Studio 3.2 Portfolio - The Transparent Abattoir

The Transparent Abattoir STUDIO 3.2 Nur Serena Hanum Binti Ahmad Faizal MMU ID: 18056763

INDEX

3

PROJECT OVERVIEW

4

FURTHER LANDSCAPING DEVELOPMENT

9

FURTHER DESIGN DEVELOPMENT

14

DESIGN RESOLUTION

23

TECHNOLOGICAL DEVELOPMENT

31

FINAL OUTPUTS

50

REFLECTION

th e t ran spar ent abattoir : an ov er v ie w

An overview of the proposal: • Challenges the current model of the meat production industry in order to reduce its massive environmental impact and increase the welfare of the animals being slaughtered.

• Scales down production, reducing overall output of meat.

• Allows the public to observe the entire production process to provide traceability and transparency for consumers and create accountability within the meat industry.

• The new abattoir supplies a restaurant and butchershop, which are programmes that will attract visitors to the site.

• Visitors are encouraged to interact with the livestock animals before buying the meat product so that they are confronted with the fact that they are consuming a living animal. This aims to encourage visitors to reduce their overall meat consumption.

• Provides comfortable accommodation for the livestock that simulates a farm environment to ensure they are calm and content before they are slaughtered.

Programmatic spaces: • Restaurant • Butchershop • Slaughterhouse • Livestock barn • Livestock pasture • Parkland

Exploded isometric view of masterplan st udio 3.2 // s er ena fai z al

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Further Landscaping Development

st udio 3.2 // f ur th er lan d s c aping de v elopm ent // s er ena fai z al

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de v eloping f r om 3.1

Upon further analysis of my latest plans, I found my design to be restrictive and rigid; instead of encouraging free circulation of the site as I had aimed for, the design was restricted to a few usable spaces. The animal lairage was also unimaginative, as it did not part ways from the typical handling of livestock, which was to store them behind fences in a small area. The programme therefore had to be modified to become more fluid and natural.

The corralling chutes also took up a large amount of space, and could probably be cut down to a few chutes, as the throughput of meat was much smaller than during the abattoir’s industrial area. The large chute coming from the railway was also intrusive, cutting across a large space that was to be the new parkland. st udio 3.2 // f ur th er lan d s c aping de v elopm ent // s er ena fai z al

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r e f ining lan d s c aping st rate g y

e x ist i ng : monol i t hi c , hu ma n - fo c us e d st r uc tu re s

meat distribution

existing concrete structures

path of meat product

concrete ground

path of livestock kill floor

st udio 3.2 // f ur th er lan d s c aping de v elopm ent // s er ena fai z al

In order to refine my landscaping strategy in more detail, I returned to wider analysis of the existing materials and structures of the site. The original abattoir is defined by concrete and steel, dominated by manmade structures. The route on the diagram displays the route the livestock would take from the railway all the way to the meat market. The route is extremely efficient, taking the livestock straight from their journey by rail to their deaths, with no respite in between.

6

r e f ining lan d s c aping st rate g y

pro p os e d : b uc ol i c , natu r a l e x p a ns e

meat distribution

structured landscaping

path of meat product

rewilded areas

path of livestock

pasture

kill floor

built-up area for humans

livestock roaming area

removed structures

st udio 3.2 // f ur th er lan d s c aping de v elopm ent // s er ena fai z al

By reversing the anatomy of the site from dominated by man-made structures to being determined by natural expanses, the site can be turned into a bucolic landscape rather than an industrial ruin. In this proposal, the non-humans of the site are able to take over; the livestock who spend their final days on the site are able to roam freely, and the natural flora planted on the unused areas of the site create ecological corridors throughout the site.

7

r e -us e st rate g y

re mov e d a nd re t a i ne d st r uc tu re s I chose to remove the existing facades in order to allow for an open and permeable experience for the visitors, and allow more natural daylight to penetrate deeper into the existing abattoir footprint. The concrete slabs of the first floor will also be demolished to allow daylight from the skylights to penetrate to the ground floor, save for a few sections which can act as roof or floor slabs for the new volumes I will be inserting.

The abattoir roof will be retained, as the skylights are extensive across the three buildings, and there are many junctions between the roof structures that can function as rainwater harvesting gutters.

D

B A

C

A: Removed facades B: Retained roof envelope and structure C: Retained reinforced concrete beam and columns D: Retained concrete ramp st udio 3.2 // f ur th er lan d s c aping de v elopm ent // s er ena fai z al

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Further Design Development

st udio 3.2 // f ur th er de sig n de v elopm ent // s er ena fai z al

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init ial ma s sing m odel & sk etch e s

Existing, retained structure

A new pathway

I turned to massing models to further my development and explore the visitor entrance tunnels in more detail. In this initial iteration, the visitor tunnel leads straight towards the restaurant area, which is situated on the first floor to allow for views towards the rewilded areas of the former meat market and poultry hall.

Sketch section

st udio 3.2 // f ur th er de sig n de v elopm ent // s er ena fai z al

Massing models

10

r e f ining liv e stock-human intera ct ion s

Rural House // RCR Arquitectes

Body of water 1.

The Rural House by RCR Arquitectes incorporates a swimming pool, of which the floor rises up to the ground level of the field.

By implementing this kind of element in my proposal I can provide a close point of interaction where the visitors and livestock can observe each other from a safe distance, separated by the body of water.

This can also act as a rainwater harvesting element that provides drinking water for the animals as well as an extra rainwater retention tank, as the slaughterhouse requires large amounts of water for meat processing.

2.

The iterative diagrams on the left show my exploration of this element.

1. The restaurant area overlooks the body of water, allowing the visitors to observe the livestock from different viewpoints.

2. The butchershop building can be set within the body of water itself, so visitors buying the products are directly and closely confronted with the living animals they are consuming.

3. This iteration sets the butchershop further from the restaurant so the people in the restaurant are not directly overlooking the butchershop rather than the livestock.

3.

Edge condition This diagram shows how the edge condition between the livestock pasture and the Riverpark Road could be negotiated. An artifical mound that runs around site can keep the livestock contained without having to implement obtrusive fencing.

st udio 3.2 // f ur th er de sig n de v elopm ent // s er ena fai z al

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iterat iv e ma s sing m odel s & sk etch e s

1.

I began to overlay the programmes in more detail, incorporating the water element into my layout.

Existing, retained structure

2.

3.

st udio 3.2 // f ur th er de sig n de v elopm ent // s er ena fai z al

Using the body of water as a point of inspiration, I explored possibilities of different arrangements to connect the various programmes and routes of the visitors with the livestock. By placing the body of water beneath the overhang of the restaurant and adjacent to the meat market, the visitors are made to acknowledge the presence of the animals they are consuming.

I explored further possible configurations, attempting to find one that is both elegant and spatially efficient.

12

c on c e pt ual s e ct ion s th r ough site v i e w s of t he v is i tor s

These conceptual sections display the perspective of the visitor through the site and their interaction with the livestock.

Initially, the visitors are ‘herded’ towards the site through the tunnel, which allows the visitors a peek through to the outside, where the animals are roaming freely.

The next stage of the experience moves the visitors through the existing abattoir building, letting the visitors view the livestock in the landscape through the massive concrete columns of the abattoir.

The visitors are finally afforded a full view of the livestock and the landscape once they have moved through the entire site. st udio 3.2 // f ur th er de sig n de v elopm ent // s er ena fai z al

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Design Resolution

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

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g r oun d f loor plan iterat ion

01

13 12

02

21 06 14 16 11 15 i 04 17 09 08 07 19 20

23

06

10

05

i 22

03

24 25

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

01. restaurant 02. butcher shop 03. bioswale 04. sheep & cattle kill floor 05. pig kill floor 06. inedible rooms 07.pre-chill cooler 08. holding cooler 09. processing room 10. freezer 11. sausage kitchen 12. curing cooler 13. seasoning room 14. cooler 15. smoke room 16. dry storage 17. mechanical room 18. inspector office 19. employee breakroom 20. washcloset 21. mechanical room 22. livestock race 23. squeeze chute 24. gathering pen 25. pasture

15

pr o g ram mat ic r e f in em ent 1.

Following the plan iteration on the previous page, I began to explore and iterate more possibilities for my programme.

I analysed the connections between the spaces and between the visitors and livestock. I found that some visual connections were tenuous and would benefit from further refinement.

2.

By adjusting the angle of the body of water to face the pasture area, the visitor-livestock connection is made stronger.

The visitor entrance path was also adjusted to reduce the distance between the Riverpark Road and the site.

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

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pr o g ram mat ic r e f in em ent (c ont inue d ) 3.

I explored other possibilities of the placement of the slaughterhall, but found that placing it too close to either the pasture or the restaurant/ butchershop would be distressing to the visitors and the livestock without fully sealing off the slaughterhouse from the outside.

4.

Here I attempted to refine the path of the visitors as they enter the site. By mapping the perspectives of the visitor as they moved through the tunnel, I was able to configure the path so that it provided visual connections to each specific programme of the new abattoir.

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

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pr o g ram mat ic r e f in em ent (c ont inue d )

5.

I continued to explore different placements of the slaughterhouse, but once again found that the original placement was adequate.

6.

I began to finalise the placement of programmes, and chose to include entrances into the slaughterhouse for the visitors to go into and therefore observe the slaughtering and butchering process in more detail if they wished.

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

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de v eloping in s e ct ion

Ha-ha

Sunken fence to provide boundaries for grazing livestock

National Trust UK

In section, I explored ways of keeping the livestock safe and contained within the pasture. The ha-ha wall provided an elegant solution; by excavating the entire pasture area and creating a steep rise from the pasture to the rest of the site, boundaries are provided for the livestock whilst also giving the illusion of an unbroken natural landscape to the visitors.

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

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de v eloping in s e ct ion

Taking inspiration from the ha-ha wall, I decided to also slightly depress the ground beneath the livestock chutes by around 600mm so that the livestock handlers could safely overlook the animals from over the walls of the chute without installing additional steps and ramps around the chutes.

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

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br ing ing th e lan d s c ape into th e bui lding

re c y cl i ng d e mol ishe d c onc re te for s c u l p tu r a l l a nds c api ng

Clay modelling

L’enfance du Pli // Gilles Brusset

The L’enfance du pli is a scuplturelandscape. The sculptured ground creates a playscape for visitors, especially children, who climb in and out of the carved folds.

Through the use of clay modelling, I explored possible volumes of the morraines, and how they could be arranged around the retained concrete columns.

Aerial roam of countryside The landscape of the English countryside provides precedence for a sculptural park within the abattoir.

Through the creation of artificial ‘morraines’ (acccumulated volumes of debris), the landscape is brought into the abattoir site, allowing for both visitors and livestock to experience or re-experience the countryside.

Recycling concrete By recycling the concrete from the demolished aspects of the existing abattoir buildings, the morraines can be created without the use of new material.

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

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w or k ing m odel

This 1:200 working model allowed me to explore my programmes in a tactile way. By stripping away the facades of the existing abattoir building, visitors are able to explore the entire site.

Retaining the reinforced concrete columns and beams not only reduces the energy and material needed to create new structures but also reminds the visitors of the massive scale of the industrial processes that occured here.

st udio 3.2 // de sig n r e s olut ion // s er ena fai z al

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Technological Development

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mater ialit y

Zinc Museum // Peter Zumthor

MU50 // Teke Architects

Visitor Centre Yorkshire Sculpture Park // Feilden Fowles

Sheepstable // 70f Architecture

The materiality of the new programmes will be defined by timber in order to break away from the cold concrete of the existing abattoir.

The different programmes will be differentiated through the configuration of transparencies; the slaughterhouse is mostly opaque, with a strip of glazing at eye level so visitors are able to peek within when they are close to the building, but those who are further away can choose not to be affronted with the bloody spectacle. The barn for livestock is mostly closed off from visitors so animals remain calm, whilst skylights provide ambient lighting throughout the day. The butchershop and restaurant are configured to allow for maximum views out and large amounts of daylight, st udio 3.2 // te ch n olo g ic al de v elopm ent // s er ena fai z al

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init ial de v elopm ent of st r uct r ur e an d env elope st rate g y re st au r a nt

In section Sketch Model exploring structure

Through sketching and modelling, I explored the structure of the first floor restaurant, and how the new glulam and CLT structure could be configured around the existing concrete one.

Structural grid

Using glulam and CLT appears to be the most sustainable option, as timber is a renewable resource and acts as a carbon sink. CLT and glulam are also prefabricated, thus increasing efficiency and reducing costs and energy of transportation of materials.

• Choosing which section is significant within the structure and envelope build-up.

• Figuring out the structural grid of glulam framing and CLT panels.

st udio 3.2 // te ch n olo g ic al de v elopm ent // s er ena fai z al

• Exploring structure and location of building in reference to existing columns.

25

env elope ideat ion re st au r a nt

I explored the envelope of the restaurant through iterative sketching. The above diagram shows my initial envelope sketch, where I utilised CLT and glulam structures.

st udio 3.2 // te ch n olo g ic al de v elopm ent // s er ena fai z al

I decided to incorporate a skylight to allow for more natural daylight to penetrate the space, and reduce the expanse of the floor to ceiling glazing in order to reduce the amount of heat lost through the glazing and reduce west sun solar gain.

26

init ial te ch n olo g ic al st rate g y

1:20 a nd 1:5 d e t a i ls of re st au r a nt

Following my initial ideation, I created resolved technological drawings for the restaurant. I further analysed this and identified issues with the structure and envelope which are indicated on the drawings: A. Skylight is unnecessary glazing as large windows are available on the south, east, and west facades.

B. The glulam and CLT structure is excessive, and does not properly utilise the existing concrete structure; instead of removing the existing concrete floor slab completely, it can be retained alongside the reinforced concrete beams and used in conjunction with CLT slabs to create a cantilevered floor.

1

4

2

5

1. 28 mm partially operable triple-glazed windows 2. 20 mm timber rainscreen cladding panel 45 mm horizontal battens 45 mm vertical battens/air cavity waterproof membrane 10 mm wind protection 200 mm sheep’s wool insulation damp proof membrane 120 mm CLT panel 45 mm sheep’s wool insulation 20 mm timber panelling 3. 140/550 mm glulam timber beam 4. 250/250 mm glulam timber column 5. 20 mm treated plywood waterproof membrane 140 mm 5-sheet CLT panel damp proof membrane 200 mm sheep’s wool insulation 100 mm heating screed (liquid radiant heating) 50 mm hardwood sub-flooring 20 mm timber floor lining 6. 150/200 mm plywood parapet 7. steel parapet flashing 8. waterproof membrane 200 mm sheep’s wool insulation damp proof membrane 140 mm CLT panel 210 mm timber studs (services void) 40 mm soffit board insulation 20 mm ceiling soffit 9. roller blind 10. 28 mm triple-glazed operable skylight 11. 800 mm existing concrete column 12. vegetation engineered soil existing concrete floor 13. 500 mm depth/400 mm width recycled concrete glulam column support 14. 250/250 mm glulam timber girder 15. existing roof

A

B

11

B

3

14

st udio 3.2 // te ch n olo g ic al de v elopm ent // s er ena fai z al

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f ur th er te ch n olo g ic al de v elopm ent sk etch e s

Utilising existing concrete structure Restaurant

Timber brise soleil

Butchershop and Slaughterhouse

I explored the possibility of utilising the existing concrete slab and reinforced concrete structure to create the partially cantilevered restaurant floor.

The roof of the new restaurant is fairly steeply pitched to be able to harvest the rainwater that flows off the existing abattoir roof above it.

As I have chosen to remove the existing facades of the abattoir building, additional sun and wind shading is required. The use of timber brise soleils will block the strong late afternoon western sun and reduce the effects of the south-westerly winds. These brise soleils will be installed on either side of the existing abattoir building footprint.

For the butchershop and slaughterhouse, the retained parts of the concrete floor slab could be used as the roofs for these buildings, so the new CLT wall slabs are able to be thinner as they do not need to support the additional roof load.

st udio 3.2 // te ch n olo g ic al de v elopm ent // s er ena fai z al

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f ur th er te ch n olo g ic al de v elopm ent sk etch e s

Barn Sketch iterations

Access and protection from falling

Visitor Centre Yorkshire Sculpture Park // Feilden Fowles

The sketches above indicate the calculations I did to calculate the depth of the pasture and the gradients and heights of slopes so that my design complied with Part M and K of the regulatory documents.

For the barn, I chose to incorporate a sawtooth roof to allow for the maximum amount of maximum daylighting, whilst still keeping the livestock calm and unaware of the visitors outside. The Visitor Centre Yorkshire provided an excellent technological precedent for the sawtooth roof.

The sculptural park, despite the various morraines, will be wheelchair accessible through the entire area except for over the morraines themselves, as the concrete ground around the morraines is not covered by any greenery.

The morraines themselves only reach up to a meter at the highest, and have a slope that does not exceed a gradient of 1:5.

The body of water is only 800mm deep, and has steps leading into it, so there is no danger of people falling in.

st udio 3.2 // te ch n olo g ic al de v elopm ent // s er ena fai z al

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c ompr eh en siv e te ch n olo g ic al st rate g y B: Anticipating future flood levels Research suggests that sea levels could rise up to 2m by 2100 due to climate change.1 In preparation for flood risks in the long term, the excavated pasture can act as a water retention area, preventing flooding across the entire site.

1. Current pastrure condition 2. 100 years; flood water absorbs into ground 3. 500 years, pasture transformed into a lake 1 “This is how far seas could rise due to climate change”, BBC Earth, Vivien Cumming, 2016

A: Recycled concrete morraines 1. The concrete of the floor slabs and the wall build-up are demolished.

2. The concrete is recycled by using industrial crushing equipment.

3. Additional processes and equipment are required to separate the aggregates such as gravel.

4. The gravel is compacted into small mounds and covered in soil to create the morraines.

C: Rainwater collected in gutters and stored in rainwater tank, used for potable water and for water needed for slaughterhouse.

D: Body of water acts as extra rainwater retention tank and provides drinking water for livestock.

E: Ground source heat pump; heat is absorbed by liquid in pipes underground and the heat is circulated into the buildings, providing hot water and underfloor heating.

F: Mechanical heat recovery; heat from the meat production process is extracted to maintain a good working environment and is stored in hot water tank for later use.

G: Sunken morraines absorb excess water run-off from rainfall.

H: Timber brise soleils provide shade and reduce solar gain from west afternoon sun and east morning sun.

I: Solar thermal water heating; solar panels on roof absorb heat from the sun and pre-heats water in hot water storage cyclinder. These extra measures are needed for the heating requirements of the slaughterhouse.

C

H G A

A

B D

C

I

E

Morraine build-up A. Vegetation B. Soil C. Gravel D. Soil filling in excavated concrete slab E. Concrete slab

F

E B D

H

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Final Outputs

st udio 3.2 // f inal out put s // s er ena fai z al

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wal k ing th r ough th e abattoir : a stor y boar d t he s i te i n t he p e r sp e c t iv e of hu ma n v is i tor s

A: The visitors are confronted with a singular path that leads through a livestock pasture.

B: A fairly confined space, with a long, horizontal window at eye-level to allow a peek through.

D

C B

A

C: The tunnel opens up towards body of water.

Ground Floor Plan

D: The body of water is overlooked by the restaurant. The water is safe and accessible, where visitors can sit on the steps descending into it.

Note: These vignettes were created before the final resolution of plans and sections, therefore some vignettes will not exactly portray the final structural arrangements.

On this page: Vignette D; the arrangment of the restaurant in relation to the body of water and the butchershop has changed. st udio 3.2 // f inal out put s // s er ena fai z al

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wal k ing th r ough th e abattoir : a stor y boar d t he s i te i n t he p e r sp e c t iv e of hu ma n v is i tor s (c ont i nue d)

E: The slaughterhouse is a monolith, nested within the structural skeleton of the existing abattoir.

E

F

F: Approaching the slaughterhouse, you are able to peek within and witness the act of slaughter.

G

H

Ground Floor Plan

st udio 3.2 // f inal out put s // s er ena fai z al

G: A parkland is created within the forest of columns, with the exterior landscape and the interior of the former abattoir merging together.

H: The livestock graze and roam freely.

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f r om li f e to death : a stor y boar d

t he s i te i n t he p e r sp e c t iv e of l iv e sto ck

A: The livestock arrive from the railway, descending into the site through the ramps.

B: They are transported through the chutes towards the pasture.

C: The tunnel opens up into the pasture.

D: Free to roam, they are able to observe from a safe distance the human processes occuring within the existing abattoir footprint.

A

E D

C

B

Ground Floor Plan

Note: These vignettes were created before the final resolution of plans and sections, therefore some vignettes will not exactly portray the final structural arrangements.

On this page: Vignettes B, C; the arrangement of livestock chutes has changed; the livestock are led across the first floor walkway and down the existing ramp rather than moved through chutes on the ground floor.

Vignette D; there is no longer a screen that separates the livestock from the slaughterhouse, rather a change in level provides a boundary. st udio 3.2 // f inal out put s // s er ena fai z al

E: The body of water provides a point of interaction with the humans, an observation point that goes both ways.

34

f r om li f e to death : a stor y boar d

t he s i te i n t he p e r sp e c t iv e of l iv e sto ck (c ont i nue d)

F: The pasture is wide and unrestricted, allowing livestock to feel at home within a bucolic landscape.

G: After a few days, the livestock animal is led into a chute.

I H I H G

F

H: Safe from distractions and ignorant to what awaits them, the animal is led to the stunning area.

I: In an instant, the animal is dead.

Ground Floor Plan

Note: These vignettes were created before the final resolution of plans and sections, therefore some vignettes will not exactly portray the final structural arrangements.

On this page: Vignette F; instead of a round corralling fence, the barn has a chute that leads directly towards the slaughterhouse. st udio 3.2 // f inal out put s // s er ena fai z al

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e x ter ior per spe ct iv e s

The visitor path leads towards the restaurant and butchershop

st udio 3.2 // f inal out put s // s er ena fai z al

A view of the pasture

A view of the slaughterhouse within the old abattoir structure

The barn housing livestock animals

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butchershop; display area detail axonometric

Retained reinforced concrete column

Retained reinforced concrete beam

Retained concrete floor slab Ceiling build-up 100mm concrete floor screed Damp proof membrane 250mm insulation 250mm concrete slab Waterproof membrane 100mm sand blinding 200mm crushed gravel Soil base

Wall build-up 28mm floor-to-ceiling triple glazing 200x80 internal timber brise soleil louvres

Floor build-up 20mm timber hardwood flooring Damp proof membrane 100mm heating screed Damp proof membrane 250mm insulation 250mm concrete slab Waterproof membrane 100mm sand blinding 200mm crushed gravel Soil base

st udio 3.2 // f inal out put s // s er ena fai z al

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slaughterhouse; kill room detail axonometric

4

1 2 3

1. Aluminium flashing 1.5mm membrane seal 30mm plywood panel Aluminium substructure 100mm insulation 2. Aluminium flashing 3. Plastic membrane seal 4. 28mm triple glazing

A: Glazing detail

Retained concrete floor slab Internal wall build-up 6mm glazed tile, grouted 20mm portland cement mortar 20mm plywood Damp proof membrane 80mm CLT slab 100mm sheep’s wool insulation 80mm CLT slab Damp proof membrane Damp proof membrane 20mm plywood 20mm portland cement mortar 6mm glazed tile, grouted,

A Retained reinforced concrete beam

External wall build-up 6mm glazed tile, grouted, 20mm portland cement mortar 20mm plywood 100mm CLT slab Damp proof membrane 2x 180mm sheep’s wool insulation Waterproof membrane 45mm vertical timber battens 45mm horizontal timber battens 20mm timber rainscreen cladding Floor build-up 6mm hygienic resin screed Floor primer 100mm concrete floor screed Damp proof membrane 250mm insulation 250mm concrete slab Waterproof membrane 100mm sand blinding 200mm crushed gravel Soil base

st udio 3.2 // f inal out put s // s er ena fai z al

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butchershop; display area detail axonometric

1. Aluminium flashing 1.5mm membrane seal 18mm plywood panel 100mm insulation Vapour barrier 2. 1.5mm membrane seal 300mm insulation Vapour barrier 3. 100mm CLT slab 4. 28mm double glazing

4 1

2

3

A: Sawtooth roof detail 1

A

2

4

B External wall build-up 12mm plasterboard 20mm portland cement mortar 20mm plywood 100mm CLT slab Damp proof membrane 2x 180mm sheep’s wool insulation Waterproof membrane 45mm vertical timber battens 45mm horizontal timber battens 20mm timber rainscreen cladding

3

1. Aluminium flashing 1.5mm membrane seal 18mm plywood panel 100mm insulation Vapour barrier 2. 1.5mm membrane seal 300mm insulation Vapour barrier 3. 100mm CLT slab 4. 28mm double glazing

B: Sawtooth roof detail

C C: Automated shutter door mechanism

Automated shutter doors

Floor build-up 100mm concrete floor screed Damp proof membrane 250mm insulation 250mm concrete slab Waterproof membrane 100mm sand blinding 200mm crushed gravel Soil base

st udio 3.2 // f inal out put s // s er ena fai z al

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site plan

M

A

E

C

B

D J L

F G

H

I

K

li st of spa c e s

L: C ar Par k ing A : R e staurant M: R e w i lde d A r ea B : B utch er sh op C : S laughter h ous e D : Liv e stock C hute s E : S c ulpt ural Par k F : Liv e stock R amp G : Liv e stock B ar n H: S un k en Pa st ur e I: Tran spor t Lor r y Par k ing J: V i sitor Path K : V i sitor Path

st udio 3.2 // f inal out put s // s er ena fai z al

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g r oun d f loor

A 9

B

C

D E

F G H

I 8 7

N O

J K

Q

12

L M

P

R 1

2 10

3

4

11

5 6

li st of spa c e s A : S ea s oning R oom B : Cur ing C ooler C : Plant R oom D : D r y S torag e E : S aus ag e K itch en F : S m ok e R oom s G : In e di ble R oom (C attle /S h e e p) H: K i l l R oom (C attle /S h e e p) I: In spe ctor’s O f f ic e J: Pr oc e s sing R oom K : Holding C ooler L: In e di ble R oom ( P ig s) M: K i l l R oom ( P ig s) N: E mploy e e B r eak R oom O : Wa sh clos et P : Fr e e z er Q : C attle /S h e e p C hute R : P ig C hute

st udio 3.2 // f inal out put s // s er ena fai z al

1: C r ow d Pen 2: Plant R oom /S torag e ( B ar n) 3: Liv e stock S table s 4: S un k en Pa st ur e 5: Tran spor t Lor r y Par k ing 6: Liv e stock R amp 7: B ody of water 8: B utch er sh op D i spla y A r ea 9: Plant R oom /S torag e ( B utch er sh op) 10: V i sitor Path 11: V i sitor Path 12: R e c y cle d C on cr ete Mor rain e s

41

f ir st f loor

A

B C

D

F E

li st of spa c e s

A : Plant R oom /S torag e B : R e staurant K itch en C : Wa sh clos et ( R e staurant ) D : D ining A r ea E : Wa sh clos et ( B ar n) F : O f f ic e /B e dr oom S pa c e f or Liv e stock Han d ler

st udio 3.2 // f inal out put s // s er ena fai z al

42

s e ct ion A-A at 1: 500

st udio 3.2 // f inal out put s // s er ena fai z al

43

s e ct ion A-A at 1: 200

A

B

D

C

F

D st udio 3.2 // f inal out put s // s er ena fai z al

E

li st of spa c e s

A : R e staurant B : B utch er sh op C : S laughter h ous e D : Liv e stock C hute s E : S c ulpt ural Par k F : Liv e stock R amp

44

s e ct ion B -B at 1: 500

st udio 3.2 // f inal out put s // s er ena fai z al

45

s e ct ion B -B at 1: 200

C I

D H

li st of spa c e s

C : S laughter h ous e D : Liv e stock C hute s E : S c ulpt ural Par k F : Liv e stock R amp G : Liv e stock B ar n H: S un k en Pa st ur e I: V i sitor Path J: V i sitor Path

st udio 3.2 // f inal out put s // s er ena fai z al

F H

G

H

E

J 46

i s om et r ic pr oj e ct ion of r etain e d st r uct ur e s

C

F

B G

E B

H

B A D

A : R etain e d R ein f or c e d C on cr ete Fram e S t r uct ur e B : R etain e d C on cr ete Floor S labs ( w ith n e w sk y light s c ut out ) C : R etain e d C on cr ete R amps to R ai lwa y S iding D : R etain e d A sphalt S ur fa c e E : E x c a vate d G r oun d f or S un k en Pa st ur e F : R e c y cle d C on cr ete Mor rain e s in S c ulpt ural Par k G : R oa d H: R em ov e d Fa c a de s

st udio 3.2 // f inal out put s // s er ena fai z al

47

i s om et r ic pr oj e ct ion w ith r oof s r em ov e d

C

O

F

M

B

A

J

L

K

G

B E I

D

H N

P

st udio 3.2 // f inal out put s // s er ena fai z al

A : R etain e d R ein f or c e d C on cr ete Fram e S t r uct ur e B : R etain e d C on cr ete Floor S labs ( w ith n e w sk y light s c ut out ) C : R etain e d C on cr ete R amps to R ai lwa y S iding D : B ody of water E : S un k en Pa st ur e F : R e c y cle d C on cr ete Mor rain e s in S c ulpt ural Par k G : R oa d H: R e staurant I: B utch er sh op J: S laughter h ous e K : Liv e stock C hute s L: Liv e stock B ar n M: Tran spor t Lor r y Par k ing N: V i sitor Path O : V i sitor Path P : C ar Par k ing

48

i s om et r ic pr oj e ct ion w ith r oof

A

A : R etain e d R oof w ith E x i sit ing an d Ne w S k y light s

st udio 3.2 // f inal out put s // s er ena fai z al

49

reflection 1. The atelier focused on non-human participants in design; this fueled my initial concept as I wanted to transform the model of the abattoir from one of mindless slaughter to one that considered the implications of killing and consuming a live, sentient being.

2. The humanities module considered non-Western forms of architecture and the impacts of colonisation, which pointed me in the direction of considering the environmental impact of Western countries such as England and its massive environmental impact compared to non-Western ones. This led me to research on the amount of meat consumption in Europe and the UK, and how it is entirely unsustainable.

3. Climate change and sustainability was incorporated into the initial concept, as I want to reduce the massive environmental impact of the meat industry.

4. Considering non-human futures was also important in my atelier, so I considered how my site could be overtaken by flora and fauna. The removal of the abattoir’s monolithic facades and the creation of a much smaller building footprint was therefore important in aiding this idea.

5. The technologies module aided in creating a sustainable and comprehensive technological strategy and in creating detailed envelope build-ups.

st udio 3.2 // s er ena fai z al

50