framework held in place with window Sealant. This glass panel can then be removed in need to replace the glass of the window.

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Detail 1 1:4

Framing Brick Bonds Here is an early sketch of how I visualised the brick bonds to appear in a frame. As part of the boundary walls. Within the wall, there could be frames in which various brick patterns can be seen. This could then act as some history to the site as well as some unknowing education to those that pass by. Each frame would be different and be labelled above with a plaque perhaps that gives some information about it. These frames are an opportunity to break up the wall and allow expansion joints to be discreet.

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English Bond

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t is presen brickwork the f o e d a Framing c external fa across the wall. boundary

Framing brickwork is present across the external facade of the boundary wall.

Stretcher Bond

English Garden wall Bond

Flemish Garden wall Bond

Here the Stretcher Bond is presented in the frames, This would be expected t be taken from a local building with relation to Digbeth, maybe with a plaque to give information of its source.

Here the English Garden Wall Bond is presented in the frames, This would be expected t be taken from a local building with relation to Digbeth, maybe with a plaque to give information of its source.

Here the Flemish Garden Wall Bond is presented in the frames, This would be expected t be taken from a local building with relation to Digbeth, maybe with a plaque to give information of its source.

STUDENT VERSION

Here the English bond is presented in the frames, This would be expected t be taken from a local building with relation to Digbeth, maybe with a plaque to give information of its source.

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135

Plan of the seating area 1:20.

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8 1

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Key

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As you can see the seating sets back in to the wall, and also provides a cavity and insulation before the interior load bearing wall. Although insulation is not required on the garden walls, this is an example to indicate that if it was to be used on a wall forming the building it could be achieved.

Mortar

Schrock Detail, See schrock detail page

Imperial reclaimed brick 230mm x 75mm x 110mm in the Flemish bond pattern.

Framed Brickwork. 1930mm wide x 1030mm High

163 mm Air gap Preventing damp

Finish Internal Floor material (Dependant on room)

56mm Air gap Preventing damp

Stepped back brickwork to create a framing effect.

200 mm Rigid insulation

215mm Concrete block (adapted as an internal finish in some scenarios).

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Elevation of seating area 1:20.

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4 3 7

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Section of the seating 1:20

Section 6: Bibliography

Baker-Brown, D (2019) The Re-use Atlas. 2nd edn. London: RIBA. Blackwell , W. (2012) Neufert Architects Data. 4th edn, Oxford: Blackwell Publishing Limited. Bristol City Council (n.d.) A Bristolians guide to Solid Wall Insulation. Bristol: Bristol City Council. Dollard, T. (2018) DESIGNED to PERFORM. London: RIBA Publishing. Collinson, J (2012) Brickwork and brick laying. England: The Crowood press Ltd. Dollard, T. (2018) DESIGNED to PERFORM. London: RIBA Publishing. Dollard, T. and Edwards, P. T. (2015) Builders Book. [Online] Available at: www.Zerocarbonhub.org [Accessed 20 October 2019]. Hammond, M. (2009) Bricks and brickmaking. 2nd edn, Oxford: Shire Publications Ltd. Heywood, H. (2012) 101 Rules of thumb for low energy architecture. Newcastle Upon Tyne: RIBA Heywood, H. (2015) 101 Rules of thumb for sustainable buildigns. London: RIBA Kitching, D. (2016) British Bricks. Gloucestershire: Amberley Publishing McDonough, W (2009) Cradle to Cradle. London: North Point Press. Hall, William (2015) Brick. London: Phadion Press Limited. Hall, William (2019) Stone. London: Phadion Press Limited. Silver, P and McLean, W and Evans, P (2013) Structural Engineering for Architects: A Handbook. London: Laurence King Publishing. Wir Banauen,W (2017) How we build assemble. Zurich: Architekurzentrum Wien und Park books

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Section 7: Refrances

IMG_2

Pintrest (2020) Barcelona Pavilion. Available at: https://www.pinterest.es/pin/410883165978344152/ [Accessed on 23 January 2020].

IMG_3

MiddelheiMuseum (2020) PER KIRKEBY (DENMARK). Avalible at: https://www.middelheimmuseum.be/en/page/kirkeby-denmark [Acsessed on 26 Jannuary 2020].

IMG_4 IMG_5

MiddelheiMuseum (2020) PER KIRKEBY (DENMARK). Avalible at: https://www.middelheimmuseum.be/en/page/kirkeby-denmark [Acsessed on 26 Jannuary 2020].

IMG_6

Architects Journal (2020) RIBA Stirling Prize: Barrett’s Grove by Groupwork + Amin Taha. Available at: https://www.architectsjournal.co.uk/ buildings/riba-stirling-prize-barretts-grove-by-groupwork-amin-taha/10023825.article [Accessed on 23 March 2020].

IMG_7

Stephen Taylor Architects (2020) Available at: http://www.stephentaylorarchitects.co.uk/project/craddock-cottages/ [Accessed on 23 January 2020].

IMG_8 IMG_9 IMG_10 IMG_11

ARCdaily (2020) Available at: https://www.archdaily.com/83697/ad-classics-indian-institute-of-management-louis-kahn [Accessed on 23 January 2020]. Harvey Court (2020) Harvey Court. Available at: https://cargocollective.com/matthewsmitharchitecture/Harvey-Court [Accessed on 23 January 2020]. Pintrest (2020) Barcelona Pavilion. Available at: https://www.pinterest.es/pin/410883165978344152/ [Accessed on 23 January 2020].

IMG_12

Archdaily (2020) Nithurst Farm / Adam Richards Architects. Available at: https://www.archdaily.com/929095/nithurst-farm-adam-richardsarchitects [Accessed on 25 January 2020].

IMG_13

Archdaily (2020) AD Classics: Indian Institute of Management / Louis Kahn. Avalible at: https://www.archdaily.com/83697/ad-classics-indianinstitute-of-management-louis-kahn [Acsessed on 20 Jannuary 2020].

IMG_14

Archdaily (2020) Shigeru Ban’s Nepalese Emergency Shelters to be Built from Rubble. Available at: https://www.archdaily.com/771059/ shigeru-bans-nepalese-emergency-shelters-to-be-built-from-rubble [Accessed on: 05 January 2020].

IMG_15

Cfile.daily (2020) Architecture | Cristo Obrero Church by Eladio Dieste. Available at: https://cfileonline.org/architecture-cristo-obrero-churcheladio-dieste/ [Accessed on: 05 January 2020].

IMG_16

World press (2020) World press. Available at:https://burlingtonindex.wordpress.com/2014/05/13/carl_andre/ [Accessed on 23 March 2020].

IMG_17

The Guardian (2020) Carl Andre: ‘I’m a hopeless drawer – and a terrible painter’ . Available at: https://www.kcrw.com/culture/shows/art-talk/ carl-andre-at-moca [Accessed on 23 March 2020].

IMG_18

The Guardian (2020) Carl Andre: ‘I’m a hopeless drawer – and a terrible painter’ . Available at: https://www.kcrw.com/culture/shows/art-talk/ carl-andre-at-moca [Accessed on 23 March 2020].

IMG_20

The Guardian (2020) Carl Andre: ‘I’m a hopeless drawer – and a terrible painter’ . Available at: https://www.kcrw.com/culture/shows/art-talk/ carl-andre-at-moca [Accessed on 23 March 2020].

IMG_21

Stamp window (2020) Available at: http://dmoa.be/stampwindow [Accessed on 23 January 2020].

Throughout the design exploration (Book 1), I have recognised that the construction industry is accountable for a large proportion of emissions contributing to the problem of global warming, somthing that is currently extremely topical. When exploring Digbeth it’s clear that the ‘workshop of the world’, ‘a city home to a thousand trades’, has been producing goods that have built throw away products is an example of the linear economy, contributing to the global crisis. Long after the products produced have become waste, the building will also follow suit. I have explored that brick is a material used in masses within Digbeth, which in recent years has become part of an unadventurous circular economy. With the waste material being used as an aggregate, such as hardcore and temporary roads. What I find depressing is that something that was once ‘beautiful’, serving details and presence to a facade is now mixed with less inventive materials such as a fence post as part of a compacted base. I explored the significance of masonry, through recognising its value of aesthetics and embodied energy. I Focused on the permanence that masonry materials hold. In an aim to celebrate the aggregate and find a form that allows authenticity true to the material. Book 1 concluded with the aim to propose a community hub that celebrates brick and ‘lets brick be brick’.

An Essay In Brick An Essay in Brick Ryan John Cooksey S17123027 Portfolio 2 - Design Resolution BA(Hons) Birmingham City University DATE: 21st May 2020