Undergraduate Portfolio by Steven Lin

Academic Portfolio Steven Hsin-Wei Lin BA Architecture 2015 - 2016

Reflective Learning Statement

Stage 2

Stage 3

Architectural Design

138

Architectural Design

Architectural Technology

190

- Primer

Environmental Design and Services

198

- Aperture Institute

Twentienth Century Architecture

204

Architectural Technology

108

The Places of Houses

213

Professional Practice and Management

118

Principles and Theories of Architecture

126

Reflective Learning Statement It is hard to believe that my study at Newcastle University has come to an end. Reflecting on the 3 year experience has been extremely overwhelming. I would like to thank my amazing studio tutors this year Armelle and Daniel for the incredible job that they have done for us this year. I would also like to express my appreciation and gratitude to everyone that has helped me along this long and amazing journey, I could not have done it without the help and support and has been given to me.

montages. Very often I have designs in my head that I think are quite good and actually looks good when modelled, but I really struggle to make it look convincing when asked to produce an image of how the design would look on site. My biggest strength has been model construction, I have found process to be extremely helpful when developing the design, to actually make something that can be held and viewed at different angles has really helped me in the design process.

The yearlong graduation project this year provided a complete new experience for me, the whole academic year was spent to design and perfect this one project utilising various skills and knowledge developed in stage 1 and 2. The graduation project would really define my study of Architecture at Newcastle University, I wanted to make sure at the very start that the end product should be something that I can be proud of, and I am very happy to say that I am extremely proud with how I have worked and what I have produced this year. It has been extremely fulfilling to see a concept drawing or model to go through a series of development and changes into a detailed final product.

The researching and writing of my dissertation was also another interesting experience. I went from writing 2000 word essays in stage 1 and 2 to writing an 8000 word long dissertation. I must say that although deciding the dissertation subject was extremely difficult, the process that later followed was really interesting and rewarding, I have really enjoyed researching and analysing the topic that I was interested in.

Overall, the experience of studying Architecture at Newcastle University has been one of the most challenging one in my life thus far, and I am extremely proud of myself not only on the completion of this degree, but more so to be the first person in my family to complete Higher Education. I have decided to pursuit a career within When compiling stage 2 work into this academic portfolio, it was an interesting expe- the Advertising/Media sector post-graduation, I aim to apply the key skills such as rience when comparing the quality of work produced this year and last year, and how analytical, problem solving, presentation and communications that I have developed much that I have improved since. Having gone through the past 3 years, I think one from studying this course fully into my career. of the areas that I struggle the most with is the representational techniques of

* New Work * Improved Work

Stage 3

Architectural Design

Primer

Introduction

Richmond Castle

Camera Obscura

The Primer project consisted of harnessing and capturing light through the design and construciton of a photographic device; Camera Obscura. Camera Obscura is the Latin name for a â&#x20AC;&#x153;Dark Chamberâ&#x20AC;?, the earliest known imaging device used that lead to the development of photography and photographic camera. An observatory will be designed, featuring a room sized Camera Obscura that will capture the passing of time and the surrounding urban landscape. This observatory will be located in the town centre of Richmond, North Yorkshire. A market town with unprecedented rich urban form derived from a steep topography, well known for its Georgian architecture.

Richmond Town

Massing Exploration

Site location in Richmond Town

Site Map

The first phase of the Primer involved a site visit and research into Richmond. The main aim this phase is to choose the location in which the observatory would be situated. Site 1 was chosen in the end, its location provides a clear view to the town of Richmond, the river and the Colluden Tower. The site was also directly adjacent to the castle wall, providing the visitors a close up view to the details of the ancient castle wall. Richmond is a town rich in history, which is also demonstrated by the surroudning architecture. An element that I am to involve into the deisgn of the observatory.

House No. 33 adjacent to the site

Castle Wall adjacent to the site

View to the Culloden Tower from site

View to the river from site

Relations of Proximity & Long Distance Views

The second phase of the primer involved the construction of a 1:200 massing site model and the drawing of a 1:100 section. The aim of this phase was to explore the urban morphology of the area, and to understand the complexities derived from the arrangement of roof volumes as well as the typography of the site. Which should later help with the design of the observatory.

Massing Site Model at 1:200

Street Elevation along the site

Capturing Light - Development

This phase of the primer involves the designing of the observatory. I have decided to site my observatory adjacent to House No. 33. This creates the feeling that the observatory is a continuance of the Richmond townscape. The location offers a clear view to the Richmond town, Culloden tower, the river and the castle wall. Providing the visitors all that Richmond has to offer. Richmond is a town full of history and heirtage, the main idea behind the design of my observatory is for it to blend seamlessly into this historic townscape. One of the ways that I aim to achieve this, was to base the design of the observatory on the shape of a normal Richmond Town house.

First Initial Idea Sketch

The first initial idea, was to split a town house in halves, and position them in a way to create more surface area to allow visitors to have a greater view outside.

First Initail Idea Model

The second initial idea is a normal town house with the middle floor slightly set back. The 3 volumes will offer the 3 different views; castle wall, town and river. The design features a semi outdoor space on the middle floor, as well as a small opening on the castle wall side allowing visitor to interact with the castle wall. Second Initail Idea Model

The third initial idea involves flooring inspired by the Acropolis Museum in Athens. The ground level has openings only on 1 side, to provide sufficient natural light to the ground level, the flooring for the 1st level has opening in them. To allow light to penetrate through to the ground level. The design also features a semi outdoor space on the 1st level.

Third Initail Idea Model

Acropolis Museum, Athens

Capturing Light - Final Design

Final Design Model view from the Street

Final Design Model aerial view

The final design of the observatory features a staircase around the building, this offers the visitors the complete Richmond experience as they move from the ground level to the top. After the visitors walk up the first staircase, they will have a nice view of the castle wall and can walk almost next to it. They then make a right turn facing the river side, which will have a clear view of the Richmond town before entering the top level, where the antechamber and the camera obscura are located. Visitors will then use the internal staircase to move down to the middle level, which will have informations about the history of the camera obscura. The visit will be concluded with the cafĂŠ on the ground level where visitors can sit down and relax. The advantage of this design is that it blends seamlessly into its landscape without disturbing its surrounding.

Final Design Model view from the Castle Wall

Cafe

Ground Level Floor Plan Final Design Model - External Staircase

Camera Obscura

Gallery/ Information Area Antechamber

1st Level Floor Plan

2nd Level Floor Plan

Street Elevation with the Observatory

The Camera

Camera Obscura

Interior

This phase of the primer focused on the design and construction of the camera obscura. The main theme for my camera obscura was portability and environmentally friendly. The camera was constructed from a recycled cardboard box, which means it is extrememly easy to carry around. The first task was to make the box light tight, this involved painting the inner surface of the box completely black, to prevent light from reflecting once it enters the box. A mechanism that holds the photographic paper in place was also constrcuted. For the pinhole, a piece of metal was flattened and a small hole was drilled. Once the photographic paper was exposed, it was taken to the dark room to develop with various chemicals. The challenge was to give the paper the right amount of exposure time, which decitated the amount of contents that would show on the paper.

First Attempt

Second Attempt

Third Attempt

Forth Attempt

Fifth Attempt

The Exhibition

Camera Obscuras

Site Models layed out to reflect the Typology of Richmond

Camera Obscura

Camera Obscura Interior

Aperture Institute

Introduction

Aperture institute is a photography institute that specialises in mechanical and analogue devices capturing light as well as the craft of fine art photography. This poses the opportunity to focus on the creation of a unique place for specialised craft such as mechnical camera restoration, photography conservation and printmaking. The programme can be as exploratory and creative as desired and should include a variety of spaces such as specialised workshops and archives, exhibition spaces, education rooms, etc. Programmatic links with the camera obscura.observatory could also be envisaged if desired. Aperture institute, a larger scale scheme is to be located on York Square car park in Richmond.

Site and Culloden tower view from Richmond Castle

Culloden Tower

Exploring Material and Light Conditions

Site location within Richmond Town

Site Map

Site

View to Rchmond Castle from Site

The first phase of the design of the Aperture Institute engages with an in-depth material research of the site and surroundings that will help to understand its ordinarily undetected qualitites. This will be achieved through the exercise to produce a study of material conditions of the site and surroundings, using carefully framed photographs in order to produce a series with a similar method as Gerhard Richter, whose collections of images of the same subject are arranged in rows and grids with only minor variations. It demonstrates how different the same object might appear depending on lighting and viewpoint.

Gerhard Richter, Paint Overs, 1989 in Atlas (2006)

Clash of Materials

Growth

Shaded

Decay

Defected

Moist

Layered

Patterns

Repetitiveness

Site Map of Material Qualities

The Site Map of Material Qualities and the previous site study have reveiled that fact that the site of the project is situated inbetween that urban fabric of Richmond town and the natural landscape that surrounds it. The unique location provides a number of interesting approaches when siting and designing the scheme.

Facade Studies

First Facade Study Exterior

First Facade Study Interior

Second Facade Study Interior

Second Facade Study Exterior

Third Facade Study Exterior

Third Facade Study Interior

The purpose of the facade study was to explore the light conditions and connections with the surrounding context. The study will start by investigating the nature of the opening, its proportion in relation to a human being, the depth of the wall in which it is housed, and its position in relation to inside and outside, to the floor or ceiling. I was particular interested in openings that can also serve a function, such as storage space or seating area. This could be achieved by extending the opening further inside the building or extrude it out of the building, thus creating more space to be used.

Thinking Through Making

For the northern print workshop, we used different tools to carve out the shape that would be printed out, I wasable to texturize the field next to the site by carving out small shapes that signifies the grass texture. For the first print I used only the blue colour, but for the second one I wanted to showcase the different atmospheres of the site, that of the urban fabric and the natural world. 2 colours were then used, it was hard to get the separation of the colours rightas the roller was rather large and lacked precision. The material qualities explored during Helenâ&#x20AC;&#x2122;s workshop could also influence the later design process. it came to light that large objects can consist of the tiniest modules that make up the final output. I had previously never view objects in this particular way, and this really opens up a lot of new opportunities when designing my photographic institute later on.

Site Exploration

This phase of the project is to ensure a strong connection between disconnected parts of Richmond and its surrounding landscape, enable key views and routes through and articulate topographic qualities of the scheme. The phase will start by buidling conceptual massing models of the photographic institution exploring various responses to the site, including; foorprint, positive emptiness and underground/over ground relationship.

First Initial Massing Model

The 1st massing design is based on a pathway that take visitors from the urbam fabric to the nature that surrounds it. The site strategy used would be semi underground. The 2nd massing idea involves the building blending seamlessly into the hill. It would also provide an outdoor space west of the building.

First Initial Idea on Site

Second Initial Massing Model

Second Initial Idea on Site

Developed Site Exploration

First Developed Massing Model - Entrance into the Building

First Developed Massing Model - Exit and Outdoor Area of the Building

Main Design Ideas: - Developed from the initial massing ideas. The building forms a pathway from the urban fabric to the natural world, it also follows the gradient of the hill so it blends into the site. - The shape of the building also creates an outdoor social platform, with the view to the river and the Culloden tower. - The building will be over ground and semi underground.

First Developed Idea on Site

Second Developed Massing Model - View from the Nature Side

Second Developed Massing Model - View from the Urban Side

Main Design Idea: - Building forms a barrier between the unban fabric and the natural world. - Creates a social space on the existing car park space. - Maintains the line of sight from â&#x20AC;&#x153;The Greenâ&#x20AC;? to the Culloden Tower. A pathway can also be created to take visitors straight from the gap between 2 buildings to the Culloden tower. - Southern building is over ground and the northern building is semi underground.

Second Developed Idea on Site

Third Developed Massing Model - View from the Urban Side

Third Developed Massing Model - View from the Nature Side

Main Design Ideas: - Lower part of the building surrounds the Southern part of the site. Encourages people to enter the building. - The lower part of the building also creates a outdoor social area. - The northern part of the building is a tower that mirrors the Culloden tower. This provides a variety to views to the natural landscape and the Culloden tower depending on the height. - The new tower will be at a similar height to the Culloden tower, creating a nice contrast of the old and the new. - The building will consist of a variety of site strategies, over ground for the 2 southern wings, semi underground and underground for the connection between the entrance and the tower, and over ground for the tower.

Third Developed Idea on Site

Spatial Exploration

Updated Massing Model

Updated Massing Model - Aerial View

This phase of the project involved the development of a massing model based on the design and feedback from previous weeks. The brief for the Aperture Institute was also to be developed based on spaces that articulate a rich variety of light conditions, as well as key views to the surrounding landscape and urban context. Internal spaces was also being desgined and developed to produce a schematic design for the Aperture Institute. The massing model of this phase is based on the second and third massing ideas of the previous phase. Combining the 2 ideas, the barrier that separates the unbran fabric of Richmond town and the nature around it, as well as a new tower to contrast the old Culloden Tower. Various site strategies were also experimented within this massing model. Each part of the design each feature a different site strategy.

Updated Massing Model

When developing the brief for the Aperture Insititute, I wanted to ensure that the institute can engage with the residents of Richmond as much as possible. Which may not be able to achieved through photography alone, thus I have decided to add a secondary aspect into the insititute that can be engaged by the Richmond residents, and also by the photography students. After much consideration and research, I decided that food would be the secondary aspect that the insititute offers. A restaurant would be opened in the institute, which provide the Richmond residents a place to dine. The photography aspect would also be combined with the food aspect, Food photography would be offered by the Aperture Insititute, the students would learn how to photography food to make it look as attractive as possible to be used in advertisements, magazines and cookbooks.

1:200 Model

A more detailed 1:200 model was produced to develop the project further based on the feedbacks received in the previous week. This aim of this phase of the project was to The previous massing model featured a tower in the same shape and similar foorprint to the Culloden Tower in order to create the sense of contrast between the old and the new tower. When designing and constructing the 1:200 Model, I decided against constructing a octagon tower, not only does it make the task of planning interior space difficult, it also does not go with the langauge of the Richmond town. A design feature that I added to the instittue was to raise the height of the wall close to the Culloden Tower, thus creating an angled roof. As the Culloden Tower is located on a hill stop higher than the site, the purpose of the angled roof is to project peopleâ&#x20AC;&#x2122;s line of sight higher, to the same level of the Culloden Tower. A Semi-Outdoor Space - Angled Roof to Manipulate Peopleâ&#x20AC;&#x2122;s Line of Sight

1: Gallery Space 2: Dark Room 3: Natural Light Studio 4: Artificial Light Studio 5: Kitchen Studio 6: Dining Area

The internal layout of the institute is based on the light conditions that each funtion requires. The dark room is located in the underground part of the insititute as it is required to be free from light.

The Observatory was placed on the top level of the institute to provide to best light condition and view for the visitors.

5 6

Floor Plan Showing the Internal Layout

Site Plan 71

Observatory

Teaching Space

Gallery Space

Section Through the Institute

Restaurant

Massing Model - View from Nature Side

Massing Model - View from Urban Side

1:200 Model - View from Nature Side

1:200 Model - View from Urban Side

After the internal layout was finished, it was realised that the original intent of designing a new tower to contrast with the Culloden Tower was not really shown strongly within the scheme. This was the result of the fact that the height difference between the tower and the lower part of the building was not great enough. The internal layout also needed to be developed further. As the new tower is to be to be built to contrast the Culloden Tower, I decided that it was essential to study the Culloden Tower in further detail.

External Render - View from the Nature Side

Culloden Tower Exterior

Culloden Tower Floor Plans

Richmond Castle Wall

Richmond Castle

Design Synthesis

1:200 Model - View from the Urban Side

1:200 Model

Kitchen Studio

Restaurant

Photographic Institute

The scheme was developed further based on the feedback received from the interim review and the Culloden Tower and Richmond Castle Study. To improve the scheme, I decided to develope the project brief and the design further. The secondary aspect of the institute - food, has been improved. As well as offering a restaurant as an extra dining option for the Richmond residents, the institute would also offer cooking lessons. Visiting chefs can come to the institute for a short period of time to showcase their skills in the restaurant and teach in the kitchen studio. Should the chef wish to publish his or her own cookbook, professional photographs of the dishes can be taken by the students in the photographic institute.

The study of Culloden Tower and Richmond Castle also reveiled some interesting aspects that were overlooked during the previous site study, which can be taken into and improve the scheme. The Castle Wall of Richmond serves the purpose of protecting and separating the Castle and the town that surrounds it. Which is exactly what I aim to achieve with my scheme. Thus, the scheme can be viewed the as the inhabited extension of the exiisting city and castle wall. The Culloden Tower study proved that it possess a solitaire quality, as it stands tall by itself on top of a hill. In order to recreate a tower to contrast with Culloden Tower, the new tower should also possess a similar quality. The wall and tower was then separated, this also allowed the different functions to be housed in clearly defined spaces, as well as the opportunity for the wall and tower to possess different qualities. Creating a New Culloden Tower and Extending the Castle Wall on Site

Massing Model

To strengthen the City Wall theme of the scheme, I aimed to design the inhabited wall in a way to give it the solid and strong qualities that a City Wall possesses. Thus, I have limited the number of openings on the East side, the side of the entrance. Natural light will entre the inhabited wall through a series of openings on the West side (Nature side), as shown by the pictures of the 1:100 Model. The design of the openings were informed by the Facade Study conducted previously, the function of the openings go beyond providing natural light, acting also as herb gardens, which would be used both by the restaurant and the kitchen studio. This design feature compliments the restaurant element strongly, as the guests are able to have a view of the origin of certain elements within the dish that they are enjoying. I have also installed green roofs to the inhabited walls, aside from its environmental benefits, the green roofs allow the inhabited walls to be a part of the landscape when viewed from the tower and higher points such as Richmond Castle. 1:100 Model - View from Entrance

1:100 Model - Aerial View

The study of the interal layout of Culloden Tower revealed that each of its level only serves 1 function. I aimed to apply a similar system as the Culloden Tower, with the new tower having a larger footprint than Culloden Tower, it was decided that each level of the new tower will serve a maximum of 2 functions. To design the internal layout of the tower, I continued the language used in the inhabited wall, and use lodges to bring in natural light. The lodges can also be used as balconys and provide overhang on the Southern Side. A grid system was used to help with the internal layout design. I have also designed the Southern Facade to be higher than the Northern Facade, this creates an angled roof for the tower. The purpose for this is to minimise the amount of Southern Light from Entering the top level, which I aim to house the Natural Light Studio. Internal Layout Development

Aperture Institute in Richmond

The design of the Aperture Institute went through a series of minor changes since the last phase using the feedbacks received from the Final Review. It was realised that the openings on the Southern facade of the new tower is not consistent with the laguage that I aimed to convey. I decided to reduce the number of openings on the ground level and make the rest of the openings on the Southern facade smaller. This gives the tower a more solid and defensive quality, which is also similar to that of the Culloden Tower. In order to make the 2 inhabited walls more coherent, I decided to pave the space between the 2 buildings with stone tiles parallel to the 2 buildings, which would difference from the stone used to pave the rest of the outdoor space, creating clear distonctions between the 2.

Aperture Institute in Richmond

* N

The Site Map shows the relationship between the institute, Culloden Tower and Richmond Town. Whilst the inhabited wall separates the urban and the nature, I have created footpaths (coloured in grey) that take visitors from the institute to Culloden Tower. As shown on the right, the tiles used to pave the outdoor space between the inhabited walls are different and in a different direction to the ones used outside the tower and near the site entrance.

Site Map

* Routes to Culloden Tower

Roof Plan

5th Level: - Natural Light Studio

4th Level: - Seminar Room - WC

Tower: 3rd Level: B1: - Teaching Room - Dark Room - Artificial Light Studio - Common Room - WC Ground Level: - Book Shop - Reception 1st Level: - Exhibition Space - Storage Space 2nd Level: - Digital Lab - WC City Wall 2: - Cafe - Kitchen Studios (3) - Office - WC

City Wall 1: - Restaurant - Kitchen - Storage Room - WC

Programmatic Isometric Showing Functions for Each Space

* N

012 City Wall Ground Level and Tower Underground Level Floor Plan

4 91

* N

012 92

City Wall 1st Level and Tower Ground Level Floor Plan

N 0 1 2

4 Tower 1st Level Floor Plan 93

The Exhibition Space on the 1st Level is designed to have flexibility in the ways that it is used. The space is open without internal partitions, panels can than be used to create spaces for the works to be hang. This provides numerous options for the Exhibition space depending on the type and amount of work being exhibited. I have also decided to only lit the Exhibiton Space with artificial light, so the atmosphere within can be controlled more easily.

Movement Options Through Exhition Space

N 0 1 2

4 Tower 2nd Level Floor Plan 95

N 0 1 2

4 Tower 3rd Level Floor Plan

N 0 1 2

4 Tower 4th Level Floor Plan 97

N 0 1 2

4 Tower 5th Level Floor Plan

When deciding the materiality of the scheme. I decided to refer back to the Culloden Tower and Richmond Castle Tower study conducted earlier. Though both Culloden Tower and Richmond Castle are both constructed from sandstone, they have extremely different material qualities. The sandstone used in Culloden Tower is larger and has a smoother surface, whereas the one used in Richmond Castle is smaller and has a rough surface. The new tower would be constructed from concrete with a sandstone cladding, similar to the one shown to the left. It would be large with a smooth finish. The inhabited wall would be constructed from smaller sandstone with a rough surface. This would create a interesting relationship between the 2 buildings.

Sandstone Cladding Used for the Tower

Sandstone Used for the Inhabited Wall

Digital Lab Lit by Lodge

100

Common Room Lit by Lodge

Section (B) of Tower Showing its Internal Layout and Atmosphere

101

102

Section (A) of Restaurant Showing Internal Atmosphere, Herb Garden and Green Roof

Plants and Growing Medium Filter Membrane Drainage Element Moisture Mat

Skirting

Root Barrier

Thermal Insulation

Waterproof Membrane

Damp Proof Course

Thermal Insulation

Concrete Fill

Vapour Control Layer I - Beam Precast Hollow Core Concrete Slab 1:20 Green Roof Detailed Section

1:20 Foundation Section

103

4 8

16 Elevation of Richmond Showing the Relationship Between Culloden Tower, the Institute, Richmond Castle and the town.

104

105

Architectural Technology

Construction Reuse Reuse of existing Buildings:

Material Reuse:

- No. 33 is located directly adjacent to the site, thus possesses a very similar view to the one of the observatory. It can be the alternative to constructing a new observatory. - Changes that needs to be made includes installing an external staircase around the building and increase in glazing areas.

- As the largest quantities of materials used in the observatory are bricks, the main aim of the construction is to use reclaimed bricks, it would make the construction process more economical as well as more environmentally friendly.1 - As shown in the “Back addition” project in Dublin by NOJI Architects2 and the “Cubo House” by Phooey Architects3 where both constructions were entire made out of reclaimed bricks. - A reclaimed brick supplier – Granton Trading4 has been located at York, which is roughly 1 hour from Richmond.

Fig. 31

No. 33

Fig. 33

108

Fig. 32

Back Addition

Fig. 34

Fig. 35

Reuse of Construction Waste:

Fig. 36

- The aim to the reuse as much materials as possible and achieve the target of “Zero Waste to Landfill” - Key Precedent is the Marks and Spencers’ Cheshire Oaks Store , where the entire construction process sent no waste material to landfill.5 - Soil that come from the excavation process can be reused by local communities for various projects. - Buildings materials in excess can be advertised to the local community and even nationally to prevent it going to waste.

Fig. 38

Route from supplier

Fig. 39

Cubo House

Cheshire Oak M&S

Fig. 37 Cubo House

1: Michelle Daniels, BDA Comment on the Use of Reclaimed Clay Bricks(Brick Development Association, 2014) <http://www.brick.org.uk/wp-content/uploads/2011/03/Reclaimed-Brickwork-Document2.pdf> [accessed 28 January 2016]. 2: ‘NOJI Architects Extend Dublin House with Reclaimed Bricks’, All(Dezeen, 2015) <http://www.dezeen. com/2015/10/25/noji-architects-dublin-house-extension-reclaimed-brick-addition/> [accessed 27 January 2016]. 3: Phooey Architects, ‘Phooey Architects’ <http://www.phooey.com.au/projects/90/cubo-house> [accessed 27 January 2016]. 4: ‘Reclaimed Bricks’, Granton Trading (Granton Trading, 2013) <http://grantontrading.co.uk/reclaimed-bricks/> [accessed 28 January 2016]. 5: ‘M&S Cheshire Oaks Store - Waste’, M&S, 2016 <http://corporate.marksandspencer.com/blog/stories/mands-cheshire-oaks-store---waste> [accessed 28 January 2016]. 109

Construction Recycling Reclaiming and Recycling Construction Materials:

Fig. 42

- To enables to bricks used in the observatory to be reclaimed easily, lime mortar will be used. Lime mortar will be easier to remove from bricks then Portland cement and sand cement.1 - Bricks that are deemed not reusable can be recycled and used to produce aggregates, for use in sub bases, building core and concrete. It can also be used for road sub base, to produce new bricks and sport surfaces. Fig. 40

Reclaimed Bricks

Recycled Material in Construction:

Lime Mortar in use Fig. 41

- Timber is highly recycled and is a renewable source, both the timber frame and glulam used in the observatory will be made from recycled timber. This not only help to reduce the demand for virgin timber, as recycled timber has been expanding and contracting throughout its previous function. Recycled timber is more durable and less likely to split.2 - The roof tiles used in the observatory will be made from recycled plastic. This means not only can it be reused, it can also be recycled as plastic again. - The sub base of the observatory will be made from aggregates derived by rubber tyres and other recycled materials. - As oppose of using the common Kingspan as an insulation, the insulation used in the observatory will be made from sheepâ&#x20AC;&#x2122;s wool that would have otherwise gone to waste.3 Fig. 43

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Clay Tennis Court

Recycled Wool Insulation

Fig. 44

Timber Recycling

Building Structure Fig. 45

The next phase involves designing a photographic institute in Richmond. The site is a threshold between the urban fabric of Richmond and its nature surroundings. One of the concepts is the shape the institute in a way that people can walk under it just as they walk under an arch.

Fig. 46

Roof Tile from Recycled Plastic Fig. 47

Recycled Plastic Fig. 48

To achieve this, requirements for the structure are that it must have a long span, strong, durable, and relatively lightweight. Steel frame structures meet all of these requirements and will be further investigated. Steel out performs concrete in strength to weight ratio, tensile and compressive strength and can be constructed in a much shorter time. The key precedent us the CCTV Headquarters in Beijing1 , a steel framed structure applies the cantilever overhang that may also be applied to my design. Its design is made possible by the use of the diagrid framing system that was also used in the 30 St Mary Axe tower2 . The advantages that this system brings are:

Recycled Tyres

- Provides a 20% reduction in material than using a typical moment frame method. - Better at redistributing loads, as failure of one portion does not result in complete structural failure. - Requires less internal columns which leads to more natural daylight in the interior as wells providing a more flexible space.3 Fig. 51

1: Michelle Daniels, BDA Comment on the Use of Reclaimed Clay Bricks(Brick Development Association, 2014) <http://www.brick.org.uk/wp-content/uploads/2011/03/Reclaimed-Brickwork-Document2.pdf> [accessed 28 January 2016]. 2: ‘The Benefits of Reclaimed Timber’, Green Business Watch (Green Business Watch Blog) <http:// greenbusinesswatch.org/blog/the-benefits-of-reclaimed-timber> [accessed 29 January 2016]. 3: ‘NatuWool - Natural Sheep Wool Insulation’ (Black Mountain Natural Insulation, 2016) <http://www. blackmountaininsulation.com/products/natuwool> [accessed 29 January 2016].

Fig. 49 Concrete vs Steel

Steel Frame of 30 St Mary Axe 111

Building Construciton and Materiality Fig. 50

As the site sits directly next to the nature that Richmond offers, I aim for the design to offer a panorama view of the forest, hill and river. This can be achieved by using a completely glazed façade, a supplier “PLG Glass” has been located, which is roughly 50 minutes away.

Fig. 53

Steel Frame of CCTV HQ

The steel frame required for the construction of the photographic institute can be prefabricated off site, then transported onto the building site. This would increase the speed of the construction and increase in efficiency. To reduce waste on the construction of the photographic institute in Richmond, as all methods mentioned previously will be applied. BIM will be applied to accurately identify type and amount of materials required. Should any materials be in excess, it would be offered both locally and nationally to prevent it going to landfill. Where possible. Steel frames will be bolted instead of welded, which allows for quicker deconstruction.

Fig. 54

30 St Mary Axe Tower

Fig. 55

CCTV HQ

1: ‘China Central Television (CCTV) Headquarters | Arup | A Global Firm of Consulting Engineers, Designers, Planners and Project Managers’,ARUP, 2015 <http://www.arup.com/Projects/China_Central_Television_Headquarters.aspx> [accessed 29 January 2016]. 2: 30 St Mary Axe | Arup | A Global Firm of Consulting Engineers, Designers, Planners and Project Managers’, ARUP, 2015 <http://www.arup.com/Projects/30_St_Mary_Axe.aspx> [accessed 29 January 2016]. 3: Ian Mccain, DiaGrid: Structural Efficiency & Increasing Popularity, 2006 <http://www.dsg.fgg.uni-lj.si/ dubaj2009/images/stories/Diagrid%20tehnologija.pdf> [accessed 29 January 2016].

Route from the Glass facade Supplier

1: ‘Steel Frame Manufacturers Limited: Supplier of Scrap Metals’ <http://www.steelframemanufacturers.com/aboutus.html> [accessed 29 January 2016].

Building Environmental Strategies and Services One of the features that I wish the photographic institute to provide the users is a panorama view of the natural landscape that it faces, and may be achieved by using a completely glazed façade. To minimise problems caused by such design such as higher energy loss. Double skin façade will be investigated as it is the most feasible option of combating such problems.

As the site is on the edge between the urban fabric and the nature landscape. It is not shielded from the wind by other buildings, this provides the opportunity for the photographic institute to use wind turbines to generate some of the energies used. I do feel that this should be placed in a distance from the building, so it doesn’t disrupt the view that the users have on the outside. Advantages of using wind to energy includes:

Double skin façade works by having an outer and inner skin constructed in a way that allows air to flow in between the space.1 Advantages of double skin façade includes: - No pollution generated. - It is sustainable, which means it never runs out. - Improvement in acoustic and thermal insulation. - Extra electricity generated can be send back to the national grid and result in - Support of natural ventilation. extra financial savings.3 2 - Reduces thermal loss in winter. Fig. 56

Fig. 58

1: Terri Meyer Boake and others, Understanding the General Principles of the Double Skin Façade System CLASSIFICATION OF DOUBLE SKIN FAÇADE SYSTEMS BY TYPE, 2003 <http://www.tboake.com/pdf/ double_facade_general.pdf> [accessed 29 January 2016]. 2: Double Skin Facades: Why, Where, What? (Harvard, 2010) <http://isites.harvard.edu/fs/docs/icb. topic831443.files/WK8-DoubleSkinFacades.pdf> [accessed 29 January 2016]. 3: ‘Advantages and Challenges of Wind Energy’, U.S. Department of Energy <http://energy.gov/eere/

Fig. 57 Double Skin Facade

wind/advantages-and-challenges-wind-energy> [accessed 29 January 2016].

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Thinking Through Making Proposal From this technology coursework, I have identified that steel frame will be the main structure used for the photographic institute. As I have previously mentioned, the institute should be a gateway for people to enter wither the natural or urban world depending on their way of entry. Should this theme be taken as literal and result in a form of a gateway that people can actually walk under? Or perhaps the designs of the 2 facades can reflect the respective destinations. For example, have the side facing the urban fabric be cladded with materials that symbolises nature, such as timber. As for the façade facing the hill side, it can be constructed out of steel and glass and symbolises technology. This is will need to be further developed in the coming weeks. Another area that should be addressed is the size and height of the building, which also relates to the question that how much of the site is my institute actually using? Should the institute use minimal site and be high rise? Or more site and low rise. This would have different impact on the site and to Richmond, and the construction technology and materials required would also be different.

Bibliography ‘30 St Mary Axe | Arup | A Global Firm of Consulting Engineers, Designers, Planners and Project Managers’, ARUP, 2015 <http://www.arup.com/Projects/30_St_Mary_Axe.aspx> [accessed 29 January 2016] ‘Advantages and Challenges of Wind Energy’, U.S. Department of Energy <http://energy.gov/eere/wind/ advantages-and-challenges-wind-energy> [accessed 29 January 2016] Architects, Phooey, ‘Phooey Architects’ <http://www.phooey.com.au/projects/90/cubo-house> [accessed 27 January 2016]

Cousins, Fiona, ‘Thoughts | BIM Reduces Waste’, ARUP, 2014 <http://thoughts.arup.com/post/details/388/bim-reduces-waste> [accessed 28 January 2016] Daniels, Michelle, BDA Comment on the Use of Reclaimed Clay Bricks (Brick Development Association, 2014) <http://www.brick.org.uk/wp-content/uploads/2011/03/Reclaimed-Brickwork-Document2.pdf> [accessed 28 January 2016] Double Skin Facades: Why, Where, What? (Harvard, 2010) <http://isites.harvard.edu/fs/docs/icb.topic831443.files/WK8-DoubleSkinFacades.pdf> [accessed 29 January 2016] Edwards, Brian, Rough Guide to Sustainability: A Design Primer, 4th edn (London: RIBA Enterprises, 2014) Gibb, Alistair G F, Off-Site Fabrication: Pre-Fabrication, Pre-Assembly and Modularisation (United Kingdom: Whittles Publishing, 1999) ‘Lean Construction’, Lean (Constructing Excellence, 2016) <http://constructingexcellence.org.uk/resources/lean-construction/> [accessed 28 January 2016] ‘M&S Cheshire Oaks Store - Waste’, M&S, 2016 <http://corporate.marksandspencer.com/blog/stories/ mands-cheshire-oaks-store---waste> [accessed 28 January 2016] Mccain, Ian, DiaGrid: Structural Efficiency & Increasing Popularity, 2006 <http://www.dsg.fgg.uni-lj.si/ dubaj2009/images/stories/Diagrid%20tehnologija.pdf> [accessed 29 January 2016] ‘NOJI Architects Extend Dublin House with Reclaimed Bricks’, All (Dezeen, 2015) <http://www.dezeen. com/2015/10/25/noji-architects-dublin-house-extension-reclaimed-brick-addition/> [accessed 27 January 2016] ‘Reclaimed Bricks’, Granton Trading (Granton Trading, 2013) <http://grantontrading.co.uk/reclaimed-bricks/> [accessed 28 January 2016] Reducing Material Demand in Construction (UK Indemand, 2014) <http://www.ukindemand.ac.uk/sites/ default/files/Reducing-Material-Demand-in-Construction.pdf> [accessed 28 January 2016]

Boake, Terri Meyer, Kate Harrison, David Collins, Andrew Chatham, and Richard Lee, Understanding the ‘Steel Frame Manufacturers Limited: Supplier of Scrap Metals’ <http://www.steelframemanufacturers. General Principles of the Double Skin Façade System CLASSIFICATION OF DOUBLE SKIN FAÇADE SYSTEMS com/aboutus.html> [accessed 29 January 2016] BY TYPE, 2003 <http://www.tboake.com/pdf/double_facade_general.pdf> [accessed 29 January 2016] BuildaKit <http://www.buildakit.co.uk/> [accessed 28 January 2016] ‘China Central Television (CCTV) Headquarters | Arup | A Global Firm of Consulting Engineers, Designers, Planners and Project Managers’, ARUP, 2015 <http://www.arup.com/Projects/China_Central_Television_Headquarters.aspx> [accessed 29 January 2016] ‘NatuWool - Natural Sheep Wool Insulation’ (Black Mountain Natural Insulation, 2016) <http://www. blackmountaininsulation.com/products/natuwool> [accessed 29 January 2016]

‘Sätila Studios’ (Sätila Studios) <http://www.satilastudios.com/#!old-sessions-house/ci8r> [accessed 27

List of Illustrations 1: http://digimap.edina.ac.uk/roam/os

48: http://claysnow.co.uk/reduce-reuse-recycle/

2 - 23: by author

49: http://skoutarissteel.com/wp-content/uploads/2011/12/CONCRETE-vs-STEEL.jpg

24: http://www.prefabbricatisulweb.it/guida/anche-l-occhio-vuole-la-sua-parte-il-mercato-delle-case-in- 50: http://history.swissre.com/swissre_150th_anniversary/admin/uploads/SR-30StMaryAxe-01-Welegno-si-adegua-al-gusto-italiano.html bApp.jpg 25:https://www.google.co.uk/maps?q=richmond&bav=on.2,or.&bvm=bv.113034660,d.ZWU&biw=1920&bih=955&dpr=1&um=1&ie=UTF-8&sa=X&ved=0ahUKEwj8mfO-zM7KAhWGaxQKHc4oCQoQ_ AUIBigB 26: http://www.autodesk.com.br/adsk/servlet/pc/index?siteID=1157326&id=10191126 27 – 32: by author 33 – 34: http://www.dezeen.com/2015/10/25/noji-architects-dublin-house-extension-reclaimed-brick-addition/ 35: https://www.google.co.uk/maps/dir/Richmond,+North+Yorkshire,+UK/Hansen+Facades,+Greengate+Industrial+Estate,+Greenside+Way,+Middleton,+Manchester+M24+1SW/@54.0019127,-2.27 69785,9z/data=!3m1!4b1!4m13!4m12!1m5!1m1!1s0x487c143110453459:0xd540bbc12e391bb0! 2m2!1d-1.732618!2d54.403465!1m5!1m1!1s0x487bb0a564d06ecf:0x7cc096b09f302240!2m2!1d2.1773712!2d53.5349439

51: http://www.emporis.com/images/show/142791-Large-30-st-mary-axe-london-united-kingdom-united-king 52: https://sites.google.com/site/diagridstructure/ 53: https://theredfilter.files.wordpress.com/2015/07/dsc_0035.jpg 54: http://www.bdonline.co.uk/pictures/636x441fitpad[237]/7/3/2/1711732_CCTV_OMA_IB.jpg 55: http://cdnassets.hw.net/dims4/GG/21d7c6a/2147483647/resize/850x%3E/quality/90/?url=http%3A%2F%2Fcdnassets.hw.net%2F67%2F8a%2F0d659fbf48be88ab7de6cc418b09%2F1069310418-facade-active-winter-tcm131-1479735.jpg 56: http://c1038.r38.cf3.rackcdn.com/group5/building40247/media/Building%20Sustainable%20Strategy.jpg

36 – 37: http://www.archdaily.com/633837/cubo-house-phooey-architects

57: http://smartbuildings.unh.edu/wp-content/uploads/2013/10/double-skin-facade-1170x500.jpg

38: http://corporate.marksandspencer.com/blog/stories/the-legacy-of-cheshire-oaks

58: http://www.viaspace.com/images/biomass-vs-alternative.png

39: http://www.chester360.co.uk/shopping/mands-cheshire-oaks.jpg

59: http://www.gwec.net/wp-content/uploads/2014/10/GWEO2014_19percent.jpg

40: http://www.builderbill-diy-help.com/image-files/lime-mortar-bruges.jpg 41: http://www.rawcourts.com/wp-content/gallery/clay-court-surfaces_2/john-phee-grafton-030.jpg 42: http://www.dennysdemolition.co.uk/images/imgmain/reclaimed-bricks.jpg 43: http://us.sheepwoolinsulation.com/images/products_premium_roll.jpg 44http://www.building.co.uk/Pictures/web/n/i/a/waste-woo_660.jpg 45: http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2011/03/rubberroof.jpg 46: http://pop.h-cdn.co/assets/cm/15/05/54ca788fb9c35_-_recycling-plastic-470-1208.jpg 47: http://www.recyclingbins.co.uk/media/wysiwyg/Recycling_tires.JPG 115

Professional Practice and Management

Project Overview

This project involves the design of a photographic institute located in the York Square car park in the town of Richmond, North Yorkshire. The programme of this institute includes mainly photography lessons, in particular food photography. Relevant spaces required such as teaching space, dark room, studios with various light conditions will be fitted to cater the needs of these lessons. When developing the project, it was decided to add food as the second aspect into the institute in order to engage with the people of Richmond on a broader scale, which was hard to achieve through teaching photography alone. Thus, the institute would also be featuring a restaurant where the locals can come and dine, as well as a number of kitchen studios where they can attend cooking lessons. The design of the institute is mainly inspired by the site and Culloden tower to the west of the site. As the site is located on the edge between the urban fabric of Richmond and the nature landscape that surrounds the town, the main design intent was for the institute to become a barrier that separates the two different worlds, linking this idea to the rich history of Richmond, it then becomes a city wall. A tower would also be constructed as part of the institute that would result in a stark contrast of the old and the new between the Culloden tower and the new tower. The institute would be made up of three separate buildings, a tower and two buildings follows the gradient of the hill on site to form the city wall. Each building would accommodate a different function that the institute offers, the photography aspect would be within the tower, which provides a variety of light conditions. The restaurant would be accommodated in the lower part of the city wall, and the kitchen studios in the higher one. The restaurant part would be roughly 10 metres by 27 metres and the kitchen studios would be 10 metres by 30 metres. Both buildings would be single story structures constructed from stones, with concrete green roofs that are supported by the external walls and a series of concrete columns that are positioned within the buildings.

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The tower is the most complex part of the institute, it is a 7 stories high tower; 1 level would be underground, and the rest over ground. The ground level is roughly 10 metres by 12 metres and the top level is 8 metres by 6 metres. This results in two of the facades being sloped, which increases its complexity. The tower would be constructed from concrete, with a core positioned in the corner. In order to make the tower as part of the institute rather a separate building on its own, it will be cladded with the same stone used to construct the two city wall buildings, providing all the buildings of the institute with a consistent materiality.

Project Development Overview Procurement Strategy

The procurement method used in this project will be contractor led. This means the contractor would be involved at the start of Stage 2 of the RIBA Plan of work. The initial project brief should be issued when finishing stage 1 as part of the Employer’s Requirements documentation to the bidding contractors in order to achieve this. At stage 2, the bidding contractors would submit their concept designs for appraisal. The contractor’s specialist knowledge would influence the concept design and its direction. At stage 3, the preferred contractors would be awarded the building contract, and they would continue to develop the design. Their input from the specialist contractors can ensure that the developed design is technically feasible and stronger when taking to stage 4, the technical design stage.

Fig. 1, Contractor Led

Fig. 2, Traditional Project

The relationship of the contractor with the client, architect and other consultants in a contractor led team is different from that of a traditional team. In the contractor led design team, the project team is led by the contractor and the design team including the architect would be part of the contractor’s team, only 1 contract would be issued by the client and that would be to the contractor. Whereas in a traditional project team, the design team would be appointed first by the client, the design would also be completed before the construction contract is awarded to a separate contractor.

One the key actions to take at Stage 0 is to consider assembling a project team, identify the likely roles that would be required. The appointments of the consultant would normally take place during stage 2, consultants that might be required in this team for the project include a cost consultant, structural engineer, and landscape consultant. The responsibilities of the cost consultant include the financial management of the project by analysing cost information on previous projects that are similar to the one of the client, determining whether the client’s budget is feasible to carry out the project, they play an essential role on keeping the project on budget, which will also be explained in more detail later. The structural engineer is also required to design, assess and inspect the structure of the project, ensuring its structural integrity. Key aspects that the structural engineer is required is the structural design of the tower and the green roof.

Project Budgeting Ensuring that the project is kept within budget. It is important that the budget is reviewed at every stage of the plan of work. At stage 0, an understanding of the likely capital parameter should be established in order to assess the viability of the project. Advice from consultants can also be acquired if necessary. At stage 1, the client’s requirements, programme and budget should be reviewed with other consultants in order to assess compatibility. Should the elements be unbalanced, the issue should be reported to the client. At stage 2, the cost information and cash flow projection with the latest approved cost should be provided to the cost consultant and comparison of the 2 should be made. Before any major design changes are taken, its effect on the allocation within the cost plan should be discussed with the design team and the client. It is also important that cost information is reported to the client at agreed intervals.

1: Dale Sinclair, Assembling a Collaborative Project Team: Practical Tools Including Multi-Disciplinary Schedules of Services (United Kingdom: RIBA Enterprises, 2013), p. 53. 2: Dale Sinclair, Assembling a Collaborative Project Team: Practical Tools Including Multi-Disciplinary Schedules of Services (United Kingdom: RIBA Enterprises, 2013), pp. 20 – 21. 3: ‘RICS iConsult - RICS Draft Guidance Note - Developing a Building Procurement Strategy and Selecting an Appropriate Procurement Route’ (Royal Institution of Chartered Surveyors (RICS), 2000) <https:// consultations.rics.org/consult.ti/procurement/viewCompoundDoc?docid=2704532&sessionid=&voteid=&partId=2704884> [accessed 19 April 2016]. 119

At stage 3, a more developed cost plan should be made as the design becomes more developed. This will be done by the cost consultant, architect and other consultants. At stage 4, decisions made during the technical design phase should be reported to the cost consultant, to review the effects on the cost plan. Quotations received from specialist firms should be checked against the initial budget figures.

CDM Regulations

Ensuring that the project is in compliance with the requirements of the Construction (Design and Management) Regulations 2015 is also the responsibility of the architect. According to the very regulation, work must not be commenced by the designer in relation to the project should they not be satisfied on the degree of awareness that the client has on the client’s own duties under these regulations. At stage 1, the deObtaining Planning Permission signer should make the client aware of their legal duties, such as appointing a CDM During stages 0 to 2. Pre-application discussions would need to take place internally. coordinator and a principle contractor with sufficient knowledge and resources on health and safety as soon as practicable, and make available a Health and Safety file The application would be submitted at the end of stage 3 using its output. Both the regarding any work previously carried out and other relevant information concerning design and the nature of the project aim to meet the requirements set by the local the site. The designer must take into account the general principles of prevention planning authority. The Richmondshire Local Plan 2012 – 2028 states “Responding and any construction information to eliminate, so far as is reasonably practicable, to Climate Change” and “Providing a Sustainable Economy” as two of its core policies. According to section CP2 3b, development proposals should “Demonstrate how foreseeable risks to the health and safety of any person when preparing or modifying the design. Should it be not possible to eliminate the risks, the designer must take green infrastructure will be incorporated, including tree planting, green roofs and steps to reduce or control the risks through the subsequent design process, provide walls, and soft landscaping where possible.” Climate change adaptation was one of the core considerations when designing the project. The 2 buildings on site with the information about those risks to the principle designer and to ensure relevant inforlargest footprints would have green roofs installed, this has been proven to effective- mation is included in the health and safety file. At stage 2, remind the client about ly lower the building’s energy use by 10 percent in the winter. In addition to this, 8 to the need to appoint or retain a CDM coordinator to coordinate matters connected with the pre-construction information at this design stage. Stage 3, confirm arrange10 trees would be planted on site, satisfying this policy. ments for communications between the client, CDM coordinator, project manager As the institute provides the local area a restaurant as well as photography educaand lead designer. tion. It meets a number of the policies set, such as; CP7 b support will be given to “Development which promotes the sustainable growth of the key economic sectors within the area, particularly agriculture, food, military, retail, tourism, leisure and 13: Richmondshire Local Plan 2012-2028 Core Strategy (Richmondshire District Council, 2014), pp. 54 equine enterprises.” And CP8 1i “encouraging arts and crafts industries.” 4: Nigel Ostime, Riba Architect’s Handbook of Practice Management, 9th edn (London: RIBA Enterprises, 2013), pp. 17 – 18. 5: Nigel Ostime, Riba Architect’s Job Book, 9th edn (London: RIBA Enterprises, 2013), p. 93. 6: Nigel Ostime, Riba Architect’s Handbook of Practice Management, 9th edn (London: RIBA Enterprises, 2013), p. 18. 7: Nigel Ostime, Riba Architect’s Handbook of Practice Management, 9th edn (London: RIBA Enterprises, 2013), p. 18. 8: Nigel Ostime, Riba Architect’s Job Book, 9th edn (London: RIBA Enterprises, 2013), pp. 31 – 32. 9: Nigel Ostime, Riba Architect’s Job Book, 9th edn (London: RIBA Enterprises, 2013), pp. 84 – 85. 10: Nigel Ostime, Riba Architect’s Job Book, 9th edn (London: RIBA Enterprises, 2013), pp. 139 – 140. 11: Nigel Ostime, Riba Architect’s Job Book, 9th edn (London: RIBA Enterprises, 2013), pp. 164 – 165. 12: Nigel Ostime, Riba Architect’s Job Book, 9th edn (London: RIBA Enterprises, 2013), pp. 196 – 197.

– 55 <http://www.richmondshire.gov.uk/images/files/planning/Adoption/Core_Strategy_Adoption_Version_Low_Res.pdf> [accessed 19 April 2016]. 14: ‘Green Roof Performance Data’, American Society of Landscape Architects <https://www.asla.org/ ContentDetail.aspx?id=28758> [accessed 19 April 2016]. 15: Richmondshire Local Plan 2012-2028 Core Strategy (Richmondshire District Council, 2014), p. 72 <http://www.richmondshire.gov.uk/images/files/planning/Adoption/Core_Strategy_Adoption_Version_ Low_Res.pdf> [accessed 19 April 2016]. 16: Richmondshire Local Plan 2012-2028 Core Strategy (Richmondshire District Council, 2014), p. 75 <http://www.richmondshire.gov.uk/images/files/planning/Adoption/Core_Strategy_Adoption_Version_ Low_Res.pdf> [accessed 19 April 2016]. 17: Health and Safety Exective (HSE), Managing Health and Safety in Construction. Construction (design and Management) Regulations 2015. Guidance on Regulations L153, 2015 <http://www.hse.gov.uk/ pubns/priced/l153.pdf> [accessed 19 April 2016]. 18: Nigel Ostime, Riba Architect’s Job Book, 9th edn (London: RIBA Enterprises, 2013), pp. 100 – 102. 19: ibid

Practice Resources In order to fully execute this project, various resources may be required within the practice. The most crucial resource in executing this project, would be the people/ employees involved. It is thus vital that the employees within the practice possess the right skill sets to service the client. This is done by creating a record of the skills and experiences of all current employees, should any essential level of skill required by the project be lacking, the practice would then recruit new employees with required skill set. Another essential resource that the practice will require, are the various information and regulations relevant to the project. It is therefore important that the practice has a sound information management and library service. In order to make sure that the client is receiving the highest level of service, it is essential that there are processes and procedures in place, ensuring the project is delivered efficiently. An office manual should be created to outline the ways the practice wish employees to work, which would improve both productivity and communications. A quality management system should also be put in place, ensuring that the products and services would meet the clientâ&#x20AC;&#x2122;s requirements, and that the work is delivered on schedule without mistake. Implementing an office manual and quality management system within the practice can standardised the quality of the work produced, thus decreasing any possible delays on the delivery of the project, and increasing efficiency.

Project Implications Procurement Strategy Analysis

As discussed previously, the procurement strategy that the project will follow is the contractor led format. The advantages of such format includes: - Early specialist contractor involvement allow contractor expertise to be integrated with design at an early stage. This ensures the design to be sound on the construction level, decreases the problems and difficulties that the construction may encounter as the project progresses. - Provides a single point of responsibility for the client. Should any problems arise at any point during the design, construction and post occupancy phase, the contractor is the only organisation that the client needs to contact. The contractor would then determine the source of the problem, should it the design or construction, and address it accordingly. - Provides a greater review of the operation and maintenance issues during the early design stages, as the direct result of the specialist knowledge that the contractor possess. - More time efficient when delivering the project as the design and construction procedures overlap. This allows the client to launch the institute much faster and start generating revenue. - Allows the strategies for logistics, health and safety and other considerations to be developed earlier in the design process. - Allows the contractor to be in better control of the project risks. The disadvantages of such procurement method includes: - Possibility that the level of design quality required or expected not achieved. This is caused by the design team having to address issues that are not central to the design process. It may be that the design would have to sacrifice certain aspects of the design as it may increase the difficulty in construction, something that the design team would not be over concerned about when using the tradition method. - The client has no direct access to the design team. - A good quality brief must be provided by the client, the design - Requires the client to be informed and proactive.

20: Nigel Ostime, Riba Architectâ&#x20AC;&#x2122;s Handbook of Practice Management, 9th edn (London: RIBA Enterprises, 2013), pp. 142 â&#x20AC;&#x201C; 143. 21: Ibid, p. 233. 22: ibid, pp. 221- 223 23: ibid, p. 224.

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Project Benefits The project will bring numerous benefits to a number of parties. For the client, the completion of the project provides the spaces required for the programs and services that the institute offers to take place, which brings the client’s business plan one step closer to reality. From the financial point of view, after the project is completed and the various programs such as teaching and restaurant are installed, the institute would be able to generate revenue for the client by the letting of the restaurant space to the fees received from photography and cooking lessons. Should the project and its programs within be successfully, it would help to raise the client’s profile and contribute to its growth. In addition to the client, the project would also benefit the end occupants in various ways, from receiving education for the photography students, an additional leisure and dining option for the locals from the cooking lessons and restaurant that the project provides respectively and employment opportunities for the teachers, chefs and staff. On a broader scale, the project would contribute to the growth of the local economy and job market. The various environmental strategies within the project such as the green roofs can help to reduce energy consumption and combat global warming. As previously discussed, the initial idea from the client was simply to build a photographic institute. It was only after with consultation with the architect and other consultants that other functions such as restaurant and kitchen studios for the local are provided, and the addition of various environment strategies were installed into the project. Thus contributing to various aspects of the local area as well as the environment. The common reputation of the architects of simply designing buildings and the construction industry to simply just build buildings can be changed and enhanced. When the local population started to engage and learn about what the project can provide, the reputation of both the architects and the construction industry can potentially be linked to contributing to the development of the site and surrounding area, as well as playing an essential role in protecting the environment. 24: Christoph Winter, Contractor-Led Procurement: An Investigation of Circumstances and Consequences (Germany: Deutscher Universitats-Verlag, 2003), pp. 90 – 94. 25: Dale Sinclair, Assembling a Collaborative Project Team: Practical Tools Including Multi-Disciplinary Schedules of Services (United Kingdom: RIBA Enterprises, 2013), p. 54. 26: Christoph Winter, Contractor-Led Procurement: An Investigation of Circumstances and Consequences (Germany: Deutscher Universitats-Verlag, 2003), pp. 90 – 94. 27: ibid

Bibliography

Bailey, Tim, Design: A Practical Guide to RIBA Plan of Work 2013 Stages 2 and 3 (RIBA Stage Guide) (United Kingdom: RIBA Enterprises, 2015) copyright, Crown, The Construction (design and Management) Regulations (Queen’s Printer of Acts of Parliament, 2015) <http://www.legislation.gov.uk/uksi/2015/51/made> [accessed 19 April 2016] Fletcher, Paul, and Hilary Satchwell, Briefing: A Practical Guide to RIBA Plan of Work 2013 Stages 7, 0 and 1 (RIBA Stage Guide) (United Kingdom: RIBA Enterprises, 2015) ‘Green Roof Performance Data’, American Society of Landscape Architects <https://www.asla.org/ContentDetail.aspx?id=28758> [accessed 19 April 2016] Health and Safety Exective (HSE), Managing Health and Safety in Construction. Construction (design and Management) Regulations 2015. Guidance on Regulations L153, 2015 <http://www.hse.gov.uk/pubns/ priced/l153.pdf> [accessed 19 April 2016] Holden, Phil, Construction: A Practical Guide to RIBA Plan of Work 2013 Stages 4, 5 and 6 (RIBA Stage Guide) (United Kingdom: RIBA Enterprises, 2015) Masterman, Jack W E, An Introduction to Building Procurement Systems, 2nd edn (London: Taylor & Francis Group, 2003) Ostime, Nigel, Riba Architect’s Handbook of Practice Management, 9th edn (London: RIBA Enterprises, 2013) Riba Architect’s Job Book, 9th edn (London: RIBA Enterprises, 2013) Richmondshire Local Plan 2012-2028 Core Strategy (Richmondshire District Council, 2014) <http://www. richmondshire.gov.uk/images/files/planning/Adoption/Core_Strategy_Adoption_Version_Low_Res.pdf> [accessed 19 April 2016] ‘RICS iConsult - RICS Draft Guidance Note - Developing a Building Procurement Strategy and Selecting an Appropriate Procurement Route’ (Royal Institution of Chartered Surveyors (RICS), 2000) <https://consultations.rics.org/consult.ti/procurement/viewCompoundDoc?docid=2704532&sessionid=&voteid=&partId=2704884> [accessed 19 April 2016] Sinclair, Dale, Assembling a Collaborative Project Team: Practical Tools Including Multi-Disciplinary Schedules of Services (United Kingdom: RIBA Enterprises, 2013) Guide to Using the RIBA Plan of Work 2013: 2013 (London: RIBA Enterprises, 2013) Winter, Christoph, Contractor-Led Procurement: An Investigation of Circumstances and Consequences (Germany: Deutscher Universitats-Verlag, 2003) RIBA Plan of Work 2013 <http://www.ribaplanofwork.com/PlanOfWork.aspx> [accessed 18 April 2016]

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Principles and Theories of Architecture

Introduction

How can Architecture and Light influence the ways in which food is enjoyed?

The graduation project for the aperture studio involves designing a photographic institute in the town of Richmond, North Yorkshire. One of the main design concept is to add a second aspect that can complement the photography function, yet engages with the people of Richmond. Food, will be that second aspect. The establishment will be a place where students can learn about photography, in particular food photography. Visiting chefs may come to develop their cookbooks and have professional photographs taken for them by the students, the chefs will also host cooking lessons for the locals, as well as showcasing their skills by working in the restaurant.

The environment can certainly affects one’s psychology, and different environments promote different behaviours. This is evident when we compare the meeting room in an office to a police interrogation room. Whilst the purpose of both spaces is to promote communication between individuals, the office meeting room is designed to make the users feel at ease, the interrogation room promotes the sense of discomfort and hopefulness. Applying the same logic, the same dish could taste better, or worse, to the same individual depending on environment that the individual was in. which will directly influence his or her state of mind. As Architect Jose Orrego, CEO of Metropolis in Peru pointed out,

One of the main aspects that the aperture studio focuses on is light. Thus, the relationship between architecture, light and food will be investigated, how the three elements can complement and enhance each other.

Fig. 1, Product of Food Photography

“A good design is one that manages to make the food served taste better, and assures the customer a memorable experience”

Fig. 3, Business meeting room.

Fig.4, Police Interview Room

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Fig.2 Food Photography Studio

1: Regina S. Baraban and Joseph F Durocher, Successful Restaurant Design - 3rd Edition, 3rd edn (United Kingdom: John Wiley and Sons, 2010), p. 261.

The main aim of this essay is to research into the methods and strategies that can incorporated into the institute in order to successfully improve the gastronomic and overall experience that the design can provide the guests in the restaurant part of the institute. The design should promote the sense of calmness and make the guests feel at ease, only then will they be able to enjoy the food and service that are provided. Lighting is one of the most important aspects that needs to be considered in the design process, as Le Corbusier stated in his Towards a New Architecture; “Architecture is the masterly, correct and magnificent play of volumes brought together in light” “Illuminating a space makes life possible within it. The way in which a space is lit determines, to a larger extent, its characteristics and quality.” Light does play an important role in creating the mood and atmosphere of the space, which are both essential elements in the overall experience. The goal of the lighting system within the institute is to make not only the food, but also the guests look as attractive as possible. The reason being that “When people look attractive, they not only enjoy the environment more but also tend to return for repeat visits”

The nature and source of the light is also an important issue to consider. Indirect lighting – light bounced off from various surfaces, is more subtle and covers a border area, as well as casting minimal shadows, making the guests and food appear more attractive. Direct lighting on the other hand, is targeted on a specific area. When strong direct lighting is targeted on the guests, it makes them feel uncomfortable as it highlights their imperfections, and when it is targeted on the table or the food, it casts a large shadow and makes the guests feel uncomfortable when their table is more lit than their surroundings. Both natural and artificial light can be controlled by the architectural form, exhibiting the relationship and effects the two elements have on each other; “Daylight – sunlight and skylight – is admitted into buildings through apertures. For a given façade, daylight of a sufficient level to be useful will penetrate the building up to a certain depth. Thus, the dimensions of the building in both plan and section, have fundamental implications for the degree to which it can be lit.”

Since “Not all light is created equal, it’s hot and cold, hard and soft, cool and warm, smooth and harsh, and just about everything in between” The first thing to consider, is the level and nature of lighting that institute will provide. It has been observed that “The higher the light levels, the faster the turns. This explains why most fast-food 2: Le Corbusier, Towards a New Architecture (United States: Martino Fine Books, 2014), p. 29 establishments tend to be brightly lit, which helps to speed up the ordering and pick 3: Elisa Valero Ramos, Light in Architecture: The Intangible Material (United Kingdom: RIBA Enterprises, 2015), p. 1. up process. Bright lights also discourage lingering.” As the aim in the design of the institute is to encourage the guests to relax and enjoy the experience and the view that it provides, lighting level that would discourage guests to extent their stay and relax is undesirable. However, while dim lighting does indeed provide a sense of intimacy and relaxation, should the lighting level be too low, it would also prevent the guests from reading the menu clearly and identifying the food. Thus, the perfect level of lower lighting level would need to be achieved through the manipulation of both natural and artificial light.

4: Resina S. Baraban and Joseph F Durocher, Successful Restaurant Design (New York: Van Nostrand Reinhold International, 1992), p.47. 5: Ibid, p.48. 6: Matt Armendariz, Focus on Food Photography for Bloggers (focus on Series): Focus on the Fundamentals (United Kingdom: Focal Press, 2012), p. 41. 7: Roger Fields, Restaurant Success by the Numbers: A Money-Guy’s Guide to Opening the next New Hot Spot (United States: Ten Speed Press, 2007), pp. 71 – 72. 8: Resina S. Baraban and Joseph F Durocher, Successful Restaurant Design (New York: Van Nostrand Reinhold International, 1992), p.70. 9: Rebecca Killam, ‘The Importance of Restaurant Lighting’ (1000Bulbs.com Lighting Blog, 2014) <http:// blog.1000bulbs.com/the-importance-of-restaurant-lighting/> [accessed 5 April 2016]. 10: Nick Baker and Koen Steemers, Daylight Design of Buildings: A Handbook for Architects and Engineers (London: James & James (Science Publishers), 2002), p. 42. 127

Fig. 7, Direct vs Indirect Lighting on the same Apple

Fig.5, Fast Food Restaurant with Bright Lighting.

Fig. 8, Direct vs Indirect Lighting on the same Individual 128

Fig.6, Upscale Restaurant with a Lower Lighting

Thus far it has been established that the dining area within the institute would require predominantly a lower lighting level that is projected indirectly towards the guests and the food. This will be a priority when designing and placing the internal artificial light source, which will be done later in the design process. It is the Architect’s role, to ensure that the design of the building complies with this requirement. As the Culloden tower is located on the West of the site, the original design intent was to position the main façade West and glazed the entire West façade to provide the guests a clear view to the tower and its surroundings while enjoying their food. This proved to be troublesome as it is generally desirable to have the building’s main façade to face North and South, rather than East and West as the sunlight angle is much lower on the East and West side , thus introducing direct light into the space which causes glare and overheating, as direct lighting within the space is what the design should minimise, a solution will need to be developed without sacrificing the entirely glazed west façade.

Fig. 9, Tavern on the Green, Crystal Room

Shading Strategies Restaurant Tavern on the Green in New York City, used to feature a crystal room before its renovation. The crystal room was glazed on all sides, to prevent the room from overheating and direct glare; numerous trees were planted around the room. In the summer, the trees would allow some light to pass through to light up the room, but blocks the majority of the light to provide shading. In the winter, when the leaves have fallen off, the light would be able to travel directly into the space to light and warm up the room. The benefits that this shading strategy can provide for my institute are numerous. However, by planting the trees directs outside the glazed façade, it also blocks to view to the Culloden Tower. Thus, modifications to the shading strategy will need to be made in order to incorporate it into the institute.

11: ibid, p. 45. 12: Derek Phillips and Carl Gardner, Daylighting: Natural Light in Architecture (Oxford: Architectural Press, 2004), pp. 10 – 11. 13: Don Prowler, ‘Sun Control and Shading Devices’, Whole Building Design Guide, 2016 <https://www. wbdg.org/resources/suncontrol.php> [accessed 4 April 2016].

Fig. 10, Tavern on the Green, Crystal Room

Fig. 11, Shading in the summer

Fig. 12, Light penetrates into the space in the winter 129

By modifying the locations in which the trees are planted, they can in fact protect the institute from overheating and direct glare without blocking the views. This will be achieved by planting a line of trees at right angle to the west façade, the direct sunlight coming from the south should be minimised as shown below. Another method to shield the guests and institute from direct glare is by applying vertical shading to the west façade. Provided that the vertical fins are sized and spaced out correctly, not only does it prevent direct glare and overheating without blocking the view out, it will also be a nice feature to have design wise. The CH2 Melbourne City Council House 2 designed by DesignInc features a vertical shading system constructed entirely from recycled timber, which can also be adjusted depending on the time and weather of the day. Working in conjunction with the various green technologies that was designed into the building, the Council House was awarded a Six Star Rating by the Green Building Council of Australia, which is the highest rating achievable, as well the 2009 Best Commercial Architecture in the Asia Pacific region by the International Property Awards.

Fig. 14, Vertical Shading on the Melbourne City Council House.

Fig. 15, Vertical Shading Shut

Fig.13, Modified Shading Strategy for the institute. 130

14: ‘CH2 Melbourne City Council House 2’, DesignInc, 2006 <http://www.designinc.com.au/projects/ ch2-melbourne-city-council-house-2> [accessed 6 April 2016]. 15: Introducing Green Star (Green Building Council of Australia, 2013) <http://www.gbca.org.au/uploads/110/35950/Introducing_Green_Star.pdf> [accessed 6 April 2016]. 16: CH2 Melbourne City Council House 2’, DesignInc, 2006 <http://www.designinc.com.au/projects/ch2melbourne-city-council-house-2> [accessed 6 April 2016].

Bibliography

Armendariz, Matt, Focus on Food Photography for Bloggers (focus on Series): Focus on the Fundamentals (United Kingdom: Focal Press, 2012) Baker, Nick, and Koen Steemers, Daylight Design of Buildings: A Handbook for Architects and Engineers (London: James & James (Science Publishers), 2002) Baraban, Regina S., and Joseph F Durocher, Successful Restaurant Design - 3rd Edition, 3rd edn (United Kingdom: John Wiley and Sons, 2010) Baraban, Resina S., and Joseph F Durocher, Successful Restaurant Design (New York: Van Nostrand Reinhold International, 1992) ‘CH2 Melbourne City Council House 2’, DesignInc, 2006 <http://www.designinc.com. au/projects/ch2-melbourne-city-council-house-2> [accessed 6 April 2016] Fig. 16, Vertical Shading System for the Institute.

Conclusion By applying both shading strategies into the design of the institute, it should be very effective in minimising direct light to enter the space, which causes glare and overheating; both extremely undesirable when creating an environment that encourage the guests to relax and enjoy the food that is being served. Eventually, the internal spaces will need to be resolved as the design process progress, which should also be done with the same intention.

Corbusier, Le, Towards a New Architecture (United States: Martino Fine Books, 2014) Dujardin, Helene, Plate to Pixel: Digital Food Photography & Styling (United Kingdom: Wiley, John & Sons, 2011) Fields, Roger, Restaurant Success by the Numbers: A Money-Guy’s Guide to Opening the next New Hot Spot (United States: Ten Speed Press, 2007) Hagen, Hodgson P., The Architect, the Cook and Good Taste, ed. by Petra Hagen Hodgson and Rolf Toyka (Switzerland: Birkhäuser Architecture, 2007) ‘Healthy Surroundings’, by Sarah Protzman Howlett, QSR Magazine (QSR magazine, 2015) <https://www.qsrmagazine.com/health/healthy-surroundings> [accessed 3 April 2016] Horwitz, Jamie, and Paulette Singley, eds., Eating Architecture (United States: MIT Press, 2006) Introducing Green Star (Green Building Council of Australia, 2013) <http://www.gbca. org.au/uploads/110/35950/Introducing_Green_Star.pdf> [accessed 6 April 2016]

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Killam, Rebecca, ‘The Importance of Restaurant Lighting’ (1000Bulbs.com Lighting Blog, 2014) <http://blog.1000bulbs.com/the-importance-of-restaurant-lighting/> [accessed 5 April 2016] Lawson, Fred H., Restaurants, Clubs and Bars: Planning, Design and Investment in Food Service Facilities, 2nd edn (Oxford: Butterworth-Architecture, 1995)

List of Illustrations

Fig.1: http://blog.logomyway.com/15-examples-eye-catching-food-photography/ Fig.2: https://fstoppers.com/studio/expand-your-skillset-commercial-food-photography-3144 Fig.3: http://startupfocus.saphana.com/?attachment_id=6522

Lehman, Maria Lorena, ‘How Architectural Restaurant Design Ideas Impact Taste’, User Experience (Sensing Architecture ® Academy | Maria Lorena Lehman, 2015) <http://sensingarchitecture.com/14456/architectural-restaurant-design-ideas-impact-taste/> [accessed 3 April 2016]

Fig.4: https://www2.fbi.gov/publications/leb/2008/october2008/october08leb.htm

Phillips, Derek, and Carl Gardner, Daylighting: Natural Light in Architecture (Oxford: Architectural Press, 2004)

Fig.6: http://www.realgreenled.com/solutions/Great-restaurant-decoration-lighting-led-strip-light.html

Prowler, Don, ‘Sun Control and Shading Devices’, Whole Building Design Guide, 2016 <https://www.wbdg.org/resources/suncontrol.php> [accessed 4 April 2016]

Fig.7: http://www.seriouseats.com/2015/03/beginners-guide-to-food-photography. html

Ramos, Elisa Valero, Light in Architecture: The Intangible Material (United Kingdom: RIBA Enterprises, 2015)

Fig.8: http://spkrathwellphotography.weebly.com/lighting-and-portraits.html

Snape, Dianna, ‘CH2 Melbourne City Council House 2 / DesignInc’, Arch Daily (ArchDaily, 2013) <http://www.archdaily.com/395131/ch2-melbourne-city-council-house2-designinc> [accessed 6 April 2016] Steane, Mary Ann, and Mary Ann Stean, The Architecture of Light: Recent Approaches to Designing with Natural Light (London: Routledge, 2009) ‘Window Orientation and Shading’, Florida Solar Energy Center, 2007 <http://www. fsec.ucf.edu/en/consumer/buildings/homes/windows/shading.htm> [accessed 4 April 2016]

Fig.5: http://labadiane-hanoi.com/spice-conners/interior-color-choices-restaurants-message/

Fig.9: http://www.1000thingsnyc.com/tavern-on-the-green/ Fig.10: https://lifeincamelot.wordpress.com/tag/tavern-on-the-green/ Fig.11: By author Fig.12: By author Fig.13: By author Fig.14: http://www.buildmagazine.org.nz/articles/show/breathing-fresh-air-into-theoffice/ Fig.15: http://archinect.com/forum/thread/76147/vertical-sun-shading-systems Fig.16: By author

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Twentieth Century Architecture

An Oval Seashell and a Ship from Star Wars

Essay Question: Take two buildings built within 20 years of each other that contrast greatly in terms of design, but have very similar functions. Ensuring that you describe these contrasts carefully, give an account of why the two buildings are so different.

This essay is going to compare the Solomon R. Guggenheim Museum in New York by Frank Lloyd Wright with the Centre Georges Pompidou in Paris by Richard Rogers, Renzo Piano and Gianfranco Franchini. Wright, Piano and Rogers are widely-renowned for their contribution towards architecture. Wright was recognised as the greatest American architect of all time by the American Institute of Architects in 1991. Rogers and Piano have both been honoured with the Pritzker Architecture Prize in 2007 and 1998 respectively. The purpose of this essay is to uncover why the two exemplary pieces of architecture that share a similar purpose, only built 18 years apart would contrast so greatly in terms of design. Different aspects of the two buildings must will examined, such as the design approaches and the beliefs of the architects and clients. The two buildings, although were both built for the public, they were commissioned very differently. In 1943 the Solomon R. Foundation was in need of a permanent place to house its four years collection of non-objective art. Wright was then already a renowned architect for numerous works such as Fallingwater was chosen to be the architect of the new museum. The Pompidou Centre was commissioned by the President of France – Georges Pompidou in 1969, built for the Ministry of Cultural Affairs. However, an international competition was launched to decide the architects for the project. 681 entries from 49 different countries were judged anonymously by a panel of judges made of some of the most influential architects - Jean Prouve, Philip Johnson and Oscar Niemeyer (Rattenbury & Hrdingham, 2012, p. 9). Entry number 493 by two young foreign unknown architects at the time was then chosen as a clear winner by the panel of judges. The difference in the commission process also has a small contribution to the difference in the design process. The Pompidou Centre has gone through almost no change at all after entering the competition, it had no direct client involvement in the design process. Whereas the Guggenheim has gone through a series of design changes before arriving at the final design. Mr. Guggenheim and his art advisor and director of the non-objective painting - Hilla Rebay were very much involved in Wright’s design process. A series of meetings and telegram exchanges between the three took place during the design phase. As a matter of fact, 204

Wright had to change the colour of the design from red to the white colour we see today as red was objected by the client. The purpose of the two buildings, although similar, are not exactly the same. The Guggenheim museum is solely a museum for non-objective paintings, whereas the Centre Pompidou houses 4 institutions – a museum of modern art, a public library, a centre for industrial design and a centre for music and acoustic research. The 4 institutions united in the centre of Paris. The multi-purpose nature of the Pompidou centre is reflected on its size when compared with the Guggenheim, standing at 45.5 metres tall, almost twice the height of the 23 metres tall Guggenheim. Looking at the two buildings, it is hard to imagine that that have a similar function. The Guggenheim museum is almost sculpture like, there is no clear distinction between floors, one floor flowing into another. The entire building takes a really simple form, is cast in concrete, and has smooth white façade, which looks more like an egg shell. (Guggenheim, 1960, p. 16) This contrasts greatly with the Pompidou centre, a futuristic steel super structure with reinforced concrete floors. There is clear distinction between different levels and looks almost like a set lifted from Star Wars (Dini, 1984, p. 220), its exterior speaks a very different language to the Guggenheim. Mr. Guggenheim had a vision for the new museum long before he hired Wright, “a building that would be worthy of the greatest contemporary art that could be acquired” (Guggenheim, 1960, p. 9). Which is one of the reasons Wright was hired, he was well established for his other high profile works such as Fallingwater and Johnson Wax Headquarters. “Mr. Guggenheim realised that there could be no finality in artistic expression. He needed a museum flexible enough to meet the changing requirements of time.” (Guggenheim, 1960, p. 9) The objective was to show an entire collection and at the same time the development of a painter or an art movement over time, in other words, to express continuity, change and totality all at once. Conventional museums of fixed rectangular rooms and corridors were unsuited to sequential viewing or the unfolding of artistic maturation. To meet Mr. Guggenheim’s requirement, Wright’s solution was simple. He twisted a quarter-mile-long gallery around a central atrium to form a spiral ramp. Wright’s intention was for the visitors to take the elevator to the top ramp, gradually descend around an open court, always have the option as the ramp touched the elevator stack at each level, to either go back, or skip down further levels, and finally, at the end of the exhibition, the visitor would find themselves on the ground floor, near the exit. “Wright further explained that in so many conventional museums, the public traverses long galleries only to

have to retrace its steps to get back to the beginning in order to leave.” (Pfeiffer, 2006, p. 69) The ramps were an essential part of the design concept and have resulted in the shape that is Guggenheim today.

Fig. 1,The ramp offers the visitors a continuous experience of the art work

for any type of activity. The various structural systems are independent, meaning the venue can be expanded or diminished as required, even the access for the visitors can be completely readapted to new needs via mechanical connections with the primary structural grid. The colourful building services combined with the steel frame that is the main skeleton of the building result in the Pompidou centre that we see today, a futuristic, multi-functional steel superstructure.

Fig. 2, Which have resulted in the oval shaped Guggenheim museum that we see today.

Rogers and Piano took a very different approach when designing the Pompidou centre. When deciding the style and culture of the centre, they wanted the final design to be something unofficial, open and accessible to the public. Rogers and Piano had a vision for the building to “be non-traditional in appearance and concept, and to have the entire interior dedicated for the art works that exhibits inside.” (Piano, 2004, p. 9) To achieve this vision, they took an unconventional and never been tried before approach. Leaving the interior clear, the mechanical services and plants have been spun around the building. “The various means of access, such as lifts, escalators and horizontal galleries are all hung around the load bearing structure so that the flow of the visitors are channelled, totally transparent.” (Dini, 1984, p. 220) Having the access to the building outside also provides the visitors a panorama view of the beautiful city that is Paris. The different building services is now on show and a feature of the design, to take it further, Rogers and Piano decided to do it in a colourful way. The different services are given a colour code, red for vertical means of transport, yellow for electrical cabling, green for fluids, blue for air ducts and air-conditioning and white for the structure. To meet the client’s request of a multi-function venue to house the four institutions, Rogers and Piano designed the building to be flexible. Each of the five stories is an open space of 50m x 170m, and is able to be equipped

Fig. 3, The buildings services are hung outside the building and are given a colour for its functions.

Fig. 4, This allows the all interior space to be open, and dedicated for the art works.

The Guggenheim and the Pompidou centre, although seems to be the furthest things from each other, are also quite similar in a way. The Guggenheim and the Pompidou centre were designed to have its function and form in one. The two elements are interlinked with each other, its façades are linked to the functions of the buildings. As shown in this writing “The Guggenheim façade was a direct expression of its interior space, its spiral form being literally the outside of inside function.” (Twombly, 1979, p. 316) The Pompidou centre has its futuristic look due to the architects’ concept of having building services outside to dedicate the whole interior for its art works. The contrast in style can be explained by the difference in location and the amount of financial commitment made by the clients. However, as explained before Wright, Rogers and Piano had a similar ideology when designing the two buildings, the biggest contributing factor of the great contrast in styles can only be the individual different architecture styles of the architects. Wright, Rogers and Piano all enjoy designing architectures that does not follow the mainstream style at its time, but with very different methods. Wright was famous for his organic architecture style, a style that

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promotes the harmony between the form, design and the function of the building. Rogers is renowned for his high-tech architecture, which involves the externalising of technical features, as shown by his later work Lloyds building and the Millennium Dome.

Bibliography

Anon., n.d. [Online] Available at: http://www.e-architect.co.uk/new-york/guggenheim-new-york

Dini, M., 1984. Renzo Piano Projects and buildings 1964 - 1983. s.l.:s.n. Foundation, S. G., n.d. [Online] Another factor that have contributed towards the difference in design was the timing Available at: http://www.guggenheim.org/new-york/about/frank-lloyd-wright-buildof the design process. When Wright was tasked to design the Guggenheim in 1943, ing he had already been practising for fifty years. The Guggenheim wasnâ&#x20AC;&#x2122;t built until 1959, the delay was due to the acquisition of additional property, raising materiFoundation, S. R. G., 1960. The Solomon R. Guggenheim Museum : Architect: Frank al prices and mainly World War II. The Pompidou centre was designed in 1970, by Lloyd Wright. s.l.:s.n. Rogers and Piano, two young architects who just started their career and thus more open to the changing of architecture styles at the time. within the 18 years, the social Guggenheim, H., 1960. The Guggenheim Museum Architect: Frank Lloyd Wright. contexts has also changed, if the Pompidou centre was built before that, people of s.l.:s.n. Paris may not have been so accepting of this radical design. Pfeiffer, B. B., 2006. Wright. s.l.:s.n. Piano, R., 2004. On Tour With Renzo Piano. s.l.:s.n. Rattenbury & Hrdingham, 2012. Supercrit #3 Richard Rogers The Pompidou Centre. s.l.:s.n. Twombly, R. C., 1979. Frank Lloyd Wright: His Life and His Architecture. s.l.:s.n.

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List of Illustrations Cover: http://www.leparis.pl/centre-georges-pompidou-muzeum-sztuki-wspolczesnej/ 1) http://newyorknatives.com/the-guggenheim-museum-opened-on-this-dayin-nycs-history/ 2)

http://www.guggenheim.org/new-york/about/frank-lloyd-wright-building

http://www.emporis.com/building/centre-georges-pompidou-paris-france

http://verynicethings.es/2013/08/centro-pompidou/

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