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CONTENTS YEAR REPORT
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CROSSOVER
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PROSPECT AND REFUGE
22 - 37
LIVING ON THE EDGE
38 - 49
PLACED, DISPLACED
50 - 59
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LEARNING SUMMARY Over the past academic year, I have experienced and learnt more through the process of development and order. At the start of the year, I feel I was fairly unprepared for the upcoming events and projects, however, since putting together my final portfolio, I have realised how much I feel I have improved. Using such software as Revit, Photoshop and InDesign have really allowed me to explore my artistic flare and broaden my design horizons. During first year, I strayed away from computer software out of fear of not knowing what to do, and it was only until after the Christmas break that I felt like I had enough confidence to work on practising the art. For the final individual project, I introduced myself to Revit, proving very difficult at the start. However, after practising and learning from other students, I now feel I have a sound grasp of the software, which I feel will come in very useful for the full force impact that third year will surely bring. Since the start of the year, I feel I have improved not only in computer skills, but also with my drawing abilities. I have learnt to appreciate my own work as something that could have potential rather than disregarding it as soon as something goes wrong, which was a trait of mine during first year. Although I haven’t shown much development of sketches this year, I now realise how important they are towards to outcome of a design. When updating my learning journal, I felt there was a lack of small sketches that explained my thought process, which proved difficult for even myself to understand what I was thinking at the time. Going into third year, I know I need to focus on initial design development in much more detail, as I understand now, how important that and using site analysis to its full potential is, to relate the new building as much to the site as possible. With regard to Site analysis, as the year progressed, I began to understand more and more how important it is in order to filter your ideas to achieve a specific purpose but also allows more of an artistic flare. I feel the best designs really incorporate site analysis and include elements that enhance or improve them. The transition between first and second year has been a fairly large step in terms of technology and structural development within building design. Although we touched on in in first year, I still feel I started the year with very little knowledge of structural development. However, after reading comments from tutors in feedback sheets and after tutorials, I needed to really start dissecting my design apart to make sure they are structurally sound and coherent. Using Revit really broadened my desired to learn more about structure, and started to put everything I had learnt from technology lectures into context. From this, I started to develop new ways of working and producing work that would best explain my ideas, such as axonometric diagrams. The ways in which I produced work was also influenced a lot in the final group project where you had to work with others in order to develop a structurally comprehensive design and present it only from hard work. I felt this group work really helped me learn from others who may have a different set of skills than myself, and I also learnt to share my own skills with others. The main aspect about myself I feel is necessary to improve before going into third year, is time management and planning. In comparison to my first year, I feel I have improved vastly, however, when reading feedback and laying out final presentation boards, it is apparent that there is little developmental work as I have a tendency to not write/draw things when I think of them. I know from talking to tutors and older students that this is an absolute essential part of the architectural study and I feel I now understand why. I aim to use the most out of sketchbooks/booklets next year to produce a good standard developmental booklet at the end of a project that will aim to help tutors explain my though process. Over the summer, I aim to improve my confidence in sketching. I have always felt a lack of sureness when drawing free hand, which scared me away from really getting into a design and developing it. I aim to improve my time management and keeping to a daytime working routine, which I feel will set me up for the future when getting a placement. To summarise, I have thoroughly enjoyed stage 2. I realise after completing it how much I have learnt and developed as an architecture student since the start of the academic year. Putting together my end of year portfolio enabled me to see the projects that I clearly enjoyed more than another. I feel the only reason that I seemed to enjoy one project less than another was because of the amount of work that was put into each one. I want to come out of third year having loved every project and feeling proud of my final achievements.
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Crossover
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CROSSOVER
Historically Chares were renown for eavesdropping as sound would be easily amplified along the narrow streets. This creates a separation between audio and visual association. Busking shows a similar dichotomy between sound and form. This is seen on the approach to the performer, which is predominantly hearing based. The closer you get to the busker more distinctive the sound becomes. It is only once you are very close to the busker that you register their physical appearance. Our design aimed to utilize this dichotomy to preserve the nature of busking as an ‘eavesdropping experience’.
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The Eavesdrop(in) Festival is a temporary immersive busking experience which aims to magnify the transitory nature of musical street performance. The large wooden structure rises up out of the Dogleap Lane drawing attention to its physical attributes by playing with proportion and perspective. The colorful huts perch on this structure high above the street, bringing a sense of vitality into the local roofline. Lines of colorful wires hang down between the bamboo supports promising the prospect of detachment from the conventional and ordinary occurrence of events circulating around the Chare.
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The cans hang from beneath the huts streaming their audio inputs. Different colored wire represents the different musicians. There is also a line that collaborates all the individual inputs together into a single musical symphony and a stream from the Eavesdroppers Lounge. The cans are tilt activated; only streaming sound when utilized by the festivalgoers. Internally it contains nine mercury switches on a parallel circuit each with a 40-degree total operational radius. This creates flexibility with how the user interacts with the cans based on tilt gradient and direction.
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The Mirror Huts These forms attach the musical huts together. The mirrored roofs have a thirty-degree slope that reflects a warped and fractured image of the musicians. The walls are formed from polycarbonate allowing light to illuminate the space. The structure utilizes bamboo in a gridded formation with vertical, horizontal and diagonal bracing. Maojue bamboo was used due to its high axial compressive strength and suitability. Japanese square lashing was used to attach the bamboo, a more environmental conscious option than metal or concrete joints. Bamboo structures are quick to assemble, ideal for temporary structure, and can be used to form a strong structural form without causing damage to the existing site. Concrete shoes are attached to the feet of the structure, molded to the shape of the stairs. This will give it stability on inconsistently leveled site. 14
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The public will move through this transitional space, first confronted with a complexity of eavesdropping cans and colored wire. This audio-based interaction will enhance the sound of the performance, drawing attention to the individual musicians. The pathway then breaks into open space beneath the mirrored huts reflecting the fragmented musicians. These two spaces continue to rhythmically vary as the stairs progress blurring the distinction between these opposing sensory experiences.
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PROSPECT AND REFUGE
The project aim was to design a medium scaled public building in the harbour town of Amble. There was 3 main targets to consider when designing thebuilding, first being reciprocity. The idea of a twin phenomena was inforced to explore when designing the building, I further explored the idea of prespect and refuge within difference situations. My initial research came from gaming cities, where a place was designed specifically to accommodate aspects such as fighting, where there would need to be large areas of refuge and a comparison with prospectus areas. Secondly, the timber frame construction was used to form a grid system which aided design of internal architecture. It also came under the braket of sustainability, making you think more about passive concepts and approaches into the design. 24
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Diragram representing historic monuments and views around Amble. After having completed thorough site analysis around Amble (right), I discovered the small town has a lot of history and important monuments, including various connections with farming, and with the growth of Newcastle’s inusrty, coal became a major way of iving in the town. In order to connect the new university building with that of the small coastal town, I felt it was necessary to highlight these monuments. During the design process, I drew a series of diagrams (above) which represent the important views and monuments from the site, and therefor determinded the final positioning of the buiding, and the angles of the plinth.
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Showing the placement of the large, double height ceiling lecture theatre situated within the building.
Main levels withing the buidling highlighting different area’s aimed to be used by different habitants.
Circulation fire, protected core in the building also acting as a ‘feature’ -staircase for the facade.
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MODEL DEVELOPMENT
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Model showing the structural grid that runs continuously through the building.
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A rendered internal perspective showing the extension of the plinth on the ground floor. The extra 2000mm at the rear if the building allows for much more space and acoustic aide without disrupting the shape of the main structure.
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Perspective section showing the step the lecture theatre.
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LIVING ON THE EDGE
The primary focus of ‘Living on the Edge’ focus’s on the delicate boundry between community and privacy, and how effective thresholds allow us to have some choice and control of our personal environment. The aim was to design a ‘foyer’ to provide safe and secure housing, support and training. With the choice of three sites on Lime street, in the Ouseburn Valley, Newcsatle, came with three different professions, all in need a workshop, which will provide occupants an opportunity to learn skills for the future. I chose to use the furniture building workshop (site B).
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Views
The horizontal and virticule diagrams show how each floor in the two different buildings relate to both them themselves and their surroundings.
Access points from the site.
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Diagram showing the difference areas for publice and private occupants.
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Structural Diagram showing the primary and secondary steel framed timber construction.
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PLA C ED , D ISPLA C ED
This project was heavily based on the spatial and volumetric planning and designing of a small terraced house in North Shields working with a fixed volume, in order to generate possible alternatives to the generic small house. It was important to research and develop new ways of saving space in order to get the most out of the small space offered. in the first few days of the designing process, it as clear to me that there should be split levels which could offer more invetive, ergonomic and space saving opportunities for the client.
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Daughter’s Bedroom and Study
Kitchen/ Dining area
Shared Living Space
Parents Space
Diagram showing how each offset floor is designed specifically for different habitants within the dwelling.
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With the idea of space saving in mind, I looked into methods of using one thing to its most potential. I looked mostly into bespoke furniture and designing specifuc objects to satusfy one or more pruposes. As shown in the renders, Things like floor seating allows a comfortable approach into the house and aids the flow from the kitchen into the dining area. In the daughters living space, I cabinetwith openings in either side provides her with the facilities to have both a study room and bedroom in one small space.
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CONTENTS ARC2009
ARCHITECTURAL TECHNOLOGY
ARC2010
ENVIRONMENTAL DESIGN AND SERVICES
ARC2011
20TH
ARC2023
THE PLACE OF HOUSES
ARC2020
DISSERTATION STUDIES AND RESEARCH METHODS
CENTURY ARCHITECTURE
SAP evalution of Tutor’s flat. Environmental Design and Services 2.1
Wall Construction
Tutor’s flat energy performance:
Using an SAP, I was able to take a thorough look at the energy performance of certain elements of my design for the ‘Living on the Edge’ project. Within this analysis I look closely at the energy performance of the tutor’s flat. Within all new buildings, it is compulsory that they are both as efficient and sustainable as possible, which after evaluating my initial design, I came to realise this wasn’t the case, meaning the DER/TER outcome was -30% and therefor not able to receive a credit rating. From this, I began to change certain factors of the design that altered it’s overall appearance and intern allowed the design to have better thought out daylight and energy strategies. The table below shows the vast changes made from the original design in order to produce a credit rating of 1. Although this is still a low score, there has been a 30% increase in DER/TER and CO2 emissions have also been decreased. In the following pages I will discuss these changes in design and propose alternative changes in order to deem it even more suitable for construction under the Code for Sustainable Homes.
The wall construction for this design is a steel frame with a brickwork outer leaf. I felt the brickwork would allow the foyer to fit in better with the industrialised theme that runs throughout the Ouseburn. In order to reduce the U-Value, I looked into various ways of thermally insulating the walls. After research, I found that 120mm Kingspan Kooltherm K12 Framing Board provided the best results. By using the Kooltherm K12 Framing Board between the steel beams and also using Kingspan Thermawall TW55 as the sheathing board in the cavity, led to a very low U-Value of 0.083W/m2k. Material Common Brick Kingspan Thermawall TW55 Steel Frame Kingspan Kooltherm K12 Framing Board Kingspan Kooltherm K18 Plasterboard RSI Inside Surface
Thickness (m) Thermal Conductivity (w/mk) R-Value (w/m2k) 0.215 0.6 0.8 0.8 0.18
0.022 0
3.6 0
0.12 0.025
0.020 0.021
6 1.2 0.12
RSO Outside Surface
0.06
RA Air Space
0.18
Windows
External Doors
It is clear in stating that there is a considerable loss of heating through glazing, Therefor after research, I found that Pilkington Energikare TM glazing would best minimise this problem. I also chose this type of glazing because of its low U-Value of 0.7w/m2k which is achieved from its low-emissivity coated thermal glass that allows for maximum solar gain. The image on the right demonstrates its formation.
In my initial design, the external doors had a high U-value of 2.0 w/m2k which enabled a lot of heat loss from the building. The NorDan passive front door construction combines triple pain insulation, solid timber framing with insulation inserted between the members on a solid timber frame, which leads it to have a very low U-value of 0.7w/m2k.The diagram below shows the 7 part construction of NorDan passive Doorset.
Floor Construction The floor construction in my design uses a steel frame Ribdeck TR80 flooring scheme. By using Ribdeck over prefabricated concrete panels, reduces the amount of required concrete and therefore reduces the carbon footprint by eliminating the need for machinery. An increase in the flat’s ability to store thermal energy will increase as the concrete layer provides a secure airtight seal. A Styrofloor Panel System allows the flooring to become more insulated, therefore a screed is not needed. By adding Celolex between steel beams aids in a reduction of thermal transmittance. The image below displays a RibDeck TR80 flooring construction. Material Thickness (m) Thermal Conductivity (w/mk) R-Value (m2k/w) Hardboard 0.018 0.13 0.14 Styrofloor Panel System 0.043 0.027 1.6 Lightweight Concrete 0.140 0.38 0.1 Celolex FR5000 0.150 0.021 7.1 Steel Beam 0.300 0 0 Kingspan Kooltherm K18 0.025 0.021 1.2 Plasterboard RSI Inside Surface 0.12 RSO Outside Surface 0.06 RA Air Space 0.18
Roof Construction In order to select the most appropriate flat roofing system for my building, I needed to research and consider many different kinds. From this, I decided a thick concrete deck with suspended floor would obtain the best results, as a section of the roof acts as an outdoor space that extends from the living area so would need to support and withstand the imposed load of people. The concrete deck extends the use of thermal storage and with the addition of Kingspan Thermaroof TR27 LPC/FM, gives the overall U-Value of 0.13w/m2k. Material Thickness (m) Thermal Conductivity (w/mk) R-Value (m2k/w) Waterproofing Layer 0.05 0.06 Kingspan Thermaroof TR27 LPC/FM 0.13 0.024 5.6 Concrete and Sand Screed 0.05 0.12 0.036 Lightweight Concrete Deck 0.3 0.38 0.1 Kingspan Kooltherm K18 Plasterboard 0.125 0.021 1.2 RSI Inside Surface 0.1 RSO Outside Surface 0.04 RA Air Space 0.16
Dialux Daylight Analysis
Initial 2nd floor analysis:
Improved 2nd floor analysis:
Before I did the SAP analysis, I had a very large, 2.7m high panel of glazing on the northeast side of the second floor as well as a smaller 1.5x1m window. This produced a lot of glare and also less solar energy. Along with these issues, because of the area of glazing, there was a lot of heat loss through the expansive glazed areas. After entering the data in DIALux, the white areas represent an illuminance of 800lux which is well above a comfortable 300lux (green-blue colour). The windows used in the initial design were single glazed, which have a high emissivity (90%) and a very high U-Value.
Initial 1st Floor analysis:
Similar to the 2nd floor, I had large windows on the north side of the building and smaller ones on the south, which after inputting into DIALux, resulted in a fairly decent illuminance reading of around 500lux.
The obvious improvement that has been made to the 2nd floor design is the window size and construction. I opted for triple glazed over single glazed as this minimised heat loss and increases solar gain. I decreased the size of the 2.7m window dramatically to create a comfortable illuminance level of around 500lux. I decided to increase the area for fenestration on the southeast facing side which receives maximum solar gain.
Improved 1st Floor analysis:
Although the glazed panels didn’t cause too much of a problem in the initial design, I still decided to use triple glazing which will save a lot of heat loss in the long run. I also decided to change the window in the north facing bedroom into two smaller windows of 1x1m each in order to spread light around the room more evenly. Overall these changes produce satisfactory light levels for a comfortable living experience.
Energy Strategies:
After improving elements of my original design, the SAP spreadsheet shows a saving of over 30% from the total energy cost, being £568.27 before improvements and £381.71 after. The calculation shows that after the alterations, the main energy usage comes from both the heating and water heating systems. The flat requires £2062.15 kWhr/year which accounts for £203.13 a year that will cover the space heating system and £109.62 per year for water heating. Although there has been a significant reduction in certain factors, there are still many attributes that could be enforced in order to achieve cleaner ways of heating, cooling and powering the tutor’s flat. Here I have set about looking in to alternative energy strategies for my design in order to make it more efficient and cost effective in the long run.
Solar Water Heating
Combined Heat and Power
Low-Emissivity Glass
In order to warm domestic hot water, solar water heating systems obtain free heat from the sun and use it to heat up water which is stored in a hot water cylinder, that can be used throughout the year. Immersion heaters or boilers can be connected to use in the winter months. Once installed, Solar water heating will reduce water bills dramatically over time as sunlight is free, and can also reduce the carbon footprint as solar hot water is a green, renewable heating system. This system would work on the tutors flat design as there is plenty of open space on the roof hat could home solar panels orientated in the south direction. There is also plenty of extra room in the flat for an additional hot water cylinder to be fitted and situated comfortably.
Combined heat and power systems work in generating heat and electricity simultaneously, from the same energy source. A CHP system provides the main output as heat but there is generally some electricity generation for most domestic homes at a typical ratio of 6:1.Over the course of a year, one of these systems could generate up to 1kW of electricity depending on how long the system is able to run within the year. One major benefit of a CHP system is the opportunity to sell any unused electricity back to the grid, which is much more efficient than burning fossil fuels and receiving electricity from the national grid. As well as this, electricity is generated on site which allows the CHP system to receive a ‘low carbon technology’ status.
Low-emissivity glass is designed in order to prevent heat escaping from inside to outside via the windows. It has an invisible coating which allows heat to be reflected back into the room and inturn reduces heat transfer dramatically by reducing long and short wave radiation and allowing visible light to be transmitted. It is particularly useful for buildings/dwellings with large areas of glazing, which would be perfect for the tutor’s flat as there is more solar control and therefore I can use larger areas of glass to optomise natural daylight without the worry of overheating and thermal efficiency. It has a better funtion on windows/doors that are orientated northeast, where a larger proportion of heat loss is more likely.
How has architectural form developed to correspond with the development of music? The acceptance of Hegel and Schopenhauer’s philosophies of aesthetics suggest how art subjects have been perceived over time by producing a hierarchical system which ranks each topic based on the art forms’ ability to evoke a sensual pleasure. According to the system, Music and Architecture were previously perceived the most prestigious ‘leaders’ of the arts but architecture seemed to have lost importance in the new system (Bandur, 2001). Taking this into consideration, it could be suggested that architectural form and music may have developed at the same pace, but the transitional changes were perceived very differently by the corresponding generations. Has this taken any effect on the way that we design buildings for sound? Throughout the eras, music and architecture have always communicated. For example, in early architecture, amphitheatres and concert halls were designed to function acoustically and musical harmony and proportion were effectively translated into building facades and interiors (Ancher, 2007). In my research, I would like to determine if architecture potentially opted to focus more on functionalism over aesthetics after loosing importance as an arts subject, and if it broadened because of the popularity of music. If a certain style of music at a certain point in time was popular, could a building be reflected in the same way? For example, in the medieval times, the simple yet beautiful monophonic sound structures by such composers as Hildegard von Bingen (1100) had made way for newer complex polyphonic compositions in the renaissance period (Muecke and Zach, 2007). Does this vast change in musical structure compare to the architectural structure of building in the same era? Were these different sounds supposed to be performed in specific spaces where one would not combine with the other? How does architectural design facilitate the intended sound and does it change to house sounds of the future? Does music have a beneficial effect on architectural design because of music and architectures potential to engage and influence each other on a formal and functional level? The experience of transitions and hierarchy in a space may be one of the most powerful dimensions used by an architect in order to orchestrate the experience gained. As well as in music, these transitions in architecture have the power to affect the way that people feel, behave and understand themselves (Unwin, 1997). I would like to explore the dimensions of both music and architecture over various eras, in order to understand the changes made to each which will amend the way people perceive them and how they correlate with each other. t t t t
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