PORTFOLIO ARCHITECTURE
STEPHEN RINGROSE B.A. ARCHITECTURAL STUDIES 101064602
Contents Stage 3 1-62 Stage 2 63-111
Design Projects
ARC3001 Ecologies
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ARC3001 Barcelona: Can RIcart
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ARC3001: Graduation Project: The Finnish Institute
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Non-Design Projects ARC3013 Architectural Technology
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ARC3014 Professional Practice & Management
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ARC3015 Principles & Theories of Archtecture
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ARC3060 Dissertation in Architectural Studies
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Noun 1. The branch of biology that deals with the relations of organisms to one another and to their physical surroundings. 2. The study of the interaction of people with their environment.
ARC3001 Ecologies: Tesselating Nature
ARC3001 Ecologies: Tesselating Nature Envisaged as a contribution from the School of Architecture to the 2013 Science Festival in Newcastle upon Tyne, the task was to design a temporary pavilion type structure for handling BioBlitz’s (an intense period of biological surveying in an attempt to record all the living species within a designated area), capable of fostering a diverse range of species alongside humans, with the possibility of longer term usage afterwards. ticipate with the natural environment and develop ecological relationships, exploring how design can provide for human activities and promote biodiversity simultaneously. The site for the project is within one of the wildlife corridors in Newcastle upon Tyne - a disused concrete paddling pool and immediate surroundings in Heaton park, host to overgrown vegetation and a range of wildlife, trees, birds, animals and mini beasts. Within the context of the Science Festival, the project is intended as a base for activities for natural science specialists to record, support and disseminate the exceptional wealth and diversity present along this corridor.
Site Plan - 1:1000
Wildlife corridors in Newcastle (The site is highlighted)
Development models
An old Beech tree on site is decayed at the roots and needs to be removed prior to the festival, however instead of removing this entirely from the local ecology, it is purposefully reused as cladding for the modules. Over time, this cladding will silver and blend in with the surroundings. (RIght) The site.
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Interior view of room for school/ public
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agons was proposed with a variety of perforated panel ‘living’ wall designs. to accommodate a wide range of ecology of all sizes and types. These panels include integration of bird boxes, green walls, insect houses etc, or a combination of these, and also lookout spots allowing one to sit and engage with nature from within. Hexagonal modules are used for the structure; a shape found
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one that naturally tessellates, and a fun shape that apin the design of the perforated walls, where the Aichi Expo Spanish pavilion was used as a precedent. The modu-
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solution, ideal for a temporary structure. Off-site assembly is possible minimising disruption to local wildlife also.
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Exploded structural assemblage axonometric
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Key: 1) Small Meetings Room 2) Large Room for School/ Public 3) BioBlitz Materials Store 4) Bird Watching Area 5) Dry Toilet 6) Lookout Point
Section AA
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ibility - if removed, gabion walls used as retaining walls leave seating and habitats for wildlife. Conversely, the structure can remain after the festival to provide a visitors centre with hides for wildlife observation and teaching facilities. If required modules can be added or removed, and the panel walls interchanged.
Perspective view of design on site. habitat. (Right) Inspiration from nature and precedent. FOA, Aichi Expo Spanish Pavilion. The pavilion is recognizable by its facade, which is made up of over 16,000 tesselating colored ceramic hexagons, which symbolize the uniting of cultures between Spain and Japan. The extruded form here was inspiration for the perforated panels.
Pannel Pallet
Layered site mapping
ARC3001 Barcelona: Can Ricart Shifting Perspectives: (Re)Generation
ARC3001 Barcelona: Can Ricart Shifting Perspectives: (Re)Generation Designing for a new generation, the aim of this masterplanning project was to change the way we perceived the site within the Poblenou district in Barcelona, shifting the perspective one had of an abandoned and derelict area by rehabilitating the urban fabric and injecting a series of bold visual compositions, creating a new image for Can Ricart, symbolising a new generation and revived industrialism. Located within the Poblenou district of Barcelona, the tion as part of the 22@ project in Barcelona, to create a new innovative productive region, aimed at developing knowledge intensive activities. An area with a strong background in industry, the importance of this heritage was evident during the site visit, and the need to generate a new image for Can Ricart became the heart of the driving forces behind this project, in order to renew the area. The project presented the opportunity to explore multi scalar design strategies as well as re-establishing synergies and relationships with the social, productive, cultural and artistic fabrics of the area. The 22@ Barcelona project, approved by the Barcelona City Council in 2000, involves the transformation of 200 hectares of industrial land in the centre of Barcelona into an innovative productive district, aimed at concentrating and developing knowledge intensive activities. As an urban refurbishment plan, it answers to the need to recycle the obsolete industrial fabric of the Poblenou Quarter, creating a diverse and balanced environment. As an economic revitalisation plan, it offers a unique opportunity technological and cultural platform, making Barcelona one of the most dynamic and innovative cities in the world.
enthralling – seemingly breaking through the façades, revealing a new and prosperous generation beneath. Fitting with the principles of the 22@ project, this idea grounded another concept of designing for the new generation. This new design is realised as a series of bold visual insertions
Figure Ground Plan - 1:10000
that break through and interrupt the existing architecture, leaving a strong imprint on the site of the new generation. The location of these insertions was governed by the simple form a triangle overlaid on the site, whereby overlaps with the existing buildings formed the new architectural interventions. The triangular form factor was derived from
22@ project in relation to city
Aerial Master Plan (not to scale) Film & Drama School, Rehearsals Clock Tower & Observation Deck Large Scale Bakery & Shop Community Gardens Startup Business (Design Based & Advertising/ Marketing) Workshops Café Markets & Film Exhibition Workshop Cinema, Exhibition, Museum, Labs Public Square, Performances, Screenings Sound Stage & Theatre ‘El Hangar’ Outdoor Studios Artist Studios & Dwellings, Bar Art Exhibition
Site Master Plan - Scale 1:1000
Key 1: 2) Film Terrace 3) Equipment Store 4) Studio 5) Sound Studio 6) Anechoic Chamber 7) Computer Labs 8) Dark Room 9) Printing Room 10) Special Effects 11) Bakery
Concept diagram 3
Key G:
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1) Entrance Lobby 2) Museum 3) Gallery Space
1) Observation Deck 11
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5) Film Exhibition 6) Cinema/ Auditorium 7) Film Archive 8) Shop 9) Bakery 10) CafĂŠ 11) Workshop
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Plans of Developed Area - Scale 1:500
Corten Steel sculpture in main public square represents fragments of the scheme and the new imabe for Can Ricart
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The area surrounding the site plays host to a wide range of creative, productive and cultural uses, thus it was dewithin the core development of Can Ricart, particularly as the development included an extension to the existing ‘El forming arts. The scheme of activities on site are split into three programmes: creative, productive, social and educational. These programmes are spread across the site, where ‘fragments’ of each program are created from the architectural interventions in place. The fragments of each programme come together to create completed ‘shards’ of what becomes the new image for Can Ricart. The new architecture is largely Steel framed structures clad with Corten Steel. This was chosen as it is raw and industrial, thus appropriate to the site and its heritage, yet modern; a new material employed by our generation, creating a
Scheme reconnects site with Eixample city grid
Harmony between old and new
Precdents
dramatic contrast to the existing facades. Working with fragments, the strategy injects new life into the old ruin, creating a dialogue and harmony between new and old. The existing heritage remains, being used as a shell to house new activities, whilst the new intervention is visually exciting and dramatic making a bold visual statement, whilst not detracting too much from the site. A new Steel with blockwork used to create an inner leaf cavity wall.
Section CC - 1:200
Exploded axonometric detailing typical structure
Similarly in design to Daniel Libeskinds’ Dresden Military Museum, the new architecture breaks through the existing facades, creating bold interferences. It’s about the juxtaposition of tradition and innovation, forming a distinction between the new and the old, helping to create a new image for Can Ricart. Models
Perspectives
ARC3001:
ARC3001
- Le Corbusier
and layered print creation. The aim was to design a new premises for the Finnish Institute in a hypothetical move to Newcastle, based around the concepts of social interactions and layers, appreciated through the process of print creation, projected colour and changing compositions of light. This relatively large scale building, functioning as a multipurpose headquarters for the Institution, working as a link between cultures, creating opportunities for encounters between Great Britain and Finland, in the spirit of a new cultural era taking shape.
An open plan solution is used to allow light to penetrate horizontally into the spaces, and create a socially driven institute replicating the transparency found in the Finnish design principles of equality. Surrounded by four storey buildings on three sides, the lighting strategy was to introduce a central atrium to deliver light deep within the plan, in
The site is a prominent location on the Quayside in Newcastle upon Tyne, opposite famous cultural landmarks including the Baltic and the Sage, and is open to panoramic views between the Millennium and Tyne process, the building is largely enveloped with glass curtain walls to take advantage ofthese views and make the most of the natural lighting to the south.
Site section looking East (not to scale)
This also forms part of the environmental strategy.
“[The] mission [of the Finnish Institute of London] is to identify emerging issues relevant to contemporary society and to act as catalyst for positive social change through partnerships.�
Final model in site The concept of layers informs the buildings orientaan analytical study of shadows and changing these compositions of light on site. Inspired by nature, the facade is also the result of a l ayered print process. This provides the building with a dramatic urban presence on the Quayside. The main feature inside is a full height coloured glass wall within the lobby and facade projecting shadows making it effectively become three dimensional, and this is enhanced further by the addition of a layer of projected colour from the feature wall. At night, this becomes illuminated from within, hinting at the institutes entrance from afar and increasing its visual presence on the quayside.
Figure Ground Plan - 1:7500
The Incubator Bridget Jones is an artist working mainly in architectural glass to commission. Her designs weave together image, pattern, and colour, and often evolve from prints of nature. She has a keen interest in nature, colour, the composition of light, and also Finnish Design, all of which are considered in the design of the incubator. . Located on the Quayside in Newcastle upon Tyne by the Millennium bridge, the site provides a panoramic vista open to nature and excellent lighting for inspiration and print design. Separated from the main pathway, the incubator site can sit and appreciate the colours and composition of light in a tranquil ‘getaway’. Moreover, the space is exploited as a studio for the drawing and composition of prints; one of
Site for the incubator (Below) Projjected colour of light experiments, and glass balustrade in the Sage, Gateshead.
The incubator becomes her studio or idea hub, where the ideas originate, before reaching out to society. The public and exhibition areas create chances for social encounters, with the radiating glass walls reaching out to connect with society. The constantly changing light conditions mean the composition of the intervention is forever changing, where the seating creates spaces for play. The innovation attempts to be effective by making people stop in a space considered a thoroughfare and est in the glass and individual thinking of the spaces.
“Creating a private oasis amidst the busy city life for creative studio, with exhibition spaces and seating for the public to experience the forms of her work through layered compositions of light and colour. Organisation of incubator encourages social encounters.”
The glass ribs of the incubator structure was an opportunities to visualise the layered process in my clients work by deconstructing the individual layers.
Layered print designs inspired by nature cover the walls, and increase privacy, whilst replicating the style of my client’s work. Additional layers of colour help to stimulate creativity when light shines through rendering the space in colour. The underlying concepts for the design of the Finnish Institute Perspective view of sheltered exhbition space. Glass ribs allow layered thought process to be visualised
Incubator Plans - 1:100 Key: 1) Client’s studio space 2) Exhibition space 3) Outdoor seating __ Circulation encourages social interactions Perspective views of incubator in site. (Below) Glass walls encourage social interactions
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Conceptual model identifying the individual elements of the layered design approach, and the effect when combined. My clients print creation thinking was deconstructed to identify these elements. Individually, they are planar objects that transform and become three dimensional devices when light projects through them. Light brings it all together.
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Layering of shadows at different times of day on site taking inspiration from processes of the incubator to create a diagram that informs building form
Site photographs
Nature Inspired Layer Print for Brise Soleil louvre system
Atmospheric models looking at projected colour and layers in building
Exploded model of building 1) Volumetric ste massing 2) Offset orrientation, informed by site shadow analysis and layered print 3) Introduction of main atrium voids to deliver light and work
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courtyards in area 4) Entrances and public garden spaces informed by context 5) Service cores added containing protected escapes and lift shafts, relative to building access 6) Layered concept introduced through external louvre screens and feature colour glass wall
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Process diagram detailing key stages of design development and strategy
Layered axonometric showing site strategy. Vehicular and pedestrian access routes, orientation on site informed by layered shadby inner courtyards in surrounding area. .
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Natural daylighting from above creates spatious areas for circulation and social interactions, and reduces reliance on
ventilation and cooling via the stack effect in central atrium. Air transfer grills at ceiling level in stud walls also enable air to travel through to atrium space, and the administrative core has a similar setup within the glazed central core stair area. Openable windows also allow for cleaning maintenance of the glass.
shading device. In summer, the louvres effectively block the suns rays and thus reduce heat gain through direct radiation whilst still providing external views and extensive natural daylighting. In winter, the lower angle of the sun means that the rays penetrate into the construction and heat the internal elements through useful radiation. They have been put in places in order to reduce the long term environmental impact of the structure by using the natural environment as far as possible to create a comfortable internal environment. Precedents and Material Palette: (Top) Des Moines public library - Technical precedent for glass wall (Middle) Bradford University - Western Red Cedar Louvres at Bradford University (Bottom) Zinc Cladding - Engineering department at the University of Iowa
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1) Exhibition Space 2) Reception 3) Cloakroom 4) Incubator Shop 5) Disabled Access WC 6) Storage 7) Function Room 8) Artist Studio 9) Open Plan Living Room, Dining and Kitchen 10) Bedroom 11) Bathroom 12) Public Gardens
1) Plant Room 2) Disabled Access WC 3) Female WC’s 4) Male WC’s 5) Cleaner Store 6) Multipurpose Auditorium/ Cinema 7) Projector Room 8) Mechanical Ventilation Plant Room
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1) Cafe 2) Disabled Access WC 3) Kitchen 4) Catering Store 5) Outdoor Terrace 6) Social Area for Personnel 7) Sauna 8) Changing Room and Showers 9) WC 10) Small Conference Room
1) Observation Deck 2) Library 3) IT Research Room 4
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5) Disabled Access WC 6) Reading Terrace 7) Seminar Room 8) Conference Room 11) Cleaner Store
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13) Cleaner Store
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access to daylight, circulation and social factors, and are located around the atrium to initiate human activities. Internal planning creates strong visual connections through the atrium space and fosters social interaction. Spatial overlapping and open plan circulation produces more connection between spaces for encounters. The organisation of spaces
Section AA - 1:200
layers, often segregated ple public private spaces, cultural and performance etc. Lateral planning places most public functions at street end and most private at upper levels and to the rear of the site.
Section BB - 1:200
Section CC - 1:200
A lightly skinned building fabrication utilising a 254mm x 254mm SHS Steel frame wrapped with glass curtain walls and external brise soleil shading louvre system detional grid system of 6000mm x 6000mm is used with glass panes 1.5m x 2m hung from mullion system attached to primary structure. Lateral cross bracing across one ‘bay’ at each end of the building transfers horizontal loads to the ground. Louvre system projects 500mm beyond glazing, and is supported by intermediate vertical SHS Steel mullions, tied to building facade via paired proximity to the river Tyne, with a ground slab of 750mm used in this instance, and 450mm thick concrete walls. on structural deck, with 100mm raised access void on top for service distribution. Concrete is used for the ‘service cores’ where the protected escapes are to incal service distribution risers. Where glazing isn’t utilised, sheeting and a standing seam. Roof glazing over atrium spaces and library terrace is high performance with g value of around 0.4, supported with an Aluminium frame.
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Construction Section Through Front Facade
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Exploded axonometric
Isometric section through front facade - 1:20 The coloured glass wall in the atrium space is constructed from panels (alternating laminated and toughened for acoustic sratrestrain. This method was used in the Des Moines public library. Perimeter heating and cooling loads for winter are handled by fan coil units that supply air to a continuous staining and sprinklers, are carefully coordinated beneath an duce the cooling load and minimise temperature swings. Acoustically, social and public spaces married together. The auditorium is underground where sound absorption from surrounding mass keeps it suitable. Other spaces are positioned to the rear of the building e.g. function room and administrative areas away from the busy facade road and river. Auditorium rear wall is lined with red cedar, and motorised curtains are installed that can be deployed to cover up to 90% of wall area to reduce reverberance to accommodate different performance conditions, as in the Sage Gateshead.
Isometric section through zinc clad wall - 1:20
Interior Visualisation - Key concepts of scheme - Light brings everything together through visual links, open circulation and layers.
Perspective of exhibition space
Night visualisation - when illuminated the external louvre system has the reverse effect from day time, projecting shadows out onto the street encouraging interactions. The coloured glass wall hints at where the entrance is, and acts to divide the building into night and daytime functions. The institute as a whole appears lights up like a beacon.
Perspective of library reading terrace
Perspective of interior stairs in administrative core
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- Corten Steel cladding panels - Internal stud walls - Insulation - Building services
Building in context - Scale 1:500
1 Roof Construction - 10mm Corten Steel cladding drainage - Bed mullion - Waterproof layer - 150mm Kingspan rigid insulation - Composite ‘Slimdek’ aluminium deep decking - Service ducts/ sprinkler system at intervals in composite decking
Roof Construction Detail - Scale 1:15
2 External Wall Construction
- 10mm Corten Steel cladding - Vertical mullion
120mm x 120mm - 15mm OSB Board - Vapour control layer
3 Intermediate Floor Construction
- Floor covering
vices - 100 mm Kingspan rigid insulation - Composite ‘Slimdek’ aluminium deep decking - Service ducts/ sprinkler system at intervals in composite decking
External Wall to Intermediate Floor Detail - Scale 1:15
Exploded axonometric - Scale 1:20
Corten Steel Cladding Detail - Corten Steel cladding - Vertical mullion
120mm x 120mm - 15mm OSB Board
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Cladding Detail - Scale 1:5
Professional Practice and Management
ARC3014:
ARC3014: Professional Practice and Management
ARC3014: Professional Practice and Management
ARC3014: Professional Practice and Management Name: 101064602 Project Details (repeat boxes as necessary if recording more than one project)
Mid-year practical experience during Part 1 studies
Project Name Project Description
Name: 101064602 General Information Dates of Experience Category of Experience Experience Level Location School of Architecture/Monitoring Institution Professional Studies Advisor PSA's Email PSA's Phone No Placement Provider Placement Address
Placement Phone No Placement Website Student's Phone No Student's Email Brief Description of Placement Provider Employment Mentor Mentor's Profession Membership of Professional Bodies Registration Number Mentor's Email Mentor's Phone No
The objective is to design new premises for the Finnish Institute, which is currently situated in London. By this hypothetical move to Newcastle the Institution is seeking new perspectives in reaching the British audience. The project asks for a building, which works as a link between cultures. Encounters will increase not only between Great Britain and Finland, but also among countries around the Nordic Sea, in the spirit of new cultural era taking shape in the Quayside. The Institute is not like an embassy with a specific representative role, but rather an operator or a sensitive mediator to enable the emergency of the fertile interchange. “[The] mission [of the Finnish Institute of London] is to identify emerging issues relevant to contemporary society and to act as catalyst for positive social change through partnerships.”
01/02/2013 – 15/03/2013 1 Stage 1 Newcastle upon Tyne, UK School of Architecture, Planning & Landscape, Newcastle University John Kamara john.kamara@ncl.ac.uk 0191 2228619 School of Architecture, Planning and Landscape, Newcastle University School of Architecture, Planning and Landscape Newcastle University Newcastle upon Tyne NE1 7RU UK +44 (0) 191 222 5831 http://www.ncl.ac.uk.apl/ +44 (0) 7889951295 s.ringrose@ncl.ac.uk Stage 3 of the K100 B.A. Architectural Studies undergraduate course at Newcastle University within the School of Architecture, Planning and Landscape Katriina Blom Lecturer in Architecture SAFA, ARCHITECTA, Rakennustalteen seura katriina.blom@ncl.ac.uk +44 (0) 191 222 6003
The Finnish Institute In Newcastle Client: The Finnish Institute Project Scope: 2000m 2, £n/a. Consultant/design team: 101064602 Current work stage: C-E Design
Project Tasks
The project can be introduced as a competition to seduce the Finnish Institute in London to move to Newcastle. Students have to produce a convincing strategy, which exemplifies certain prospects of Finnish culture in a specific way. One objective of the project is to investigate how culture gives shape to architecture, and how architecture shapes our future and us. Without students being forced to interpret Finnish culture in isolation the project starts with an assumption that we can enter to the world of the Finnish Institute by designing for local cultural institutions and events. The project will address these rather abstract goals by introducing a real client, first found locally in an ‘incubator’ or prototype phase, and secondly interpreting the ethos of the Finnish Institute in London. Individual designs during the first stage of the project will evolve around the theme of catalyst and innovation. This project is focusing on the spatial implications of catering for various cultural agents, which are either representing or claiming to represent innovations, and can together with the Finnish Institute work for a positive change in society. The core themes of which are translated through to the development of the Finnish Institute.
ARC3014: Professional Practice and Management Work Stages
Hours as participant
Hours as observer
Appraisal
3
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Design Brief
15
0.5
A-B Preparation
ARC3014: Professional Practice and Management Tender Documentation
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Tender Action
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Mobilisation
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K Construction
C-E Design Concept
20
0.5
Design Development
70
0.5
Construction to practical completion
Technical Design
2
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L Use
Production Information
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Tender Documentation
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Tender Action K Construction
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Activities – non-project related Task
F-H Pre-Construction
Mobilisation
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Construction to practical completion L Use
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Post Practical Completion
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Totals
110
1.5
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Post Practical Completion
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Totals
235
6.5
241.5
Hours completed
Office Management
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Description -
General
Totals
18
Professional Practice and Management Lectures
6
Principle and Theories Lectures
4
Architectural Technology Lectures
7
Design/ Portfolio Lectures
35
Name: 101064602
Name: 101064602
Work Stages – summary of hours from all projects
Reflective Experience Summary
Hours as Participant
Hours as Observer
Appraisal
8
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8
Design Brief
30
2
32
Concept
35
2
37
Design Development
150
2
152
Technical Design
12
0.5
12.5
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Total
A-B Preparation
C-E Design
F-H Pre-Construction Production Information
Task performance and learning during this period of experience
The tasks set during the initial weeks of the project challenged my ability in thinking conceptually. I found this challenging at first as there were no defined requirements. It took me a little while to engage with free experimentation, but once I decided upon an idea I thoroughly enjoyed the exploration in designing the incubator. It allowed me to develop my understanding of light and qualities of space within architecture, as well as the properties of glass and ideas of layers. The weekly tutor meetings and biweekly interim crits meant I was encouraged to work at a steady rate; something I often find difficult to do. It has also become clear during this experience that model making is a very beneficial tool for experimentation and quickly representing new ideas in a clear way, showcasing development, a skill I will continue to develop and refine. The project has enhanced my ability to look beyond conventional drawing and both hand and CAD modelling methods, where I have experimented with new
ARC3014: Professional Practice and Management techniques (for example, casting the site model from concrete). The design is still currently only in relatively early stages. Future lectures and continued tutor meetings will help this to develop and to learn more. Personal development & role performance evaluation
The heavy workload of the project combined with pressures from other modules and activities has forced me to become better at organizing my time and working at a more constant rate, coordinating my focus and efforts. Due to the nature of the project, I have also become accustomed to thinking more independently and presentational skills are improving, thus allowing me to gain confidence as I look ahead towards a professional placement. I found that when distracted or struggling with various aspects it was really useful speaking to other designers around me for advice. Also taking a step back from a problem or design can enable you to then reapproach it with a clearer perspective. Aims for next period of experience
I want to continue developing my way of working and visual representation of my ideas and models to better my work and peoples engagement with my, mainly by improving the clarity of my presentation and the quality of my designs. I would like to produce designs I feel entirely confident with discussing and developing whilst also becoming less self-critical. Within the next few months I aim to land a professional placement real firm whom I am currently in talks with. I hope to feel confident working in a professional environment and I will endeavour to develop my inter-personal skills and prepare myself for the strains of the workplace, whilst also like to developing my knowledge of various software packages in order to increase my employability and awareness of practice based design from new perspectives. Further skills needed and actions to take to achieve aims
I believe that the freedom within the current project will allow me to develop and experiment with my graphical and oral representation and presentation. Work experience will test me and enable me to develop my decision-making skills, confidence and time management further, as well as improving my ability in software. The experience will more importantly allow me to put my skills and my professionalism to the test, hopefully allowing me to apply the theory I have learnt to real world projects. Additional student comments, support required from placement provider
Outside of the project I intend to develop my understanding and proficiency in AutoCAD, Revit and perhaps Rhino Grasshopper (if possible), to help ease my transition into the professional working environment. I also intend to start visiting and reading more widely about ongoing architecture projects, to advance my creativity and knowledge, with a particular regards to technical details. I confirm that I have worked in the above office between the dates stated and that the description of project details, tasks undertaken and learning achieved is accurate. Signature: 101064602 Date: 13/03/13
ARC3014: Professional Practice and Management
This assignment focuses on the legal framework and processes within which an architect must operate; with spedesign decisions and outcomes for the Finnish Institute in Newcastle upon Tyne. Environmental assessment is a formal procedure that ensures that the environmental implications of decisions are taken into account before the decisions themselves are made, and as a formal procedure it ensures that the environmental implications it will often be required to accompany most applications for planning to gain permission. In (assembled from their Environmental Impact Assessment statement following submission to Local Planning Authorities, LPA), has become a fundamental part of the planning procedure. During the initial development stages for the new premises of the Finnish Institute, developer consultation with the ment and not others. Deciding on whether an EIA is required can be the source of major dispute between developers, communities and local authorities, causing delays with the development of a building. potential constructional requirements, would probably qualify the project for EIA under the current system. However, community involvement through drop-in exhibitions and feedback forms, as well as contact with statutory consultees interested in environmental concerns (for example The Environment Agency, Natural England, and English Heritage) views of non-statutory consultees may be sought by the LPA in order to tailor the assessment, such as local interest developer and LPA agree upon a set of criteria, the developer may proceed to prepare the Environmental Statement (ES). However if a disagreement occurs, a statutory consultee can require the Secretary of State (SoS) to call in an application to declare direction if it believes that the LPA is ignoring its views, who will declare which direction the planning process goes. The implications of such considerations and procedures could initially slow and delay the submission of the statement and planning application due to the reliance on outside consulters’ time managements. However, early consultation and consideration of environment concerns should enable authorities to make swifter decisions. Contact with the public at an early stage could also relieve any concerns they may have regarding the planning, ultimately resulting in an easier passage for the development and result in a better environmental outcome, saving time, money and productive relationships. In accordance with the ‘NewcastleGateshead One Core Strategy 2030’, the required mitigation of greenhouse gas emissions would encourage the project’s use of locally, or recycled sourced construction materials. Subsequently this could limit choices of materials used for construction, where in Finnish culture material palette for construction is of great importance, thus hindering the design clarity. However, carbon and pollutant emissions from transport, extraction and production would be reduced. The design of the building could also be altered to accommodate the provision of and maintenance of renewable energy technologies, such as solar and geothermal heat sources, or storage facilities for biomass boilers and grey calculations are time consuming, the process would reduce future operational costs and energy). Such calculations emissions from machinery and transport. An effective post construction management plan to retain low carbon emissions could also be suggested.
ARC3015 Principles and Theories of Architecture The brief asked for an exhibition illustration to be produced based on/ to summarise the ARC3001 design project Can Ricart Barcelona, with an accompanying written apologia.
Shifting Perspectives: (Re)Generation Designing for a new generation, the aim of this master-planning project was to change the way we perceived the area, shifting the perspective one had of an abandoned and derelict site by rehabilitating the urban fabric and injecting a series of bold visual compositions, creating a new image for Can Ricart, symbolising a new generation and revived industrialism.
Apologia part of the 22@ project in Barcelona, to create a new innovative productive region, aimed at developing knowledge intensive activities. An area with a strong background in industry, the importance of this heritage was evident during the site visit, and the need to generate a new image for Can Ricart became the heart of the driving forces behind this project, in order to renew the area. ing a new and prosperous generation beneath. Fitting with the principles of the 22@ project, this idea grounded another concept of designing for the new generation. This new design was realised as a series of bold visual insertions that break through and interrupt the existing architecture, leaving a strong imprint on the site of the new generation. The location of these insertions was governed by the simple form a triangle overlaid on the site, whereby overlaps with the existing buildings formed the new architectural interventions. The triangular form factor was derived from a Similarly in design to Daniel Libeskinds’ Dresden Military Museum, the new architecture breaks through the existing facades, creating bold interferences. It’s about the juxtaposition of tradition and innovation, forming a distinction between the new and the old, helping to create a new image for Can Ricart. The area surrounding the site plays host to a wide range of creative, productive and cultural uses, thus it was dearts. The scheme of activities on site are split into three programmes: creative, productive, social and educational. These programmes are spread across the site, where 'fragments' of each program are created from the architectural interventions in place. The fragments of each programme come together to create completed 'shards' of what becomes the new image for Can Ricart. The new architecture is largely Steel framed structures clad with Corten Steel. This was chosen as it is raw and industrial, thus appropriate to the site and its heritage, yet modern; a new material employed by our generation, creating a dramatic contrast to the existing facades. For the exhibition piece, the aim was to succinctly demonstrate the underlying concepts of the project in one single image. These are realised through the use of an anaglyph 3D image. Demonstrated, the image attempts to make it appear as if the new architecture is literally breaking through the existing façade, and indeed the page itself, whilst simultaneously displaying the concept of fragments and the new image of Can Ricart. The effect is achieved by duplicating the base image used, changing the perspectives and color channels, and offsetting the two images slightly. With the addition of anaglyph glasses, the image gains depth, drama and a third dimension of realism, as the visual cortex of the brain fuses what we see into the perception of a three dimensional scene. Furthermore, the visual representation technique used here is particularly relevant to the project, as it begins to replicate the specialist areas of activities from within the new scheme introduced on site, through visual effects, and is a method representing our modern time and the future – the current and new generations. Word count: 648
Image to be viewed with anaglyph glasses
ARC3060 Dissertation
ARC3060: Dissertation in Architectural Studies
Interactive Architecture: Engineering the Polyvalent Wall How realistic is this concept, and are the technologies involved feasible?
Abstract
Contents
With a rising population and ever increasing demand on technology, environmental issues with regards to global warming and energy consumption are becoming a progressive concern. The idea that buildings should be
Abstract ................................................................................................................................................. i
designed to minimise the impact of our comfort and technological demands on the environment is becoming more
Contents ............................................................................................................................................... ii
popularised, and since the energy crises of the 1970’s there’s been a growing focus on sustainable architecture,
List of Figures ...................................................................................................................................... iii
engineering a ‘greener’ future. The prevalent all glazed façade has fallen under criticism and needs refining. Ad-
1 Introduction .....................................................................................................................................1
vances in materials, markedly innovative ‘smart’ glass technologies, can enable us to reconsider the function and
1.1
Problem Definition ..................................................................................................................1
performance capabilities of the façade, leading to more efficient building designs with lower energy consumption.
1.2
Brief History of the Contemporary Glass Façade...................................................................1
The polyvalent wall, proposed in 1981 by architect Mike Davies, was acknowledged as a possible answer to the denunciation of the glass building skin, and the future of façade design. The ideas of this concept were
alent ahead Wall of its time, thus we approach it with vivacity and wonder, as thirty-two years on the potential has still to be
?
fully realised, so its credibility is questionable. Is the polyvalent wall realistic, and are the technologies involved feasible, or is it simply a theoretical concept? The foundation of this dissertation is to address the principles behind the concept, attempting to identify if there’s a recognised need for such a system, and observe the performance and viability of emerging technologies to conclude whether the it is is practicable.
1.2.1 1970s Energy Crisis - An Imperative for Change .............................................................2 1.3
A Wall for All Seasons............................................................................................................3
2 Interactive Architecture ...................................................................................................................4 2.1
Background & Aims ...............................................................................................................4
2.2
Engineering the Polyvalent Wall ............................................................................................5
2.3
Smart Materials – A Technical Overview ...............................................................................6
2.3.1 Photochromic Glass .........................................................................................................7 2.3.2 Thermochromic Glass ......................................................................................................7 2.3.3 Electrochromic Glass........................................................................................................8 2.4
Application Paradigms and the Potential in Architecture .....................................................10
2.4.1 Photochromic Glass .......................................................................................................11 2.4.2 Thermochromic Glass ....................................................................................................11 2.4.3 Electrochromic Glass......................................................................................................13 2.5
Integrated Photovoltaics ......................................................................................................13
3 Another Perspective .....................................................................................................................15 3.1
Double Skin Façades ...........................................................................................................15
3.2
Integrated & Kinetic Façades ...............................................................................................16
3.3
Discussion ............................................................................................................................18
4 Conclusion ....................................................................................................................................19 Bibliography .......................................................................................................................................20 Illustration Acknowledgements ...........................................................................................................22
i
ii
List of Figures
1 Introduction
Figure 1: Mies van der Rohe’s glass skyscraper design……………..………………………………………..……….. 2 Figure 2: The layers of the polyvalent wall.……………………………..……………………………………………….. 5 Figure 3: Table of existing smart materials……………………………………………………….…………….……….. 7 Figure 4: Diagram illustrating molecular change causing the photochromic effect…………....………….….…….. 7 Figure 5: Diagram illustrating the change in tint of an electrochromic window.………………….………….….…... 8 Figure 6: Basic design of electrochromic layers.…………………………………………………………….…....….... 9 Figure 7: Diagram illustrating the change in tint of an SPD window………………………………….….…………... 10 Figure 8: Diagram illustrating the effect of an applied voltage in a liquid crystal window……………..…………... 10 Figure 9: Use of thermochromic materials in furniture design….………………………………………..…………… 11 Figure 10: Thermochromic glazing....…………………………………………………………………..….…….……… 12 Figure 11: Electrochromic windows.……………………………………………………………….……………….....… 13 Figure 12: Liquid crystals glazing in use.………………………………….…………………..………….…….….…… 14 Figure 13:Integrated photovoltaics.……………………………………………………………………………...….…… 15 Figure 14: Diagram illustrating the energy saving potential of the double skin façade.……………………….…… 15 Figure 15: The Swiss Re building.…………………………………………………………………………………..…… 16 Figure 16: Photograph of the integrated 'i-modul façade' used in the Capricorn House.………..…………....…… 17 Figure 17: Close-up of the mechanically adaptive facade used in the Arab World Institute..………..……..…..… 17
1.2 A Brief History of the Contemporary Glass Façade
1.1 Problem Definition With a rising population and ever increasing demand on technology, environmental issues with regards
As a principal element of architecture, technology
to global warming and energy consumption are becoming a
has allowed for the wall to become an increasingly dynamic
progressive concern. The idea that buildings should be
component of the built environment. The façade has
designed to minimise the impact of our comfort and
progressed from a mass of solid walls, penetrated by small
technological demands on the environment is becoming
openings to diaphanous skins of minimal material,
more popularised, and since the energy crises of the
encompassing structural frames.
1970’s there’s been a growing focus on sustainable
The role of materials changed dramatically with
architecture, engineering a ‘greener’ future. The prevalent
the advent of the Industrial Revolution of the 19th century,
all glazed façade has fallen under criticism and needs
with the widespread introduction of steel and advances in
refining. Advances in materials, markedly innovative ‘smart’
the production of glass. Development of buildings and
glass technologies, can enable us to reconsider the
evolution of the skeleton frame opened up the possibility in
function and performance capabilities of the façade, leading
what could be achieved with the use of glass and design of
to more efficient building designs with lower energy
the building façade,1 leading to the emergence of long-span
consumption.
and high-rise building forms. The idea of an all glass
The polyvalent wall, proposed in 1981 by
building became a desirable phenomenon that would reflect
architect Mike Davies, was acknowledged as a possible
the technological and cultural conditions of the time, whilst
answer to the denunciation of the glass building skin, and
allowing improved daylighting and connection to the
the future of façade design. The ideas of this concept were
exterior. This idea dates back as early as 1851 with the
ahead of its time, thus we approach it with vivacity and
Crystal Palace for example, however had previously been
wonder, as thirty-two years on the potential has still to be
restricted to the use of small panes in 19th century
fully realised, so its credibility is questionable.
greenhouse design.2 The broad proliferation of curtain wall
Is the polyvalent wall realistic, and are the
systems allowed the disconnection of the façade material
technologies involved feasible, or is it simply a theoretical
from the buildings structure, in which the outer skin no
concept? The foundation of this dissertation is to address
longer required any load-bearing function, freeing the
the principles behind the concept, attempting to identify if
material choice from practical functions so the façade could
there’s a recognised need for such a system, and observe
become a purely formal element with the possibility of
the performance and viability of emerging technologies to
being entirely glazed.3 The Hallidie building, built in 1917 by
conclude whether it is practicable. 1
Oesterle, E. et al., Double-Skin Façades: Integrated Planning. Munich:
Prestel, 2001, p.12. 2 Wheeler, K., The history of glass in Architecture, 2011. Available at: http://www.articledashboard.com/Article/The-History-of-Glass-inArchitecture/608542. Accessed December 2012. 3 Addington, A., and Schodek, D., Smart Materials and Technologies in Architecture. Oxford: Architectural Press, 2005, p.3.
iii 1
Willis Polk in San Francisco, is one of the first buildings to
until the energy crises of 1973 and 1979, where it began to
demonstrate the use of an all glazed façade.
fall under criticism, and the associated problems inherent
In 1921 Mies van der Rohe revealed his glass
with glass were highlighted.
1.2.1 1970s Energy Crisis - An Imperative for Change
Walls became vistas as opposed to obstructions to views, and it was arguably the first vision of the fully-glazed tall building (see Figure 1), despite never being
built.4
In the early 21st century the issue of sustainability
After the
increasingly pervades our culture. Façade systems pose an
Second World
intractable problem for architects with regards to energy consumption. The curtain wall has a specific role to play in this.
6
passenger vehicle emissions.13 Daylighting in buildings is
with the problem of how to heat or cool a glass building.”9 In
therefore not only desirable, but also a key to good energy
The paradigm shift from a traditional solid
configuration to the transparent glazed curtain wall had a significant impact on the energy consumption of buildings.
solar heat gains and use of daylighting reduces loads on artificial lights, the poor thermoregulatory performance of glass means unwanted heat gains in summer, and losses in winter are often a
problem.7
It can also lead to the issue
of glare in the internal environment, thus use of blinds and
War, technological innovations gave rise to the realisation
external shading devices may be required, which almost
of such proposals however. Burgeoning developments in
contradicts the fundamental principle of utilising a glazed
the size and strength of glass since the 1950s, notably the revolutionary float process and the toughening of glass,
façade in the first place. Architect Mike Davies established, “Mies’ wonderwall was recognized as an energy problem.
resulted in its complete integration as a major element in
We were caught admiring the concept but with our
modern construction. Architects use of glass during the 20th century evolved and flourished with the dominant idea of
technological panties round our knees.” 8 The inherent problems with glazing meant buildings became sealed
transparency and dematerialisation, to create ‘honest’
glass boxes, reliant on energy intensive heating, ventilation,
buildings that accentuated the quality of light and space, with buildings beginning to use glazing over as much as
and air conditioning (HVAC) systems to compensate for the
72% of the façade, as seen in the Lake Shore Drive
problems caused from excessive glazing and maintain
Apartments, Chicago in 1951.5 Buildings as rectilinear glass
comfortable internal environments.
boxes spread around the world, regardless of site or
With the ever increasing use of glass, criticism
climate. The popularity of the glazed façade was prevalent
was growing of the profligacy associated with a fully glazed building skin, and the problems were widely recognised.
4
Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.55.
6 Murray, S., Contemporary Curtain Wall Architecture, New York: Princeton Architectural Press, 2009, p.60. 7 Oldfield, op. cit., p.598. 8 Davies, op. cit., p.55.
Oldfield, P. et al., Five energy generations of tall buildings: a historical analysis of energy consumption in high-rise buildings, The Journal of Architecture, 2009, 14(5), p.596. 5
2
Contact
physiologically,
Environment" Reyner Banham spoke out against the high
with
natural
psychologically
and
light
is
also
architecturally
important,14 and so continued usage of glazing is essential.
energy requirements of these artificial air conditioning
It is claimed however, that more than 30% of a building’s
systems. However, it was not really until the energy crises
energy goes out the window.15 If we are to maintain the use
of 1973 and 1979 that architects and users began to look at
of glass, the thermal transfer and solar radiation
the performance of their buildings, which resulted in
performance of the glazed façade needs to be improved. A move back to a more solid façade could lead to
changes to façade design. There was widespread
improved performance, yet it’s undesirable, and would not
development of more effective insulating and solar-control
address energy issues in the existing glazed building stock.
glasses, and many nations brought in building energy
The issues with glazing could be minimised with a refined
performance codes, imposing a widespread switch to
and new approach to façade configuration.
double-glazing.10 Despite these changes, currently more than 40%
Whilst in winter, large quantities of glazing can benefit from
Figure 1: Mies van der Rohe's glass skyscraper design.
performance.
1969, in "The Architecture of the Well-Tempered
skyscraper design for the Friedrichstrasse in Berlin. This became the precursor of the curtain wall building of today.
Mies van der Rohe wrote that "(we) never came to grips
1.3 A Wall for All Seasons
of the overall energy consumption, and 36% of CO2
Following the rise in public awareness of ecology
emissions in Europe are produced by buildings, with a large
as a science in the 1960s, the energy crises of the 1970s,
percentage wasted to maintain comfortable internal
and more recently the concern over global warming, it’s
environments.11 These figures illustrate the imperative for
important
change. More recently, concern grows over the problems
recognise
the
inherent
façade had fallen under scrutiny, and needed to develop.
This was formally recognised as a problem in 1988 by the
Advances in glazing coatings, such as low-emissivity and
establishment of the Intergovernmental Panel on Climate 12
architects
environmental problems with their buildings. The glass
concomitant with global warming, or the ‘greenhouse’ effect.
Change (IPCC).
that
spectrally selective, and the use of external shading
These concerns have maintained
devices is a step in the right direction, but are generally not
environmental awareness into the high energy waste of
ideal for all seasons. They offer fixed performances despite
HVAC systems, and the energy saving potential of building
the ever changing external environment, and thus are
physics is on the increase of political agenda and
unable to respond to specific fluctuations in temperature
engineering development for the future.
and lighting conditions. Likewise, the majority of existing
A recent report from the International Energy Agency
building shells, which act as fairly static systems. This limits
established that electrical lighting accounts for around 19%
the
of global energy consumption, contributing to carbon
possibilities
for
potentially
improved
energy
performance and indoor comfort throughout the year.
dioxide emissions equivalent to 70% of that caused by
13 Kwok, A., and Grondzik, W., The Green Studio Handbook: Environmental Strategies for Schematic Design, Oxford: Architectural Press, 2007, p.99. 14 Thomas, R., and Fordham, M., Environmental Design: An Introduction for Architects and Engineers, 3rd Edition. New York: Taylor and Francis, 2006, p.96. 15 SAGE Electrochromics, Improved energy performance, 2012. Available at: http://sageglass.com/story/improved-energy-performance. Accessed December 2012.
Bramante, G., Willis Faber & Dumas Building – Foster Associates, Phaidon Press Ltd., 1993, p.4. 10 Oldfield, op. cit., p.600. 11 Djalili, M., and Treberspurg, M., New technical solutions for energy efficient buildings, PowerPoint presentation at BOKU: University of Natural Resources and Life Sciences, October 2010. 12 Wigginton, M., and Harris, J., Intelligent Skins, Oxford: ButterworthHeinemann, 2002, p.8. 9
3
The idea of a wall that could adapt with varying
The arguments formed herein aim to focus on the
capacity for automatic, mechanical and motorised change,
thermal and visual adaptive performance capabilities in one
thermophysical and optical properties could reduce loads
possibility, and importance of building adaptability to
and even more ‘instinctive’ autonomic adjustments, deriving
product. For example, it would possess the opacity
on HVAC systems to help deliver ideal conditions during all
achieve the polyvalent wall and reduced energy
from the idea of creating a perfect ‘wall for all seasons’; the
changes of an electrochromic window, the ability of energy
seasons or climates. If the façade could act like a
consumption in buildings. We will attempt to substantiate
apocryphal polyvalent wall.21
collection like a photovoltaic cell, be capable of producing
chameleon, adapting itself to provide the best possible
the viability of developing technologies to determine how
interior conditions for the building’s occupants whilst
realistic Davies’ concept is.
minimising the waste of energy, it would possess almost
2 Interactive Architecture
ideal characteristics, suited to any season or climate. Building stock is only replaced globally at a rate of around 2% per year. 16 A universal façade system with these
2.1 Background & Aims
qualities available as a film for example, could be applied or
The idea of the façade has undergone a variety
fitted to the existing building stock and could a big impact
of paradigm shifts, influenced by regulatory changes,
on improving building efficiencies globally.
developments in technology and materials, as well as
Architect Mike Davies developed a theoretical but
A leading area of interactive architecture is the development of chromogenic switchable glazing, also
window.24
known as ‘smart’ glasses. These are fundamental to the
In Davies’ words, “the environmental diode, a polyvalent
polyvalent wall becoming a reality, and have the ability to
wall as the envelope of a building will remove the distinction
modulate optical and thermal properties, adapting to
between solid and transparent, as it will be capable of
prevent undesired energy flow through a glass façade and
replacing both conditions and will dynamically regulate
reduce energy consumption in buildings helping to
energy flow in either direction… The polyvalent wall is thus
moderate the growing concerns of global warming.
a chameleon skin adapting itself to provide best possible
Based on the obligation for more sustainable buildings, a
would adapt to control the flow of energy from the exterior
developing field of research and architectural practice has
to the interior, thus reducing loads on building HVAC
emerged. Interactive or responsive architecture aims to
systems. Entitled the ‘polyvalent wall’, it would have the
refine and convalesce the energy performance of buildings,
ability to absorb, reflect, filter, and transfer energies from
based around the idea of a façade with ostensibly ‘ideal’
the environment, whilst allowing the continued use of glass
adaptive behaviour, that can respond autonomously to its
façades. This idea led to the idea of adaptive and
surroundings, offering more enviable occupant comfort
responsive façades through the field of interactive
levels in daylighting and thermal comfort for example, whilst
architecture. In the polyvalent wall, multiple performances
helping to reduce loads on building services and thus
are integrated in one single element. It would operate as a
energy consumption.19
progressive thermal and spectral switching device; a
The terms ‘intelligent’, ‘adaptive’, ‘smart’ etc., are
dynamic interactive processor acting as a building skin. 17
all used interchangeably when referring to this area, and
American engineer Eric Drexler once said: “As we look
have been used to describe buildings since the beginning
forward to see where the technology race leads, we should
of the 1980s.20 Early versions of interactive buildings were
ask three questions. What is possible, what is achievable,
generally concerned with changes achieved manually. The
and what is desirable?”18 In doing so, we can establish that
idea of manual change to the otherwise inert nature of the
the qualities of the polyvalent wall would be desirable, and
building has been around for centuries, reflected for
the aim is to assess if it’s achievable or even possible.
example by the shutter, the blind and the cascade window. The ability for manual change has now advanced into the
Edwards, B., Rough Guide to Sustainability, London: RIBA Companies Ltd., 2001, p.21. 17 Davies, op. cit., p.55. 18 Drexler, E., Engines of Creation: The Coming Era of Nanotechnology, Anchor, 1987, p.51.
interior conditions… It is a dynamic performance element
2.2 Engineering the Polyvalent Wall
changes in architectural thinking and political agenda.
potentially applicable ‘wall for all seasons’ in 1981, which
comfortable heat levels and ventilate like a traditional
which responds to continuously changing environmental
In 1981, architect Mike Davies popularised the
conditions.”25
notion of the polyvalent wall, which was widely regarded as
The layers of the polyvalent wall are illustrated in
a viable answer to minimise the growing energy concerns
figure 2:
associated with the performance of the all glazed façade. Smart materials were envisioned as the ideal technology for providing the functions of the polyvalent wall, and would do so simply and seamlessly. The conception of Davies’ idea has arguably influenced developments in this area, with proposals for the use of smart materials in buildings often based on the demonstration of this ideal.22 A building façade provides a range of pragmatic functions (thermal barrier, admission of daylight, ventilation, etc.) as well as establishing the visual experience of the building. The Figure 2: The layers of the polyvalent wall.
polyvalent wall attempts to address all these roles in one system, offering desirable qualities of a truly adaptive and
1. Silica weather skin and deposition substrate
intelligent façade, combining layers of electrochromics,
2. Sensor and control logic layer (external)
photovoltaics,
3. Photoelectric grid
conductive
glass,
thermal
radiators,
micropore gas-flow sheets and more.23
4. Thermal sheet radiator/selective absorber
The idea is rationally based on the physical
5. Electro-reflective deposition
properties of glass, but incorporates a greater range of
6. Micro-pore gas flow layers
Davies, op. cit., p.55. Addington, op. cit., p.20 23 Ibid., p.18
24
16
Anonymous, Buildings with minds of their own, 2006. Available at: http://www.carlomagnoli.com/MP/Anno_2006_files/Buildings_with_minds.p df. Accessed December 2012. 20 Wigginton, op. cit., p.20. 19
4
21 22
25
5
Davies, op. cit., p.56 Ibid., p.56
7. Electro-reflective deposition
of their properties (electrical or thermal for example) in
8. Sensor and control logic layer (internal)
response to a change in an external stimuli. This change
The responsive properties are achieved through
often results in a variation of the optical properties of the
the embedding of microcrystalline silver halides (usually
material.30 Type I smart materials are often referred to as
silver chloride), or molecules in the glass substrate. It’s
The architect Richard Rogers said: “It is not too
the ‘chromics’, or colour-changing materials, and have
within these silver halides that the reversible transformation
much to ask of a building to incorporate, in its fabric and its
great potential for use in the field of architecture.
takes place when exposed to the ultraviolet radiation.34 The
nervous system, the very basics vestiges of an adaptive
Fundamentally, the input energy produces an altered
molecules appears colourless in their unactivated form, and
capability.” Despite not being fully realised, it is clearly
molecular structure on the surface of the material on which
the transmission properties are comparable to ordinary
acknowledged as a sensible proposal that is not unrealistic.
light is incident. These changes affect the material's
Furthermore, the idea is based on principles already
absorbance or reflectance characteristics, and thus the
dependent on the incident light. Photochromic materials are
exploited in other areas of developing technology, such as
perceived colour.31
environmentally activated, thus neither electrical power nor
9. Silica deposition substrate and inner skin
26
automatically darkening photochromic glass used in the
The second general class, known as ‘Type II’
manufacture of glasses. Davies advocated using these
smart materials, is comprised of those that transform an
achievements, which could help make the polyvalent wall a
input energy from one form into an output energy of
reality.27
another,
in
accordance
with
the
First
Law
of
Thermodynamics. The material stays the same but the
2.3 Smart Materials – A Technical Overview
input energy undergoes a change.
32
The energy
Defined as 'highly engineered materials that
conversion is typically much less than for more
respond intelligently to their environment’, smart materials
conventional technologies, however the potential utility of
have become the 'go-to' answer for the 21st century's
the energy is much greater. Whilst there’s generally less
technological needs, 28 and have been envisioned as the
scope for application of Type II materials in architecture, it’s
ideal technology for providing an improved functionality of
important to recognise the potential that does exist, for
the façade, through the idea ‘smart windows’ or integrated,
example materials that demonstrate the photovoltaic effect.
responsive façades. Smart materials respond to a change
One must be cognizant with the fundamental
in the environment by generating a perceivable response,
physics and chemistry of smart materials to be able to use
which is often useful. They enable a more selective and
them, and recognise the potential applications in
specialised performance than conventional materials, as
architecture. The range of smart materials that exist is
their properties are adaptable and thus responsive to
diverse. We will focus only on those that seem relevant in
transient needs.29 Changes are direct and reversible. This
the context of the polyvalent wall, which offer the most
makes them appropriate for use in the polyvalent wall.
potential to be applied in architecture. Figure 3 highlights
radiation, reducing unwanted heat gains.
clear glass, capable of ranging from 91% to as low as 25%
Figure 3: Table of existing smart materials. The most promising in regards to architecture and the polyvalent wall are highlighted.
2.3.1 Photochromic Glass
a driving unit are required, unlike some of the other available technologies. The transitions are fairly slow
Photochromic materials are those which change
however, and can take up to several minutes to change
their optical properties, and thus the perceived colour, in
through their tint.35
response to exposure to ultraviolet light. When exposed to
2.3.2 Thermochromic Glass
photons in this region of the spectrum, the absorption of radiant electromagnetic energy causes an intrinsic property
Thermochromic materials alter their colour or tint
change where the molecular structure of the material is
in response to temperature changes in their surrounding
altered into an excited state (see figure 4). The material
environment. In glazing, sunlight responsive thermochromic
begins to selectively reflect or transmit at different wavelengths in the visible
spectrum. 33
(SRT) windows enable the regulation of daylight by
In photochromic
autonomously adjusting to the continuously changing solar
glass, this results in a change of tint, often between clear
energy, and can aid in reducing the energy needs of a
and blue. The intensity of this change in tint depends upon
building.36 In brief, when direct sunlight hits the window, it
the directness of exposure. In a tinted state, the
heats up and darkens. When in a darkened state, the
transmission properties of the glass are reduced, thus the
glazing absorbs heat and reduces the admission of daylight,
issues of glare coexistent with overuse of glazing can be
thus lowering energy demand on the building services. The
reduced. The darkened state also absorbs infrared
input of thermal energy on the surface of the material leads to a thermally induced chemical reaction that alters its molecular structure. Here, the equilibrium spacing between aligned sheets of molecules alters, changing which
these.
Smart materials can be classified by two main
wavelengths of light are diffracted. This results in a different
categories. The first group, known as ‘Type I’ smart materials, are those that undergo changes in one or more
Ibid., p.57 27 Compagno, A., Intelligent Glass Façades, Basel: Birkhäuser, 1995, p.8. 28 Addington, op. cit., p.1. 29 Ibid., p.3. 26
Ibid., p.14. Ibid., p.84. 32 Ibid., p.14. 30
34 Elkadi, H., Cultures of Glass Architecture, Aldershot: Ashgate Publishing Ltd., 2006, p.76. 35 Compagno, op. cit., p.31. 36 Arutjunjan, R. et al., Thermochromic Glazing for “Zero Net Energy” House, 2005, p.300. Available at: http://www.aisglass.com/swfs_solar_heat/pdf/thermocromic_glazing.pdf. Accessed December 2012.
Figure 4: Diagram illustrating an example of the molecular structural change due to exposure to the input of radiant energy from light, causing the photochromic effect.
31
6
33
Ibid., p.85.
7
spectral reflectivity than the original structure, and thus the perceived
colour
of
the
material
changes.
2.3.3 Electrochromic Glass
37
Thermochromic materials come in many forms, but often Electrochromic devices are probably the most popular
liquid crystals in films are used. These can be formulated to
of the switchable glazing technologies, demonstrating the
change properties over a wide temperature range, and
property of electrochromism, which is broadly defined as a
therefore have potential in a wide range of applications,
reversible colour change of a material caused by
possibly including architecture.
application of an electric current. There are three main
Another type of thermochromic glass is in development,
classes of material that change colour when electrically
which changes between clear and translucent white,
activiated: electrochromics, suspended particle devices and
responding to environmental changes in temperature to
liquid crystals.40
control the infrared emissivity and transmittance of glass.
The first, electrochromics, change their colour or tint in
The input of thermal energy to the material alters its micro-
response to a small applied voltage. In glazing, this voltage
structure through a phase change. This change is based on
causes the material to darken, altering the optical
the use of phase change materials. The glazing is better
transmission properties, whilst reversing the polarity of this
described as thermotropic however, since there’s a phase change or change in state of the
materials.38
makes it lighten again returning to a transparent state.
Thermotropic
Figure 5 illustrates this. Electrochromic glass is able to
glazing can enhance the thermoregulatory performance of
control solar radiation by absorbing the heat in its darkened
the glazed façade, and is designed to be spectrally
state. This is subsequently reradiated from the glass
selective, affecting only the infrared region of the spectrum. The basic material consists of two components with differing refractive indices, for example water and a polymer (hydrogel). At lower temperatures the mixture is homogeneous and has a high transmission factor. At higher temperatures however, the arrangement of the polymers alters, from stretched chains to clusters, which scatter light.39 In summer the thermotropic material absorbs excess solar radiation causing it to change from clear to white and reflective in response to heat. This reduces the transmission of unwanted solar heat. However, in doing so, you can no longer see through the window, and thus has a derogatory effect on views, which have been established as an important function conveyed by the glazed façade.
Figure 5: Diagram illustrating how the change in direction of applied voltage alters the tint of electrochromic glass. Addington, op. cit., p.86. 38 LBNL, Thermochromic Windows, 2011. Available at: http://www.commercialwindows.org/thermochromic.php: Accessed December 2012. 39 Compagno, op. cit., p.51. 37
surface to the exterior, and can be effective in preventing as much as 91% of the solar heat gain.41 The glazing consists a thin electrochromic film, sandwiched between two layers of glass. On passing a low voltage (less than 5V) across the thin coating the electrochromic layer is
Figure 6: Basic design of electrochromic layers:
activated and changes colour changes. Despite being
1. Glass; 2. Transparent conductor; 3. Ion storage film; 4. Ion conductor (electrolyte); 5. Electrochromic film; 6. Transparent
electrically activated, only a burst of electricity is required
conductor; 7. Glass.
for changing the glass tint. Once a change has been initiated, no further electricity is needed to maintain the
external light or temperature variations. The visible light
particular state that has been reached. 42 This means
transmission can be varied from around 62% in the clear
electrochromic windows can be supplied with a battery
state down to less than 2% in fully tinted, by varying the
pack, and don’t require as substantial an infrastructure for
applied voltage.44 This makes them particularly flexible, and
power supply as some of the other electrically responsive
advantageous over the other switchable technologies.
glazing technologies. Darkening occurs from the edges,
Suspended particle devices (SPD) is another
moving inward, and can take from many seconds to several
electrically activated, film based technology. A thin film
minutes depending on window size. Electrochromic glass
containing millions of rod-like particles are suspended in a
provides visibility even in the darkened state and thus
fluid and placed between two layers of glass. When no
preserves visible contact with the outside environment. The
voltage is applied, the suspended particles are arranged in
electrochromic film is a multi-layer assembly of different
random orientations that absorb light, so that the glass
materials working together, illustrated by figure 6.
panel appears dark blue, with a visible transmission of
Fundamentally, the colour change in an electrochromic
around 1%. Despite this low figure, the technology remains
material results from a chemically induced molecular
clear and views to the outside are preserved. When voltage
change on the surface of the material through oxidation
is applied, the particles align and allow daylighting, with a
reduction. Hydrogen or lithium ions are driven from an ion
visible transmission of up to 45%.45 This is significantly less
storage layer in the glass through an ion conducting layer,
than the transmission of clear glass, which can be as high
and injected into an electrochromic layer when a voltage is
as 91%. This change in tint is instant, and again, can be
applied. This causes it to absorb certain visible light
achieved manually or automatically with the use of sensors.
wavelengths, and thus the tint of the glass darkens.
Figure 7 illustrates the effect of applying the voltage. The
Reversing the voltage drives ions out of the electrochromic
flow of solar gains and admission of daylight can be
layer in the opposite direction, thus causing the glass to
actively modulated to precisely control the amount of light,
lighten. 43 The electric current can be either activated
glare and heat passing through by varying the applied
manually or by automatically by photo or thermosensitive
voltage. The need for air conditioning during the summer
devices that respond to
months and heating during winter can be greatly reduced.46
Ibid., p.87. Lamkins, C., The Future of Fenestration, 2010, p.4. Available at: http://cccfcs.com/uploads/Interior%20Design/ID%2011/Future%20of%20F enestration-Lamkins-Final.pdf. Accessed December 2012. 43 Addington, op. cit., p.88.
44 SAGE Electrochromics, Technology FAQs, 2012. Available at: http://sageglass.com/technology/faqs/. Accessed December 2012. 45 Lamkins, op. cit., p.4. 46 Ibid., p.5.
41
40
8
Addington, op. cit., p.87.
42
9
between 75% and 67% of visible light transmission.48 This is desirable in terms of daylight admission, however does
Pilkingtons’s ‘Reactolite’ spectacles are an
It is therefore no real surprise that the uses in
excess heat gains associated with overuse of glazing would
excellent example of a photochromic material in
buildings and the production of this type of glass is at
not be reduced. Liquid crystals and suspended particle
widespread usage,50 and an example of where the material
present rather limited in terms of quantity and size. In an
devices need a continuous power supply to remain
has been successful. When exposed to ultraviolet light, the
attempt to keep prices down and improve the potential use,
transparent, and as a result, require an electrical
lenses darken to improve the quality of light for the user.
Corning Glass have developed 1m2 prototypes of 1mm
infrastructure to supply the façade.
On a slightly larger scale, in the proposed 'Coolhouse' by
thickness, which can be used as glass laminates. 54
Teran and Teman Evans, interior panels are covered with
However, it still seems unfeasible we will see this
photochromic cloth that changes from a base colour of
technology applied on a grand scale in architecture, or for
white to blue upon exposure to sunlight. 51 This is a typical
use in the polyvalent wall, because of the inherent
example of a showpiece demonstrating the potential of this
problems mentioned. Furthermore, costs for this technology
smart material.
remain high, making it unviable at this time.
and
the
Today increasing developments with smart materials allow them to be used in a diverse range of
restricted widespread adoption of smart materials in buildings. For use in architecture, new materials or technologies must be fully tested in another industry before
glazing is liquid crystals. In glazing, with no applied voltage,
architects can pragmatically use them, but we are
the liquid crystals are randomly arranged in the droplets
beginning to see an increased use. This is promising with
sandwiched between two sheets of glass. This results in
regards to the feasibility of the polyvalent wall. Smart
the scattering of light as it passes through the window
materials are generally being implemented into architecture
assembly, giving it a translucent white appearance. When a
slowly as they advance, often through highly visible
voltage is applied the liquid crystals align, allowing light to pass.47
In the field of architecture, photochromic windows
applications. Cost and availability have, on the whole,
The third main class of electronically switchable
showpieces and high profile ‘demonstration’ projects, such
This can be seen illustrated by figure 8. Again, the
as in the Brasserie Restaurant on the ground floor of Mies
degree of transparency can be controlled by the applied
van der Rohe’s Seagram Building. Here, thermochromic
voltage, however when in an ‘off’ state with no voltage, the
chair backs and electrochromic toilet stall doors are used to
ability to see through the window is gone, thus views are
show the potential of smart materials.49 It’s also important
diminished. In all states, liquid crystal glazing allows
to changes in lighting conditions.53
not reduce unwanted infrared radiation, thus the issues with
2.4 Application Paradigms Potential in Architecture
Figure 7: Diagram illustrating the change in tint of an SPD window.
particularly effective because of the slowness of response
2.4.1 Photochromic Glass
that the cost to benefit ratio is realistic and economically viable for us to consider the use of these materials, and they must comply with the existing labour and assembly
2.4.2 Thermochromic Glass
are becoming available, and have been used in various window or façade treatments, although with varying
Thermochromic materials are widely used as
amounts of success, to control solar gain and reduce glare.
films in applications such as battery testers and
They work well to reduce glare from the sun, but don't
thermometers.
control heat gain particularly effectively. In winter for
thermochromic materials have been used in furniture
example, the sun angle is low in the sky, thus its rays may
designed by Juergen Mayer (see figure 9). Sensitive to
strike a window more intensely than in the summer, when
body heat, a coloured imprint is left by somebody who has
the sun is higher. In this case, the photochromic window
just sat on the furniture.55
10
showpiece,
be beneficial, helping to reduce strains on heating loads. This is a problem that didn’t effect the use of photochromic
Figure 9: Use of thermochromic materials in furniture design.
materials for spectacles, thus the potential of this material
In the field of architecture, thermochromic glass is
is perhaps limited to the specific context. Furthermore, in
more amenable to the aforementioned heat issue, but in
architecture photochromic applications have not proven
doing so control in the visual part of the spectrum is sacrified. It is this low transmission (currently ranging from around 35% and below, when in a tinted state) that thermochromic glazing must overcome to improve its
Davies, op. cit., p.57. Addington, op. cit., p.85. 52 Bonsor, K., How smart windows work, 2013. Available at: http://home.howstuffworks.com/homeimprovement/construction/green/smart-window1.htm. Accessed December 2012. 51
Ibid., p.6.
profile
despite winter being the time when solar heat gains would
50
47
high
darkened state absorbs a lot of the potentially useful heat,
architecture.
48 SmartGlass International, LC SmartGlass, 2010. Available at: http://www.smartglassinternational.com/lc-smartglass/. Accessed December 2012. 49 Addington, op. cit., p.3.
another
would darken more than would be desirable. 52 This
practices of the building industry for ease of application in
Figure 8: Diagram illustrating the effect of an applied voltage on light transmission in a liquid crystal window.
In
Addington, op. cit., p.85. Compagno, op. cit., p.31 55 Addington, op. cit., p.87. 53 54
11
potential application in architecture and the polyvalent wall,
of sunlight. 58 This is advantageous over thermochromic
as the primary reason for a window is the provision of
glazing, however the view is lost as it becomes increasingly
daylight. 56
Despite this, thermochromic glass maintains
white. Operating between 25°C and
30°C,59
it’s ideal for
transparency even in the tinted state, thus views to the
use in architecture as it falls within the human comfort
exterior are preserved. Figure 10 shows a thermochromic
range, although the diminished views are a drawback.
window at different times of day, in both clear and tinted
More
states.
recently
a
promising
approach
Energy modelling of the heat-transfer in façades
material in plastic films of polyvinyl butyral (PVB), which is
has shown that thermochromic glazing can provide
commonly used in safety glass. Thermochromic PVB
decreases of 15-30% in the building energy consumption
became commercially available late in 2010 from Pleotint
during the winter heating time, and a reduction of solar
as a roll of film, and has been successfully been used to
energy gain of as much as 30-40% during summer.57 In
make windows larger than before, in sizes up to 5 foot by
certain climates, parts of Russia for example, it’s thought
10 foot.
that these reductions can be enough to get rid of air-
contractors, just as they would with conventional windows.
This glazing can be installed by glazing
conditioning systems all together. This would make the
The availability in this form is desirable in itself as.
material particularly desirable for use in architecture and
In spite of new construction, the yearly turnover in the building stock is quite low. The development of smart materials as a film that could be applied to existing windows, or be integrated into the manufacture of new windows is enviable, and would have a big impact on the energy performance of the façade. It would also allow the application to curved glazing, thus have even more potential for use in existing buildings. Thermochromic glass
Figure 10: Thermochromic glazing. (Left) In a tinted state in response to heat. (Right) In its transparent state. The poor transmission can be seen.
is
also
more
affordable
than
photochromic
and
electrochromic glazing. The cost can be estimated at 50 the polyvalent wall.
US$/ m2, in comparison for example, to somewhere in the
In recent years CloudGel® by Suntek has been
range of several hundreds US$/ m2 with electrochromic
developed. As a thermotropic glazing, it consists of a
glazing.
hydrogel film placed between two glass panes. When subjected to temperature changes it displays a reduction in
can
be
made
thermochromic
materials
performance
regarding
with
visible
be widely used. Despite the higher costs, more
in response to an increase in heat, as well as turning white
development has been dedicated to the electrochromic
and reflective. In its clear state, the material transmits 90%
57
advances
transmission, it seems feasible that this technology could
solar energy transmission, changing from clear to diffused
56
If
61
materials, and switchable glazing in particular. 58 Suntek, Overview: Technology Basics. Available at: http://suntekllp.com/info/. Accessed December 2012. 59 Compagno, op. cit., p.51. 60 LBNL, op. cit. 61 Arutjunjan, op. cit., p.299.
Addington, op. cit., p.169. Arutjunjan, op. cit., p.299.
12
The Gentex Corporation has been producing actively controllable rear view mirrors for cars for a number of years now. This represents one of the most commercially
to
thermochromic glazing involves the lamination of the
60
2.4.3 Electrochromic Glass
developed electrochromic products to date. The car industry has become a favourite testing ground for electrochromic technologies because of the insignificant required sizes, and because of the low life expectancy.62 In the field of architecture, the potential and application of electrochromic glazing is becoming more popular. In 1988 Figure 11: Electrochromic windows. The applied voltage has been varied from right to left: (Right) No voltage, thus the glazing remains clear. (Middle) Slight voltage was applied, resulting in some change of tint. (Left) Full state of tint.
at the Seto bridge Mueseum in Kojima, Japan, Asahi Glass installed as an experiment 196 electrochromic panes, measuring 40cm by 40cm in size.63 This was just a hint of
(5 foot by 10 foot by the end of 2012) at high
the potential. Since then electrochromic windows have
volumes, making it suitable and more affordable for use in
been installed in hundreds of commercial and residential
buildings. 65 This gives scope to full scale curtain wall
buildings, to control solar heat gains and issues with glare.
utilisation in the future, and is particularly promising with
Today, SageGlass, manufactured by Sage
regards to the polyvalent wall.
Electrochromics, is a commercially available electrochromic
There is also potential for the use of suspended
glass for use in buildings. It’s claimed use of this tintable
particle device windows in architecture, with companies
glazing is capable of reducing HVAC requirements by 25%, and lighting energy costs by up to 60%.
such as SmartGlass International and Hitachi Chemical
In fact, the
Corporation commercialising this technology. Suspended
National Renewable Energy Laboratory (NREL) estimates
particle devices glass has been successfully installed in
that if all buildings used products like SageGlass, we could
buildings, to maximise the efficient use of daylighting and
save around 5% of the nation’s total energy consumption
reduce heat gains. The technology allows clear views
each year.64 There is huge potential for this in the
through the glass even while fully switched on and in a
field of architecture therefore. Figure 11 shows an
state of minimum transmission, which holds a visual
installation of electrochromic glazing. French glass
advantage over other glazing technologies that turn the
manufacturer Saint-Gobain recently announced an $80
glass ‘cloudy,’ such as in thermotropic. The current
million investment in Sage Electrochromics to make energy
downsides however are the cost, and the continued
saving glass, focusing on making it affordable for the mass
reliance on a power supply to remain in a clear transparent
market, in a new facility in Minnesota. The facility will
state.
enable the production of larger than before sheets of glass 62 Wigginton, M., Glass in Architecture, London: Phaidon Press, 1996, p.227. 63 Compagno, op. cit., p.5.. 64 SAGE, Improved, op. cit.
65 Afion Media Ltd., Saint-Gobain invests $80 million in SAGE to make energy saving glass, 2012. Available at: http://www.energyefficiencynews.com/articles/i/3566/. Accessed December 2012.
13
The use of liquid crystals electronically swithcable
conditions. The possible issues that stem from this have be
Crystalline solar cells are produced as discs in
glass came into the architectural market fully tested and
demonstrated by the photochromic windows response to
sizes from 10 x 10 cm to 15 x 15 cm, and can be
refined from previous usage in big screens. Architects only
direct sunlight in winter, producing undesirable effects that
assembled to form modules and embedded with resin in
had to begin to employ them, yet there are drawbacks.
would arguably increase heating loads, as opposed to
the cavity of a laminated glass unit. According to
Whilst they are currently popular for internal architectural
reducing them. Over time they will inevitably develop and
composition, the result can be either a transparent,
designs, such as privacy screens, there’s less potential for
improve however, and it’s likely all the technologies
translucent or non-transparent module. Light transmission
use in the building façade as there’s less flexibility, with
exemplified will become more economically viable and
through transparent and translucent modules can be as
most of the devices offered today operating in ‘on’ or ‘off’
closely integrated with architecture as the potential
high as 30%, according to the choice of module spacing.
states only, and size constraints. In addition, despite the
applications grows, and there’s an increased recognition.
(49) These modules can therefore be used as part of the
aims to lower the energy consumption in buildings, working
ability to vary the degree of transparency, limitations in the
The continued progress towards larger and more
glazed façade, helping to improve building energy
as a responsive façade configuration. This system has
area of infrared radiation means there is probably no
standardised industry available sizes will have a factor in
efficiency, whilst still maintaining the important admission of
been considered as the closest response to realising the
foreseeable future for application in the polyvalent wall, as
this also. The advances over the past few decades is
daylighting that reduces loads on artificial lighting
polyvalent wall, but achieved through the use of common
they would inevitably not help reduce the cooling or heating
certainly very promising, and the idea of the polyvalent wall
requirements.
glass products, which combined together, may offer the
loads the building. It is likely that any usage will be
seems more realistic than ever.
restricted to high profile demonstration pieces, such as the
2.5 Integrated Photovoltaics
Eureka Skydeck 88 ‘Edge’ experience in Chicago,66 and for privacy functions such as in hospitals or offices (see figure
Photovoltaics is a method of generating electrical
12). Again, there are also the issues concomitant with
power by converting solar radiation into electricity. Modules
reliance on a constant power supply to operate, as they
or arrays are used, composed of cells containing a
don't reduce unwanted infrared radiation.
photovoltaic material, commonly silicon based. When solar radiation strikes a photovoltaic material, the energy is absorbed by the atoms of the material. As energy must be conserved, the excess in the atoms forces a move to a higher energy level. However, becoming unstable and unable to sustain this level, the atom release a
Figure 12: Liquid crystals glazing in use. The technology has potential in architecture, however is more suited to our privacy needs, as opposed to use in windows.
corresponding amount of energy. With the use of semiconductor materials, photovoltaics are able to capture this
Despite the complexity of support infrastructures
release of energy, thereby producing electricity. 67 The
such as accompanying sensors and logic control systems,
polyvalent wall would generate the required energy to
it seems clear the electrochromic devices offer more
power any control systems or integrated technologies
potential in the field of architecture. Whilst there is some
required, in order to be self-sufficient. The properties of
promise, the environmentally responsive glazings are
these integrated photovoltaic modules would allow this, and
ultimately less desirable because they cannot be manually
add merit to the practicability of the idea.
Figure 13: Integrated photovoltaics. Whilst generating electricity, the system still maintains some admission of daylight.
The Solar office at Doxford international business
best energy equation.70 Arguably, the double skin façade
park by Studio E is example where a transparent
demonstrates the fundamental principles of the polyvalent
photovoltaic array has been integrated into the façade.68
wall, capable of offering a similar performance and a level
Whilst this case study no longer functions, it’s an important
of adaptability, and is perhaps a more realistic answer. The
example of how they can seamlessly become part of the façade. Another example of usage can be seen in Greenpace Warehouse, Hamburg (see figure 13). Here, photovoltaic modules are integrated in a wall, which is able to generate energy whilst providing filtered light through the spaces between the cells.69 It demonstrates how this could be used in the polyvalent wall. The use of integrated photovoltaics does however, remove the views and thus connection to the exterior, however as the systems Figure 14: The Swiss Re building. Utilising a double skin façade, a fully glazed building skin can still be used.
required for the polyvalent wall would inevitably use very little power, only a few panels would need to be used.
continued use of a fully glazed façade is enabled (for an example, see figure 14), and we can even integrate
3 Another Perspective
photovoltaic arrays thus allowing the building skin to capture energy, similarly to the how the polyvalent wall
3.1 Double Skin Façades
would.
The use of double skin façades are becoming increasingly popularised as a recognised technology that
controlled, and thus don’t always offer the optimum
66
See http://eurekaskydeck.com.au/the-edge.html for more information.
67
14
Addington, op. cit., p.95.
68 Studio E, Solar Office, Doxford International, 2010. Available at: http://www.studioe.co.uk/doxford.html. Accessed December 2012. 69 Wigginton, Glass, op. cit., p.223.
Andreotti, G., From Single to double-skin Façades, p.72. Available at: http://www.bath.ac.uk/cwct/cladding_org/fdp/paper9.pdf. Accessed December 2012.
70
15
The system is based on the principle of using
However, the double skin façade system is still
performance as the polyvalent wall, addressing the same
façade means loads on the HVAC systems for heating and
multilayers; an external façade, an interstitial cavity space,
relatively new and unproven in performance. The success
energy concerns. However, the ideas behind these
cooling are reduced. The condensed use of glazing also
and an internal façade. During summer, solar induced
is inextricably dependent on integrated design and
technologies is often derived from the notion of the
minimises unwanted solar heat gains and losses, and
thermal buoyancy in the cavity means natural ventilation
collaborative work efforts, and can vary depending on the
polyvalent wall, and we may only be seeing them used as
whilst this means there is more reliance on artificial lighting,
can be achieved. Air in the cavity rises as it’s heated up,
project and climate. 74 In addition, the cavity results in a
the technologies involved are ready, whereas those needed
the integration of photovoltaic arrays is able to compensate
and when windows in the inner façade are opened, used air
decrease in usable floor space, and depending on the
to make the polyvalent wall a reality are not quite there.
this.
is drawn out from the internal environment and replaced
strategy for ventilating, there could be problems with
Alternatively, it could be argued these ideas represent the
with fresh air (see figure 15).71 This reduces the need for
condensation and smoke spread in the event of a fire. The
wall in a different form factor, as the fundamental principles
HVAC systems to maintain a cool environment. The GSW
construction of a second skin will likely also present a
are the same, or even as a progression of the idea as they
significant increase in materials and design costs over
can all greater functionality.76
conventional façade systems.
The Capricorn House in Düsseldorf utilises a
Despite this, for the time being, double skin
façade that provides a definitive model of energy efficient
façades offer a lower construction cost compared to
design through a flexible integrated façade. For the
solutions that could be offered with the use of ‘smart’
architects Gatermann and Schossig, it seemed reasonable
Figure 17: Close-up of the mechanically adaptive facade used in the Arab World Institute. The 'aperture-like' devices open and close to vary solar transmission.
The Arab World Institute by Jean Nouvel is an
glazing.75 They are able to achieve a quality of variability
example of an kinetic or mechanically adaptive façade.
through a coordinated combination of components which
Completed in 1987, the south façade of the building
are both known and widely available, making them
consists of high-tech photosensitive mechanical devices,
desirable. Development of the smart technologies
which open and close like the aperture on a camera in
alongside could enhance this system, for example
Figure 15: Diagram illustrating the energy saving potential of the double skin façade. The interstitial cavity acts as a thermal buffer in winter, and in summer, helps to draw warm air from inside due to thermal buoyancy.
response to changes in external stimuli (see figure 17).79 In
electrochromic glazing could be used to replace shading
doing so, the façade enables the control the light levels and
devices often placed within the interstitial cavity, reducing
Headquarters in Berlin utilises a west facing double skin
transparency, in addition to heat gains, helping to reducing
maintenance etc., and improving reliability.
loads on HVAC systems. Nowadays the building is still
façade that takes advantage of this strategy, to achieve
3.2 Integrated & Kinetic Façades
natural ventilation 70% of the year,72 significantly reducing
famous, but the façade system no longer works, Figure 16: Photograph of the integrated 'i-modul façade' used in the Capricorn House.
air-conditioning energy needs. In winter, the cavity can be
Despite the many desirable qualities, it could be
sealed with the interstitial space becoming a thermal buffer.
argued that the polyvalent wall is not something we will
to integrate building services elements into the
This minimises the heat loss problems associated with the
necessarily see materialise. Recently, there has been focus
façade modules. 77 The ‘i-modul façade’ cladding system
glazed façade, reducing heating loads in the building thus
on developing façades that use integrated systems to
(see figure 16) used houses building services for heating,
the required energy consumption. Some researchers
enhance the performance of the building skin, addressing
cooling, ventilation and heat recovery, as well the
maintain that a double skin façade can reduce energy
energy issues and expanding functionality to include
capabilities for daylighting and energy generation.78 Whilst
consumption by as much as 65% and CO2 emissions by
amalgamation with building services, and into kinetic or
not physically responding to external changes like the
50%.73
adaptive façades that have changeable properties through
polyvalent wall, the integration of building services into the
highlighting the inherent problems with complex systems like this. Integrated and mechanically adaptive façades can appear to be promising, and are in growing use today. There are undesirable qualities of complexity, reduced or impaired views and maintenance etc. Costs related to investment and higher maintenance can also be problematic, and moving parts can be an issue as we have seen. Moreover, these systems are not always as
mechanical systems. These systems can achieve a similar Oesterle, op. cit., p.7. 72 Wigginton, Intelligent, op. cit., p.49. 73 Wigginton, M., and McCarthy, B., Environmental Second Skin Systems, 2001. Available at: http://www.battlemccarthy.com/external%20site_double%20skin%20websi te/index.htm. Accessed December 2012. 71
74 Barkkume, A., Innovative Building Skins: Double Glass Wall Ventilated Façade, New Jersey School of Architecture, 2007, p.12. 75 Poirazis, H., Double Skin Façades for Office Buildings :Literature Review, Lund University, 2004, p.63.
16
aesthetically pleasing as an idea like the polyvalent wall.
76 Knaack, U. et al., Façades: Principles of construction, Basel: Birkhäuser, 2007, p.130. 77 Ibid., p.100. 78 Gatermann + Schossig, Capricorn House - Düsseldorf, 2008. Available at: http://www.gatermannschossig.de/pages/en/projects/office/207.htm?show_pic=1. Accessed December 2012.
79 Poucke, V., Arab World Institute by Jean Nouvel, 2001. Available at: http://blog.kineticarchitecture.net/2011/01/arab-world-institute/. Accessed December 2012.
17
They do however represent the technological state our of
expensive and difficult to install the mechanical systems we
time, which means their continued adoption is likely, at
are starting to see, particularly with regards to the existing
least until advancements in other areas that could make the
building stock, and we have seen how they are not always
polyvalent wall a reality.
effective in the long run. The almost ideal characteristics and proposed
3.3 Discussion
performance of the polyvalent wall remain important driving factors that acknowledge its potential in architecture. In this
One of the 20th century's most notable
day and age, mankind has a growing reliance on
theoreticians of the architectural environment, James
technology. Technological advances dictate what we want.
Marston Fitch, wrote "the ultimate task of architecture is to
We expect things to be intelligent and will usually opt for
act in favour of man: to interpose itself between man and
digital over analog. Our desire for advances in technology
the natural environment in which he finds himself, in such a
alone is a driving factor behind further research of the
way as to remove the gross environmental load from his shoulders.' 80
polyvalent wall. This idea is supported by leading names in
Today, this task is almost reversed, or has
architecture. Norman Foster for example, believes
been expanded at least: architecture needs to act to
technology is a world in itself, and where it reaches its real
remove the imposed loads from man on the environment to
fulfillment it transcends into architecture.81 Coupled with our
help reduce the effects of global warming. The glazed
technological expectations, it seems feasible that Davies’
façade remains under scrutiny amidst the growing concern
idea will become a reality in the future, as the technologies
for sustainability, and there is a clear need for the
will inevitably transcend in to architecture. Michael
continued development of its performance, hence the
Wigginton and Jude Harris also predict “the intelligent
conception of ideas like the polyvalent wall. Whether we
façade will be one of the principle elements in the building
see this or not, the idea is very credible, and has had a real
of the future,”82 adding further credibility to this notion.
impact on the direction of material development and façade
cultural time, in addition to support from leading names in
4 Conclusion
architecture and the already desirable performance, act as
It seems sensible to conclude that the polyvalent
a further driving factor to help achieve this. It is likely that
wall is indeed a very realistic idea, and the use of the
we will begin to see the polyvalent wall realised through
technologies involved are emphatically feasible. The
small scale showpieces at first, and slowly integrated into
concept derived from the growing concerns over energy
the façade.
consumption, stimulated by the 1970s energy crises. There
Today, it’s perhaps more a case of posing the
was a clear need and demand for such a technology to
question of when we will see the polyvalent wall materialise,
exist, and thirty-two years on, there still is today, as global
as opposed to questioning its credibility as a concept.
warming becomes an ever increasing concern, and the performance of the glazed façade is still associated with high energy consumption, and in need of further refinement.
Word count: 8812.
There is therefore a wide applicable market for the polyvalent wall, and the potential to have a big impact on reducing energy consumption globally. This would not be restricted to new construction, as the technologies required are becoming available in film form, which means there’s potential to be applied to the 98% of existing building stock. Much progress has been made in the right direction since the ideas conception, with some of the emerging technologies such as the double skin façade system undoubtedly offering an improved performance. These new approaches to façade design are often
design over the past few decades, opening up the potential
influenced by Mike Davies’ idea, highlighting the fact it was
for the future.
taken serious and is still considered to be realistic today.
Whilst other systems exist today offering similar capabilities,
The advancements in façade paradigm and the current
integrating smart materials to achieve the polyvalent wall is
state and integration with architecture of smart materials is
arguably more desirable, as they are flexible and there is
just a hint of what could be possible in the future. As the
greater potential for them to be applied to existing buildings
fundamental core of the polyvalent wall, these smart
as films or replace existing glass. This would make a much
materials and technologies are becoming increasingly
greater impact on the contribution buildings play towards
viable with growing potential in architecture. The scale of
global warming. Furthermore, the all glazed form connotes
availability will inevitably improve, whilst costs will come
a more desirable aesthetically pleasing façade than
down, as the governing sciences mature with increased
integrated systems often offer, maintaining the style we
development and growing recognition of the technologies,
have grown dedicated to over the past century. It can be
making them more realistic and economically viable than
80 Fitch, J., American Building 2: The Environmental Forces That Shape It, New York: Schocken Books, 1972, p.1.
81 82
18
Bramante, op. cit., p.6. Wigginton, Intelligent, op. cit., p.61.
ever. Furthermore, the technological expectations of this
19
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Oldfield, P., Trabucco, D., and Wood, A, Five energy generations
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Nanotechnology, Anchor, 1987, p.51.
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591-613. Poirazis, H., Double Skin Facades for Office Buildings: Literature Review, Lund University, 2004.
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Publishing Ltd., 2006. Andreotti, G., From Single to double-skin Façades, p.72. Available at: http://www.bath.ac.uk/cwct/cladding_org/fdp/paper9.pdf.
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Shape It, New York: Schocken Books, 1972.
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Arutjunjan, R., Markova, T., Halopenen, I., Maksimov, I.,
Poucke, V., Arab World Institute by Jean Nouvel, 2001. Available at: http://blog.kineticarchitecture.net/2011/01/arab-world-institute/. Accessed December 2012. SAGE Electrochromics, Improved energy performance, 2012. Available at: http://sageglass.com/story/improved-energyperformance. Accessed December 2012. SAGE Electrochromics, Technology FAQs, 2012. Available at: http://sageglass.com/technology/faqs/. Accessed December 2012.
Tutunnikov, A., and Yanush, O., Thermochromic Glazing for “Zero
Knaack, U., Klein, T., Bilow, M., and Auer, T., Façades: Principles
Net Energy” House, 2005, p.299-391. Available at:
of construction, Basel: Birkhäuser, 2007.
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SmartGlass International, LC SmartGlass, 2010. Available at: http://www.smartglassinternational.com/lc-smartglass/. Accessed
ng.pdf. Accessed December 2012.
December 2012. Kwok, A., and Grondzik, W., The Green Studio Handbook:
Barkkume, A., Innovative Building Skins: Double Glass Wall Ventilated Façade, New Jersey School of Architecture, 2007. Bonsor, K., How smart windows work, 2013. Available at: http://home.howstuffworks.com/homeimprovement/construction/green/smart-window1.htm. Accessed
Environmental Strategies for Schematic Design, Oxford:
Studio E, Solar Office, Doxford International, 2010. Available at:
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Lamkins, C., The Future of Fenestration, 2010, p.4. Available at:
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of%20Fenestration-Lamkins-Final.pdf. Accessed December 2012.
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Thomas, R., and Fordham, M., Environmental Design: An
Bramante, G., Willis Faber & Dumas Building – Foster Associates, Phaidon Press Ltd.,1993.
LBNL, Thermochromic Windows, 2011. Available at:
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Taylor and Francis, 2006, p.96.
December 2012. Wheeler, K., The history of glass in Architecture, 2011. Available
Compagno, A., Intelligent Glass Façades, Basel: Birkhäuser, 1995.
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in-Architecture/608542. Accessed December 2012.
Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.
Wigginton, M., and McCarthy, B., Environmental Second Skin
55-57. Djalili, M., and Treberspurg, M., New technical solutions for
Mariam Djalili, M., and Treberspurg, M., New technical solutions
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University of Natural Resources and Life Sciences, October 2010.
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energy efficient buildings, PowerPoint presentation at BOKU: University of Natural Resources and Life Sciences, October 2010. Oesterle, E., Lieb, R., Lutz, M., and Heusler, W., Double-Skin Façades: Integrated Planning, Munich: Prestel, 2001. 20
Wigginton, M., Glass in Architecture, London: Phaidon Press, 1996.
21
Illustration Acknowledgments Cover image: Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.57. Figure 1: Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.55. Figure 2: Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.57. Figure 3: Addington, A., and Schodek, D., Smart Materials and Technologies in Architecture, Oxford: Architectural Press, 2005, p.83. Figure 4: Addington, A., and Schodek, D., Smart Materials and Technologies in Architecture, Oxford: Architectural Press, 2005, p.85. Figure 5: Addington, A., and Schodek, D., Smart Materials and Technologies in Architecture, Oxford: Architectural Press, 2005, p.88. Figure 6: Compagno, A., Intelligent Glass Façades, Basel: Birkhäuser, 1995, p.54. Figure 7: Addington, A., and Schodek, D., Smart Materials and Technologies in Architecture, Oxford: Architectural Press, 2005, p.95. Figure 8: Compagno, A., Intelligent Glass Façades, Basel: Birkhäuser, 1995, p.53. Figure 9: Addington, A., and Schodek, D., Smart Materials and Technologies in Architecture, Oxford: Architectural Press, 2005, p.87. Figure 10: http://www.commercialwindows.org/images/thermochromic.jpg. Figure 11: http://www.commercialwindows.org/images/3_31_interior_lowres.jpg. Figure 12: Compagno, A., Intelligent Glass Façades, Basel: Birkhäuser, 1995, p.53. Figure 13: Wigginton, M., Glass in Architecture, London: Phaidon Press, 1996, p.233. Figure 14: http://s0.geograph.org.uk/geophotos/01/39/12/1391286_c73b0a3e.jpg. Figure 15: Oesterle, E. et al., “Double-skin façade construction” in Double-Skin Facades: Integrated Planning. (2001) p.12. Figure 16: Djalili, M., and Treberspurg, M., New technical solutions for energy efficient buildings, PowerPoint presentation at BOKU: University of Natural Resources and Life Sciences, October 2010. Figure 17: http://blog.kineticarchitecture.net/2011/01/arab-world-institute/.
22
Stephen Ringrose B.A. Architectural Studies Stage 2 101064602 PORTFOLIO Session 2011-2012
Contents
Design Projects (ARC2001)
Page
BA Charette Space To Live Simplicity, Economy, Home Civic Centred Section-Alley Learning Journal
66-67 68-71 72-77 78-85 86-88 89-91
Non-Design Projects The Place of Houses (ARC2023) Architectural Technology (ARC2009) Environmental Design & Services (ARC2011)
92 93-100, 101-107 108-110
B.A. Charette: Intervention years to design, create and install a temporary intervention on campus, celebrating the qualities of paper. Our aim was to create a sculptural talking piece that provoked interest and attract people in to the school of Architecture, along a path that is often overlooked by the majority of students. opportunity to work with and experience the material in new ways, investigating how we could manipulate its properties. We created a series of three sculptures that were placed outside the school of Architecture. The solidity of the installation contradicted the light and with the tubular design offering unique views through something we usually regard as being opaque, generating lots of interest and attention to passers by.
Space to Live: Rethinking the modern terraced house
A
8
This small housing project for a young couple looked to rethink how we perceive the standard terraced house. Contrasting the archetypal designs of neighbouring houses in the Jesmond area of Newcastle, we can reconsider design, and move away from compartmented layouts to more open plan, bringing a contemporary update to the terraced house.
7
Designing for the clients’ gregarious life style, the aim was to create a light and tall volumetric space within a living room space, making it double heighted, and continuing it to the exterior space at the rear. With the need for a well lit living space for social activities, an open plan solution with extensive glazing is used to allow light to penetrate horizontally throughout the house. This led to the concept of strong lateral pro-
3
façades and furniture within, and the way in which light enters the space.
1
2
A Figure Ground Plan - 1:2000
The site
Ground Floor - Scale 1:50
A
4
5
6
Key:
A First Floor - Scale 1:50
1) Dining area 2) Kitchen space 3) Living space 4) Bedroom 5) Bathroom 6) Study area 7) Yard 8) Bicycle storage
Perspective view of front faรงade A sloped faรงade from the pavement creates a subtle threshold transitioning from public to private space.
Furniture design (Left) Night time perspective of rear. (Above and below) Interior perspectives
Final model
Precedent: Therme Vals, Zumthor
Tall and narrow glazing is used to utilise the maximum potential of the south facing front faรงade, whilst maintaining privacy within. An open-plan ness, whilst distinct functional zones are formed by furniture and boundaries of circulation, without the need for walls. The lack of walls in combination with the extensive use of windows creates a bright and vibrant living environment. Glazing in the faรงades not only emphasise the vertical articulation; they also give clearly framed views, while their form limits the possibility of looking in by passers by.
Corten steel and white rendered panels are hung from a basic steel structure forming non load bearing facades. The corten steel panels are used as a contemporary update on the more traditional red brick.
Precedent: Broadcasting Tower, Leeds
Section AA - Scale 1:50
Simplicity, Economy, Home: Reconnecting opportunities
Designed as part of the Foyer Federation, this building provides accommodation for eight individuals living together. The aim is to help reform links to society, allowing one to feel reconnected both mentally and physically. The Foyer Federation develops transformational programmes and campaigns that offer stability and guidance to disadvantaged youths aged 16-25, transitioning to adult independence. Based around the art of furniture craftsmanship, this building provides the key values one needs for independent living; stability, social skills, education, and opportunities to reconnect with society. nities for residents to reconnect. Entrance to the site leads directly from the main approach street, where the heavy line of housing is continued by solid concrete sive mechanism, they also offer stability and a sense of protection to residents through the experiential journey as one rises up to their individual bed spaces.
Site Plan - Scale 1:500
(Right) Site context
Perspective view from Blandford Square
Figure Ground Plan
Site Section - West to East
11
13
12 15
4
10
14
5 4
1
6
3 2
7
9
3
2 2
5
1
8
2
6
First Floor - Scale 1:200
7
Ground Floor - Scale 1:200
Key Ground Floor:
Key First & Second Floors:
3
1) Lobby 2) Kitchen 3) Dining space 4) Common room 5) Cleaning store 6) Laundry room 7) Luggae store 8) Disabled unisex WC 9) Workshop
1) Landing 2) Bedrooms (with en-suite) 3) Disabled access bedroom
2
4) Bathroom 5) Guest bedroom 6) Master bedroom 7) Study
2 1 2
11) Hall 12) WC 13) Lounge 14) Dining room 15) Kitchen
Second Floor - Scale 1:200
Precedent: Duncan Terrace - DOSarchitects Connecting with context
Precedent: Falling Water - Frank Lloyd Wright Threshold journey sketches from entrance to individual bedrooms
Development model in site
2) External timber cladding 3) 38 mm batten zone 4) Breather membrane 5) 18 mm plywood sheathing board 6) Insulation between studs of 200 mm 7) Vapour control layer 8) 12.5 mm dryling to timber frame 9) 25 mm service void 10) 2 x 2 mm layers of plaster board
Perspective view
Wall to Roof Construction Detail - Scale 1:10
12) 20 mm roof deck 13) 200 mm rigid mineral wool insulation 14) 21 mm ply deck 15) 360 mm x 140 mm timber joists 16) Ceiling void (for sprinklers, lighting etc.) 17) Extent of Glulam beams 18) 25 mm perforated accessible acoustic ceiling
Section B-B - Scale 1:200
Section A-A - Scale 1:200
Final Model
Bedroom Plan - Scale 1:50
Section C-C - Scale 1:50
Initial Model
Perspective view from approach to site
Civic Centred: Expanding horizons: Coastal leisure hub
The aim was to create an outward-bound leisure centre, forming new public connections between Prior’s Haven and Tynemouth. As a multipurpose ‘hub’, the building functions as an outdoor sailing and rowing club, also offering public gym facilities, training rooms, a bicycle workshop with storage, IT provisions for GIS software, shop, and a café lounge area with separate function space. The training room can be used for teaching of outdoor sports, dancing, yoga, scouts etc.
posite cliff face lead to a concept of using rock strata to impact design. The idea of long horizontal layers of rock developed through the spatial organization of building, offering unpretentious simplicity with functional clarity, as a linear building where one space feeds the next activity. path, and the end of the coast-to-coast cycle route. The slight curved edge to the site is achieved through a serious of offset linear spaces. sliding past one another. On the south facing façade, the café space takes advantage of the panoramic views of the coastline, utilizing a sculptural shading screen based on the opposite rock strata.
Figure Ground Plan - Scale 1:2500
Sun path analysis
Site Plan - Scale 1:1000
Views
Circulation on site
Vehicular and cycle access
Perspective view
A
B
3
6
2
Pedestrian and vehicular circulation around site and building
5 7
1
4
C
C
Second Floor - Scale 1:200
A
B
A
B
8
Building at night
9
12
C
1 C
2 3
10 5
6
11
7
4
First Floor - Scale 1:200
Precedents: (Left) Clifford Still Museum, (Right) Casa Diaz
13
B
A
A B
8
Key Second Floor: 1. Multipurpose function room 2. Exhibition space 3. Bar 4. Café 5. Serving counter 6. Kitchen 7. Void (double height lobby)
7 4 2
C 6
C 1
3
5 9 B
Ground Floor - Scale 1:200
Key First Floor:
Key Ground Floor:
1. Lobby 2. Reception 3. Shop
1. Bicycle Workshop 2. Staff access only 3. Training Room (Dividable) 4. Cleaners Store 5. Disabled Access Unisex WC (with baby changing facilities) 6. Wet Equipment Store 7. Dry Storage Area 8. Bin Storage 9. Secure Bicycle Storage 10. Disable parking
5. Disabled Access Unisex WC (with baby changing facilities) 6. Male WC’s 7. Female WC’s 8. IT provision 9. Plant room 10. Female changing (with disabled access) 11. Male changing (with disabled access) 12. Gym 13. First aid room
A
10
Section C-C - Scale 1:200
Site Section looking North
Perspective view of main entrance
Section B-B - Scale 1:200
Forming links to connect the hub with the rest of Tynemouth, bollards based on the design are to replace the existing ones from Front street, building public awareness and integrating into surrounding area.
Section A-A - Scale 1:200
Site Section looking East
Render of main façade
Interior view of bar and cafĂŠ lounge area, from exhibition space
Interior view from entrance looking into double height lobby space and main corridor
South facing powder coated Aluminium louvre system based on concept for design, provides unique views from within and acts as a shading device to prevent overheating from solar gain in summer. Interior view of wet equipment store from entrance
Section-Alley: Urban Fabrication
Long section - Urban Fabrication
The installation creates a dialog with the construction of the historic timber cruck frame buildings, which line the Long Stairs. The structure acts as a sculptural canopy, bridging the quayside with the top of the Long Stairs, creating three performance areas. serve, walk beneath and traverse the installation via ramps, whilst a DJ performs above. Progressing along the installation towards the Long Stairs, one encounters the next performance area at the bottom of the chare, where a soloist musician serenades from a platform above. The height of this performance space in the narrow chare draws attention to the facades of the buildings and the textures, which can be seen and experienced and appreciated through the gaps in the structure.
Section through green space Band performance
emerging from the top of the chare into an open green space below the High Level Bridge. The space invites one to stay and listen to bands perform on the stage, whilst enjoying the spectacular view down the chare and over the cityscape. The installation not only creates three performance areas, it creates an exciting new public space that appreciates the historic context of the chare, bringing people together people, music, and the environment.
Final model
Long Stairs section - Soloist
Quayside section - DJ performance
Exploded junction view
1:1 junction detail
Relevant building fabric in local context
ROB. DA BANK. CHASE AND STATUS. JAGUAR SKILLS. ANNIE MAC PRESENTS. KISSY SELL OUT. ANT AND DEC. REGGAE ROAST. MAX COOPER.
THE LIGHTHOUSE FAMILY. THE KUSH. FINDING ATLANTIS. CHERYL COLE. ARTISAM. LITTLE COMETS. SHARKS TOOK THE REST. SHIELDS.
BEN HOWARD. JACK JHONSON. MUMFORD AND SONS. THE BLACK KEYS. SIGUR ROS. TWO DOOR CINEMA CLUB. ARCADE FIRE. THE KOOKS.
THE PLACE OF HOUSES ARC2023 Introduction The validity of this statement is somewhat ambiguous, and is contingent to the notion of home that we accept. The concepts of ‘home’ are diverse, and so we approach them with vivacity and wonder. This essay will discuss the rationality of Bachelard’s statement by attempting to define what ‘home’ is, examining it within some of the particular experiential, physical and theoretical contexts that exist. For Bachelard’s statement to be valid we must first understand the qualities associated with ‘home,’ in order to determine whether all inhabited spaces demonstrate them. We’ll begin by reflecting upon some of the common perceptions.
The Notion of Home Broadly speaking, a home can be described as a physical place of residence or refuge;7 offering control, protection, security, and stability.6 Kim Dovey defines home as ‘demarcated territory with both physical and symbolic boundaries that ensure dwellers can control access and behavior within’.4 These ‘symbolic boundaries’ relate to metaphorical connections that are commonly made, such as: comfort, happiness, a ‘sense of belonging’ etc. We associate these values with ‘home,’ though they can unquestionably be experienced elsewhere, giving merit to Bachelard’s statement. As a physical concept, there can be confusion between the terms ‘house’ and ‘home,’ which are often used interchangeably, coalescing to one idea. The former however, only describes the physical dimension of ‘home,’7 and is simply perhaps just one of many notions. It could be said that all houses are homes, but not all homes need to be houses. This helps us to understand that the idea of ‘home’ can be more than a house, and that it’s feasible for there to be more than one notion. Researchers within psychology argue the very nature and essence of home is ‘an emotionally based and meaningful relationship between dwellers and their dwelling places’.4 This raises the idea that home doesn’t require a physical form, and that it could be perceived almost as an experience. The concept of ‘home’ therefore, seems saturated with incoherencies and paradoxes. It’s almost a double-entendre, ‘which connotes a physical place but also has the more abstract sense of a state of being’.8 The work of another theorist, Despres, explains the concept of home can be understood through several dimensions: territorial (the material structure; a place of refuge), psychological (a symbol and expression of one’s identity, the notion of being able to ‘feel at home’) and phenomenological (experiential and spatial qualities etc.).3 We will look at some of these ideas in due course.
B.A. ARCHITECTURAL STUDIES STEPHEN RINGROSE 101064602 “All really inhabited spaces bears the essence of the notion of home” (Bachelard). Discuss the validity (or otherwise) of this statement.
16
bear the notion of ‘home’ from our attachment to the place alone, regardless of the location or there being other associated qualities. From another angle, we can consider ‘home’ in terms of identity:4 It’s where we learn the cultural and social rules of life; we discover who we are and what we may become, gaining our behavioural attributes and beliefs. Again, this raises the point that ‘home’ can be anywhere: a school, a theatre, a train for example, as these places help to reflect and shape whom we are, forming our identities. Dovey asserts from the idea of home as a relationship, we can explicate home as a means of order, stating: ‘Home can be considered as a schema of relationships that bring order, integrity and meaning to the experience of place as series of connections between people and their world’.4 We can think of ‘home’ as somewhere that orientates us in space, time and society; giving order to our lives. J.J. McCloskey once wrote: ‘Home, they say, is where the heart is,’9 signifying its importance in our lives. From this we can take the notion of ‘home’ to be the centre of our spatial world; an important reference point to which we come and go, and arguably this central reference point could be anywhere. To quote J. H. Payne: ‘be it ever so humble, there's no place like home.’15 This adage reflects the idea that home brings order, but implies only one space can truly be ‘home’. However, we often use the term ‘home’ in a broader sense, to describe where we come from, be it our hometown or nation for example. In fact, the term ‘home’ is derived from the Old Norse word ‘heima,’8 which meant region or world.12 In this sense, the notion of home doesn’t apply to a singular dwelling.
Literature References 1: Altman, I. & Low, S., 1992, Place Attachment, London: Plenum Press. 2: Bachelard, G., 1958, The Poetics of Space, Boston: Beacon Press. 3: Despres, C., 1991, The meaning of home: literature review and directions for future
research and theoretical development, Journal of Architectural Research. 4: Dovey, K., 1985, Home and Homelessness: Introduction, In: Altman, I. & Werner, C., 1985 Home Environments. Human Behavior and Environment: Advances in Theory and Research (Vol. 8), New York: Plenum Press.
Taking a new angle on the idea that ‘home’ can be anywhere, it could be said that in the era we live, we are perhaps learning to become nomads once again, where the concept of ‘home’ as a permanent location becomes less important.14 Bachelard wrote: 'our house is our corner of the world'.2 Today we carry ‘our corner of the world’ with us wherever we go, thanks to the rise of technology: our memories and identities are very much uploadable, allowing ‘home’ to be anywhere. Vycinas agrees with this idea: ‘Home nowadays is a distorted and perverted phenomenon. It is identical to a house; it can be anywhere’.10
5: Maslow, A., 1954, Motivation and
Image depicting the various notions of
17 17
idea it can be anywhere.
Increasingly, more and more jobs require an individual to work away from home several days a week. Because ‘home’ is something we all long to have or experience, one must find the values associated with it in hotels, the office, even on a train. One explanation is that we find these values as a process of imitation, whereby imitative practices occur ‘unconsciously’ or ‘naturally,’ making spaces feel like home. An example of this might relate to the work of Maslow, who states that ‘home’ provides psychological comfort;5 something one could certainly find in a diverse range of inhabited spaces, and arguably anywhere. For example, in a coffee shop, subconscious empirical associations we may have with home, such as the smell of coffee, means we can feel at home.
Summary
Furthermore, Pallasmaa concurs that ‘home’ can be anywhere: ‘it is the capacity of the dwelling to provide domicile in the world that matters to the individual dweller. The dwelling has its psyche and soul in addition to its formal and quantifiable qualities’.13 It’s within the capability of spaces to provide domesticity. One could even feel at home in a place which might be considered ‘unhomely – such as a motorway café. The very lack of domesticity, the bright lights and anonymous furniture can be a relief from what may be the
Personality, New York: Harper Row. 6: Moore, J., 2000, Placing Home in Context, In: Unknown, Journal of Environmental Psychology (Vol. 20, Issue 3), Academic Press. 7: Oxford English Dictionary (2nd Edition), 1989, Oxford: Oxford University Press.
From an individual’s perspective the validity of the statement is also perhaps questionable. For example, we live in an era with an ageing population, whereby often, to the older members of society, the only space they really inhabit and experience is their home, with decreasing segmentation. To these individuals, it’s fair to argue that not all inhabited spaces resemble home. In addition, some people may have different perceptions of ‘home’. One could argue there are associations of violence, insecurity and danger. It’s also possible that someone may ‘feel at home’ in a space where another individual doesn’t. These perspectives only add more value to Bachelard’s statement, as there are more values to be associated with the notion.
The Changing Nature of Home
Clarity & Strength of Argument The psychological concept of being able to ‘feel at home’ means all inhabited spaces have the potential to bear the notion of ‘home,’ and it’s perhaps this idea that gives most credit to Bachelard’s statement. Conversely, the notion of one being able to become ‘homesick’ when away from home might question the validity. It’s possible however, that psychological emotions overwhelm the more obvious notions of ‘home,’ and that a home doesn’t always need to feel like one. Generally speaking, any inhabited space can bear the notion of ‘home,’ if the basic concept of home as a physical place of refuge is applied, or, if any other qualities associated with home are exhibited. The work of several theorists, notably Dovey and Pallasmaa, agrees with this idea, and a reoccurring notion develops that ‘home’ as an ‘experience’ or ‘state of being’ can be anywhere.4, 13 One concept that gives merit to Bachelard’s statement, builds on the notion of home as a theoretical idea; ‘place attachment’. This is perceived as ‘an individual’s strong emotional attachment to a place or environmental setting with great familiarity;’ notably home.1 Theoretically, we can feel place attachment to any inhabited space. ‘Home’ as a concept is interwoven with memories. A new building on a plot of land where childhood memories were formed (a den we made as a child, a particular view for example) could still
false comforts of a so-called home.’11 Whilst fairly ironic, this idea gives credit to Bachelard’s statement. Whilst Bachelard’s statement has thus far proven to be mostly valid, there can appear to be some uncertainty when looking from a different perspective. For example, it’s easy to take the fundamental values of home for granted (a place for shelter and survival), thus on a superficial level, Bachelard’s statement can appear flawed, as we often overlook them. As an initial response, the psychological principles (of attachment, desire, and safety for example) are perhaps what we more commonly associate with the notion of somewhere being a ‘home’. Arguably not all inhabited spaces come across in this way, and there are lots of places we wouldn't associate with being home. Nonetheless, this does not mean the statement is completely invalid, or that a home must feel particularly ‘homely’. Take a prison for example: whilst demonstrating some of the core values associated with home, there lacks comfort, happiness, a sense of belonging etc.
8: Rybczynski, W., 1987, Home: A Short History of an Idea, New York: Penguin Books. 9: Titelman, G., 1996, Random House Dictionary of Popular Proverbs and Sayings, New York: Random House. 10: Vycinas, V., 1969, Earth and Gods: An Introduction to the Philosophy of Martin Heidegger, Springer Publishing.
Internet References 11: Botton, A., 2008, Where the heart is: Writers invite us into their idea of home. http://www.independent.co.uk/artsentertainment/books/features/where-theheart-is-writers-invite-us-into-their-idea-ofhome-841568.html 12: Crane, R., & Gregory, E., 2010, Old Norse
In conclusion, we have seen that Bachelard’s statement is generally valid, and perhaps becoming increasingly more so, however it can be vague from certain angles as originally stated. The works of the theorists exemplified offer diverse theories and bring light on interesting ideas, where the general consensus is that all really inhabited spaces can indeed bear the essence of the notion of ‘home’. However, there’s an emphasis on the fact they are able to, not that they do. If we adopt just one of the notions discussed, the statement has no real strength on the surface, and it’s only by acknowledging the variety that exist whereby we can give true credit.
Word Study Tool. http://www.perseus.tufts.edu/hopper/morph? l=heima&la=non&prior=sat
14: Thomas, S., 2004, Inhabited Space. http://travelsinvirtuality.typepad.com/ helloworld/05_bachelard/
13: Pallasmaa J., 1992, Identity, Intimacy and Domicile. http://benv1082.unsw.wikispaces.net/file/view/ PALLASMAA+Reading+with+image+pairings +-+Identity_Intimacy_and_Domicile.pdf
15: Unknown Author, Unknown Date, Cultural Dictionary. http://dictionary.reference.com/cultural/“home, +sweet+home”
Photographic References
16: Unknown, Shrimp Terrace - Marine Parade, Sheerness http://jpuss23.files.wordpress.com/2011/04/ img_8325.jpg 17: Ringrose, S., 2012, Notions of Home
Word Count: 1474
(excluding quotations and references).
STEPHEN RINGROSE 101064602 ARC2009 ARCHITECTURAL TECHNOLOGY SIMPLICITY, ECONOMY, HOME SITE C B.A. ARCHITECTURAL STUDIES STAGE 2 SESSION 2011-2012
PRIMARY STRUCTURE Scale 1:200 The primary structure is a simple post and beam timber frame, with studs (150mm x 50mm) at 600mm centres, between 150mm x 150mm corner posts. The lightweight frame is mechanically secured to concrete blockwork, upon strip foundations. There are intermediate posts where necessary (supporting secondary glulam beams), where the floor span exceeds the capabilities of the joists used.
The main secondary structural elements are the suspended timber floors, used throughout, and the timber flat roof (warm). Other components include jack studs, lintels etc., which form the supports for all openings in the faรงade, stair stringers, and joist bracing, placed every third of the floor span.
SECONDARY STRUCTURE Scale 1:200
TERTIARY STRUCTURE Scale 1:200 The tertiary structure completes the building fabric, including the horizontal timber cladding across all living spaces, and the concrete clad ‘defensive’ walls. Tertiary structure also refers to floorboards (tongue and groove), OSB ply sheathing, timber support battens for cladding, plasterboard, insulation, ceilings etc.
SECTION SHOWING KEY JUNCTIONS Scale 1:20
5
Wall to Roof
4
Window Head Detail
3
Window Sill Detail
2
Wall to Intermediate Floor
1
Wall to Ground Floor & Foundations
1. GROUND FLOOR & FOUNDATIONS Scale 1:10
Bre Green Guide Rating - Ground Floor 1 2 3 4 5
13 14 15 16
6 17 18 19 20 7
21
8
9 10
11
22 23 24
1. Cedar Horizontal Cladding 2. 38mm Vertical Batten Zone 3. 15mm OSB/3 Sheathing Board 4. Breather Membrane 5. 100mm Celotex FR5000 Insulation 6. 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm 7. 195mm x 50mm Timber Rim Joist 8. 150mm x 50mm Timber Sole Plate 9. Render Finish With Mesh 10. Expanded Polystyrene Board 11. Blockword 12. 700mm x 300mm Concrete Strip Foundation 13. Vapour Control Layer 14. 15mm OSB/3 Board 15. 25mm Service Board 16. 15mm Plasterboard 17. Skirting Board 18. 18mm Tongue & Groove Chipboard 19. 150mm Rigid Insulation Between Floor Joists 20.195mm x 50mm Timber Floor Joist at 400mm Centres 21. Netting To Hold Insulation 22. 50mm Concrete Slab 23. Polyethylene DPM 24. 50mm Sand Blinding
12
1 2 3
Bre Green Guide Rating - Intermediate Floors
1. Cedar Horizontal Cladding 2. 38mm Vertical Batten Zone 3. 15mm OSB/3 Sheathing Board 4. 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm 5. 100mm Celotex FR5000 Insulation 6. 150mm x 50mm Timber Bottom Plate 7. Breather Membrane 8. 195mm x 50mm Timber Rim Joist 9. 195mm x 50mm Timber Floor Joist at 400mm Centres 10. Vapour Control Layer 11. 2 x 150mm x 50mm Timber Top Plates 12. Skirting Board 13. 18mm Tongue & Groove Chipboard
4 5 6
12 13
7 8 9 10 11
2. INTERMEDIATE FLOOR Scale 1:10
3. WINDOW SILL Scale 1:10 Bre Green Guide Rating - External Walls
1 2 3
4 5 6 7 8
9 10 11 12 13 14
1. Tripled Glazed ENERsign速 Window 2. Window Jamb 3. Cedar Horizontal Cladding 4. Mastic Sealent 5. 38mm Vertical Batten Zone 6. Breather Membrane 7. 100mm Celotex FR5000 Insulation 8. 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm 9. Mineral Wool Insulation 10. 150mm x 50mm Timber Sill Plate 11.Vapour Control Layer 12. 15mm OSB/3 Board 13. 25mm Service Void 14.15mm Plasterboard
Bre Green Guide Rating - Windows
1. Vapour Control Layer 2. 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm 3. 100mm Celotex FR5000 Insulation 4. Breather Membrane 5. Timber Lintel (2 x 150mm x 50mm) 6. Mastic Sealent 7. Cedar Horizontal Cladding 8. Tripled Glazed ENERsign速 Window 9. Window Jamb
1 2 3 4 5 6 7 8 9
4. WINDOW HEAD Scale 1:10
5. ROOF Scale 1:10
1 2 3
9 10 11 12 13 14 15
4 5
16
6
17 18
7
19
8
1. 2. 3. 4. 5. 6. 7. 8.
Single Ply Waterproof Membrane Vapour Control Layer Fascia Cedar Horizontal Cladding 38mm Vertical Batten Zone 15mm OSB/3 Sheathing Board 100mm Celotex FR5000 Insulation 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm 9. 20mm Roof Deck 10.100mm KingspanThermaroof® TR27 LPC/FM Insulation 11. 20mm OSB/3 Deck 12. 120mm KingspanThermaroof® TR27 LPC/FM Insulation 13.195x50 Timber Roof Joist at 400mm Centres 14. Ceiling Void (For Sprinklers, Lighting Zone etc.) 15. 25mm Perforated Accessible Acoustic Ceiling 16. 2 x 150mm x 50 mm Timber Top Plates 17. 15mm OSB/3 Board 18. 25mm Service Void 19. 15mm Plasterboard
Bre Green Guide Rating - Roof
Bre Green Guide Rating - Internal Walls
TECTONIC INTENT “To create an integrated modern and sustainable design, offering stability to disadvantaged youths living together, with opportunities to reconnect with society. Natural and manmade materials coalesce to reflect the surrounding area and the functions within”. Timber is used for construction throughout for several reasons. Firstly, its usage makes the building sustainable, as wood is fundamentally carbon-neutral. The quick build time (construction rates can be reduced by as much as one third) is also attractive over alternate solutions, as is the high impermeability to water, great thermal and acoustic performance (for a relatively low cost), and low maintenance requirements. As a lightweight construction, it’s also favourable to poor ground conditions. The exterior cladding system of horizontal cedar seamlessly reflects the surrounding trees and green spaces. Over time it will silver slightly, integrating to the site further. Continuation of the cladding to the interior gives a sense of connection to the outside, and reflects to an extent, the activities of within (furniture crafting). The flexibility of the timber frame and cladding allows glazing to be placed anywhere, offering one varied opportunities to ‘reconnect’ with views over the city to the east. To educe a sense of protected living and stability, concrete cladding is also used in some places, which naturally has a sense of solidity. By encompassing the stairs within the concrete clad walls, one gets a sense of stability as they rise up through the building to their individual bed spaces. The relatively lightweight form can be used in conjunction with the timber frame system, as opposed to solid blockwork, whilst having the same desired effect. Concrete in this form is also chosen as it can be preformed off site, thus reducing build times further. The ‘concrete walls continue the heavy line of houses along the approach street, further assimilating the building to its surroundings.
BRE GREEN GUIDE OVERALL RATING - A+
Type of Accommodation CafĂŠ Serving Counter Kitchen Bar
Room Size (m2 )
Floor Space Factor (m2 /person)
Occupancy Capacity (Room Size/ Floor Space Factor)
38.9
1.0
38.9
5.5
0.4
13.75
23.1
7.0
3.3
8.1
1.0
8.1
Exhibition Space
11.5
2.5
4.6
Multipurpose Function Room
18.9
0.75
25.2
2
2.0
1.0
10
3.5
2.86
Shop
20.2
2.0
10.1
Gym
39.8
5.0
7.96
8
4.0
2.0
8.8
4.0
2.2
60.6
2.0
159.8
30.0
5.3
13.3
30.0
0.44
5.5
30.0
0.18
23.4
5.0
Sub-Total Reception Admin Office/ Staff Room
IT Provision First Aid Room
93.85 (94)
Sub-Total Training Room Wet Equipment Store Dry Storage Cleaning Store Bicycle Workshop Sub-Total Grand Total
26.12 (26) 30.3
4.68 40.93 (42) 160.9 (161)
STEPHEN RINGROSE 101064602 ARC2010 ENVIRONMENTAL DESIGN & SERVICES SIMPLICITY, ECONOMY, HOME SITE C B.A. ARCHITECTURAL STUDIES SESSION 2011-2012
ENERGY PERFORMANCE - U-VALUES In order to design an efficient and sustainable building, it is important to calculate U-values for the exposed surfaces of the flat (ground floor, exterior walls, roof, doors and windows). The exterior wall construction comprises a timber frame with timber cladding and OSB/3 board internally. Timber naturally has good thermal properties, particularly for a lightweight construction of this type (for example, the exterior cladding is to be softwood, such as cedar, which has a thermal conductivity of 0.13 W/mK), and studs of 150mm x 50mm were selected, primarily for increased structural strength, but also to accommodate larger volumes of insulation. This insulation material throughout the building was well considered, with many types looked at including Rockwool, Phenolic foam and Polyisocyanurate (PIR). The latter was found to be the most efficient, with a thermal conductivity of just 0.021 W/mK, and thus was selected for the external walls. A combination of insulation from Celotex and Kingspan is used, consisting of 150mm PIR in between the timber studs, with a secondary layer of 100mm outside them. This arrangement gives an overall U-value of for the walls of 0.1.
U-values Flat Energy Performance Walls - 0.1 W/m2K
Documents detailing the Uvalues achieved, including the insulation chosen for each, with sections showing construction details of the suspended ground
Walls
Roof - 0.1 W/m2K Ground Floor - 0.14 W/m2K Windows = 0.65 W/m2K (Including wooden frame, triple glazed and gas filled) Doors 0.72 W/m2K
Floors On-site Renewable Energy 36.7m2 Photovoltaics
The floor is a suspended timber system, consisting of 18mm tongue and grove chipboard over timber joists (195m x 50 mm at 400mm centres) with 175mm of Kingspan ThermaFloor TF70 insulation, giving an overall U-value of 0.15 W/m2K. A warm-deck flat roof is used, delivering improved energy efficiency over the traditional cold-deck design, whilst eliminating the risk of condensation by moving the dew point outside of the structure. Again Kingspan insulation was chosen at 150mm, giving a U-value of 0.1 W/m2K. In terms of windows and doors, the flat uses Frostkorken doors (Passivhaus certified doors, comprised of timber with cork insulation) by Optiwin, which are amongst the most efficient on the market, offering a low U-value of just 0.72 W/m2K. Triple glazing (from German company ENERsign) is used throughout, capable of delivering U-values of just 0.65 W/m2K. Triple glazing insulates up to 60% better than a low-e double glazed window, and reduces heat radiation between glass and room by 80%.
Roof
Image of ENERsign window sample, and Frostkorken doors used.
ENERGY STRATEGY - BECOMING SELF SUFFICIENT
In terms of making the flat more sustainable, a range of methods were looked at to see whether it would be possible for it to become energy self efficient. These methods included usage of solar water heating systems (notably evacuated tube solar collectors) and photovoltaic solar panels amonst others. Photovoltaics is a method of generating electrical power by converting solar radiation into DC electricity. Solar panels are used, composed of cells containing a photovoltaic material, commonly silicon based. Due to the growing demand for renewable energy sources, the manufacturing of solar cells and photovoltaic arrays has advanced considerably in recent years, however the efficiency still remains fairly low for consumer usage. Monocrystalline silicon cells are the most efficient of the photovoltaics technologies with a conversion efficiency of around 15-19%. The effect of shade does need to be considered however, as even minor shading can result in critical loss of energy. The adjacent concrete clad defensive walls will provide shading when the sun is over to the east, reducing the efficiency of the system, however modern modules now have a bypass diode to minimise shade effects, so it is perhaps less of a problem than in the past.
DAYLIGHTING STRATEGY In terms of day lighting, the strategy implemented was slightly governed by site constraints and design concepts. A public park space to the immediate southern boundary limited the usage of fenestration for obvious privacy issues. Instead, most of the natural lighting is taken from the north and west, with the only exception being high up window in the bathroom facing south. The window design is intended to be fairly generous where used, Placement of glazing was also constrained by the tall concrete clad wall running down the eastern side of the flat, which forms a strong part of the overall site design concept on site. This meant there could be no glazing on this side, and in addition, the flat shares a party wall with the other residents’ living space up to the first storey, hence there could be no glazing there either. However, upon modeling some of the key spaces within Dialux 4.9, the results generally show more than acceptable lighting throughout. Acceptable lux levels in a space are roughly 100-300 (with 100 being the expected norm towards the back of a room for example).
The warm-deck flat roof design of the flat is appropriate for the implementation of this method, as the optimum panel inclination angle (of roughly 30 degrees) can be achieved using appropriate framework. The SAP calculation indicates that the self-contained flat requires 6337 kWh/year for the both the central and water heating systems. In terms of electricity, the usage of low energy lighting and a relatively good daylighting strategy means the total electrical requirements are fairly low, adding just a further 300 kWh/year for lighting and fans, making a total of 6637 kWh/year. The UK gets on average, around 950 kWh/year per square metre (this varies regionally, and at different times of the year). Assuming the photovoltaic panels used have a full efficiency of 19%, and are orientated to maximize their potential, each 1m2 would produce 181 kWh/year, thus to cover the total energy requirements of the dwelling, a setup of 36.7m2 of panels would be required. This is theoretically possible as the roof has an exposed area of 38m2. In comparison, the usage of solar water heating systems would require much less space. Solar water heating systems use energy from the sun for heating. They are normally used to heat domestic hot water tanks, however more efficient installations are capable of contributing towards central heating. Solar heating systems use a heat collector, usually mounted on a roof, in which a fluid is heated by the sun. This fluid is used to heat water that is stored in either a separate hot water cylinder or in a twin-coil hot water cylinder. A domestic installation comprising 4m2 collection area can provide between 50% and 70% of the hot water requirement for a typical home, thus a setup of merely 8m2 would be sufficient to cover the hot water heating requirements of the flat. Doubling this to 16m2 would include the general heating requirements also. However, whilst evacuated tube solar collector are arguably more efficient, the required setup could cost in excess of ÂŁ20,000, and there is the need for water storage tanks, where the flat simply does not have the required space. The need for photovoltaics would also still be there in terms of generating the electrical requirements, thus it makes sense to stick to just one type.
Photovoltaic panels and diagram of typical system installation.
Dialux lighting simulation of lounge space, demonstrating typical
SUMMARY By using this technology in conjunction with the high performing construction methods, windows and doors used (which help to minimise energy requirements in general), we can actually get a fairly sustainable design that is capable of being almost entirely energy self sufficient. Whilst the initial setup costs would be very high, over time the expenses are earnt back in cost savings, and it is certainly worthwhile with module lives estimated to be at around 25 years. Other advantages of photovoltaics include the carbon dioxide emissions savings, as they produce none within their operating lifetimes, leading to a more sustainable design. The SAP result of 29% improvement of the TER with 6 credits makes the building level 4 under the code of sustainable home, meeting my design intentions to create a sustainable dwelling. With such high performing insulation and windows there is no need for a chimney, or even a flueless gas fire, all of which improves the SAP score. The U-values achieve all meet AECB Gold Standards.
Stephen Ringrose, Leeds UK Part 1 Architect Email: stephen.ringrose@gmail.com