Basil Spence - Service

S E RV I C E GROUP 2 Matthew Dodd

Sweta Lakshumanan Sanker

Lilya McGinley

Curtis Mowlem

Michael Tsang

Yoyo Wong

The following colours have been used throughout the Report / Scheme to represent : Orange as Arrival / Circulation Blue as Proposal / Services Yellow as Future / Flexibility

CONTENT

Arrival 03 Client 05 Site analysis 11 Initial ideas 19 Design intent Proposal 25 Spatial parti diagrams 32 Flagship square 37 Central colonnade 47 Service colonnade 53 Plant room 59 Sustainability Future 87 Life 3 89 Life 4 91 Life 5 Process 95 Weekly progress 103 Personal reflections

SERVICE [noun] /ˈsəːvɪs/ a system supplying a need such as transport, communications, or utilities such as electricity and water

‘To foster a relationship between the community and industry of Filton’

‘A new future for Filton airfield’ Dating back to the Bristol Aeroplane Company in 1911, Filton has been a pioneer in the local aerospace industry for over 100 years.

The significance of Filton Airfield in the aerospace industry is evident as it is the birthplace of the world’s fastest passenger jet - the Concorde.

Plans have now been put forward for the redevelopment of Filton Airfield into ‘Brabazon’ - a new neighbourhood which will be home to over 2500 new residential properties, several new schools, a new world class performance arena whilst also providing over 24 hectares of employment.

The redevelopment is expected to take up to 10 years from the kick off date of October 2020.

View of proposal from A38

ARRIVAL

‘Designed by us but defined by the people who live, work and visit the area’ LIAM LEE , YTL CHIEF EXECUTIVE The Brabazon masterplan, to be carried out in a series of phases over the next 10 years, will generate a huge shift in local demographics, property values, jobs, literacy levels, crime rates and overall population.

As with any new development, the proposal has to be marketed to future users and hence, the brief stems from the idea of a ‘Flagship building’ - the first building to be built on site.

The Flagship building will be used by YTL for the first 10 years as a promotional platform for Brabazon - Life 1.

After which, it would be used as an exhibition space for the aerospace industry - Life 2.

The building would have to be adaptable to not only cater for the change in use of internal spaces within the building but also the ever-changing needs of the community it surrounds.

Visuals provided by Feilden Clegg Bradley Studios

SERVICE

2

ARRIVAL

CLIENT The main client for our scheme is YTL. As developers, they pride themselves on taking into account the experience of the communities moving into their developments rather than their financial abilities. Therefore, the Flagship building within the brief would need to reflect these attributes.

Asides from YTL, a client which also holds equal if not more importance would be the community and industry within Filton itself as these would be the main users of the building.

As the building is said to adapt and change according to the community’s needs, we thought it was important to design and plan for how the future might impact the users. Hence, we studied what the community might look like in the years to come.

Key Proposed residential community Proposed industry Brabazon site boundary Current major road routes Proposed road route Current train routes Proposed train routes

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SERVICE

C U R R E N T

2 0 1 9

> 17

18 - 29

30 - 59

60 <

Age composition (years old)

P R E D I C T E D

2 0 3 0

> 17

18 - 29

30 - 59

60 <

Age composition (years old) Population in South Gloucestershire is expected to rise by 10% over the next decade

66 % at least 4 hours of physical activity

40 % married

80 % natives

90 % native English speaker

75 % at least 4 hours of physical activity

50 % married

75 % natives

20 % no qualifications

15 % no qualifications

80 % educated

85 % educated

90 % native English speaker

ARRIVAL

SITE From a broader point of view, we thought it was important to study the surroundings of Filton before attempting to design the scheme.

We quickly realised that there was a prominent link between this idea of community and industry - particularly around Filtonâ&#x20AC;&#x2122;s technology and aerospace industry.

In terms of community, we looked towards identifying relevant town and city centres.

We then chose to highlight the existing aerospace and technology start up companies within Bristol.

Key Existing communities Existing industries Brabazon site boundary

5

SERVICE

ARRIVAL

Layering these maps together, it was evident that wherever there was a blue dot, there was a significant orange counterpart.

This idea comes from the economic principles that the creation of jobs and workplaces would almost immediately increase the likelihood of people moving into a place - bringing families and other businesses in - and from that migration, a new community is then formed.

Which brings about the idea that where there is industry, there is community.

Key Existing communities Existing industries Existing education institutions Brabazon site boundary

SERVICE

6

ARRIVAL

BRABAZON 2030 Looking at the Brabazon masterplan in more detail, we carried out a similar analysis - in terms of identifying the significant communities and industries which would emerge once the masterplan was completed.

The residential properties within the masterplan are located on the West side of the site whereas the offices and more commercial elements are placed on the East. Our proposed Flagship building sits amidst the industrial side of the masterplan, along the A38.

Therefore, we wanted our building to bridge the gap and foster a relationship between the community and industry of Filton.

Key Basil Spence site Residential community Industry Plans for future developments

â&#x20AC;&#x2DC;Here a new generation will live. Businesses will grow. A whole new community will thriveâ&#x20AC;&#x2122;

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SERVICE

ARRIVAL

Flagship site

Proposed main road links

Flagship site

Proposed green spaces

SERVICE

8

ARRIVAL

SITE ANALYSIS

Access routes

Views in

Green spaces

OUR RESPONSE

Public route

9

SERVICE

Private route

Green belt as noise barrier

Equal treatment of elevations

ARRIVAL

USER REQUIREMENTS Apart from studying the actual site and its context, we thought it was important to establish the different user requirements within the building for the first two lives.

BUILDING

YTL Sales & Marketing On-site engineers

Staff

PUBLIC

Event space hire

General public

SPECIALIST

Actors / Actresses

PRIVATE

Start-up companies

We came up with 4 different groups of users which would need separate circulation routes and access points within the building.

Kitchen staff

Maintenance Staff

Audience

Technical crew

SERVICE

10

ARRIVAL

INITIAL IDEAS

Initial sketches

11

SERVICE

ARRIVAL

MASSING DEVELOPMENT

Questioning necessity of green roof

Integrating auditorium and exhibition spaces

Growing building vertically

Two flexible spaces

Growing colonnade horizontally

Multiple colonnades

SERVICE

12

ARRIVAL

BUILDING OUR SCHEME

13

SERVICE

ARRIVAL

PRECEDENTS

Neues Museum, Berlin - David Chipperfield

Colonnade

The Weston, Yorkshire - Feilden Fowles

Sawtooth Screen

Pompidou Centre, Paris - Richard Rogers and Renzo Piano

Exposed Services

SERVICE

14

ARRIVAL

SPATIAL ILLUSTRATIONS Illustrations to test how we would like to experience the specific spaces set within the brief.

LIFE 1

Filton airfield Aerospace industry

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SERVICE

Large exhibition space 1:100 Brabazon masterplan model

Small exhibition space 1:1 model home

ARRIVAL

LIFE 2

Brabazon development New neighbourhood

Large exhibition space Chinook helicopter

Small exhibition space Bristol Hot Air Balloon Festival

SERVICE

16

ARRIVAL

Initial sketch describing the lack of transparency between the community and industry albeit their interdependence

17

SERVICE

ARRIVAL

Personal collection of memories from Filton site visit

SERVICE

18

ARRIVAL

DESIGN INTENT Working from our observations about the prominent link between communities and the industry they surround, we realised that there was a lack of integration between the two.

For example, in the case of the Concorde - although it was one of the aerospace industryâ&#x20AC;&#x2122;s greatest accomplishments, little to no part of the general public knew about how it was serviced or how it was maintained. It was presented as a shiny end-product although the level of research and technology that went into maintaining it was astonishing and worth exhibiting.

The same goes for buildings nowadays as all the machines and ductwork which service and create these environmentally comfortable internal spaces are tucked away in a dark room in the corner of a basement.

We wanted our scheme to bridge the divide between the two. We wanted to showcase how our building functions and how it is serviced to create these public spaces.

We wanted to create interactive, fun spaces within the building to engage with the community it evolved around and show them how things work.

19

SERVICE

ARRIVAL

Visual of service colonnade with exposed services

SERVICE

20

ARRIVAL

YEARS IN THE LIFE OF JO We wanted our proposal to have the ability to adapt and grow with the community it surrounds.

These illustrations follow Jo’s life as he navigates from an infant through to his 50s - living, working and playing within our proposal as it changes every 10 years based on the community’s needs.

21

SERVICE

2020 0 years old

2030 10 years old

Jo’s parents visit YTL’s exhibition and buy a residential property in Brabazon to live in

Jo learns about how a building is serviced and the mechanical aspects of it and the aerospace industry whilst playing with his neighbours

ARRIVAL

2040 20 years old

2050 30 years old

2060 40 years old

Jo uses the various basketball and theatre spaces within the building to develop his hobbies and interests

Jo specialises and becomes a mechanical engineer - working in UWEâ&#x20AC;&#x2122;s new experimental mechanical engineering school in the building

Jo buys one of the newly converted apartments within the building and moves in with his family

SERVICE

22

Proposal â&#x20AC;&#x2DC; You should only need one diagram to explain your scheme â&#x20AC;&#x2122; - Peter Clegg The following section explains the scheme as you would experience the building The pages are structured as follows: Left pages : Development Right pages : Product

PROPOSAL

SERVICE

24

PROPOSAL

SPATIAL PARTI DIAGRAMS Central space

25

SERVICE

Flexibility

Exhibition spaces

Procession

Movement

Auditoria

Branching

PROPOSAL

SPATIAL ISOMETRIC ILLUSTRATION Ground Floor Key Circulation Service colonnade Flexible space

SERVICE

26

PROPOSAL

SPATIAL DIAGRAMS Service colonnades

Cores

27

SERVICE

Services integration

Private circulation

PROPOSAL

SPATIAL ISOMETRIC ILLUSTRATION First Floor Key Circulation Service colonnade Flexible space

SERVICE

28

PROPOSAL

SERVICE ROUTING DIAGRAMS

29

SERVICE

Rainwater harvesting Roof level

MVHR system Second floor

Plumbing system Ground floor

MVHR system First floor

M & E routing Second floor

Underfloor heating Ground floor

PROPOSAL

SPATIAL ISOMETRIC ILLUSTRATION Second Floor Key Circulation Service colonnade

SERVICE

30

31

SERVICE

co lo nn ad es

6mc olonn ade

7m

co lo nn ad es

col onn ade

m

8m

6

co lo nn ad es

colo nna de

m

6m

4

2

m

co lo nn ad es

PROPOSAL

FLAGSHIP SQUARE One of the key aspects of our design is the relationship between Flagship Square and our building.

Seeing as this building would be the first building on site, we thought it was important to have an interactive and open public facade. We made certain design decisions to create bold pieces within the envelope of our building to engage with the playfulness of the general public - be it a pedestrian on Flagship Square or a driver on the A38.

The orange within the building represents circulation spaces whereas the blue represents services.

The zig-zag doors for the large flexible spaces have the ability to open up onto Flagship Square as this allows for both spaces to spill out and occupy the area surrounding it, should a large event or a market hall happen in the future.

The central colonnade which steps directly off the middle of Flagship Square is a more public and interactive space compared to the service colonnades which have separate entrances for private offices and staff around the side.

Flagship Square

PROPOSAL

MAIN ENTRANCE

Sketch development of main entrance

As you are drawn towards the main entrance, you begin to see glimpses of the internal spaces

33

SERVICE

PROPOSAL

WEST ELEVATION Facing Flagship Square

1 : 200 0

1

3

6

10m 1 : 200

SERVICE

34

E

CENTRAL COLONNADE 1. cores, PROPOSAL 2. circulation colour 3. painted on floor

CENTRAL COLONNADE 1. cores, 2. circulation colour 3. painted on floor

CIRCULATION

Entering through an intimate space

Colonnades have independent

Orange is used to represent

In-and-out movement between

before being drawn into large, light

stability systems

circulation within the building

colonnades and flexible spaces

exhibition spaces

35

SERVICE

Interactive floor mirroring circulation routes through the building for children

PROPOSAL

SERVICE

36

CENTRAL COLONNADE PROPOSAL

1. Plan of space showing walking discuss how you can walk either side CENTRAL COLONNADE 4. looking over the exhibition.

5. middle ground, mediating space for people bleeding into large exhibition 1. Plan of space showing walking discuss how you can walk either side 3. bar in centre, flexible space!

4. looking over the exhibition.

6. infills 5. middle ground, mediating space for people bleeding 2. funnel into low space and up. COLONNADE intoCENTRAL largeopen exhibition 3. bar in centre, flexible space!

6. infills 2. funnel into low space and open up.

OVERLOOKING THE EXHIBITIONS

OVERLOOKING THE EXHIBITIONS

OVERLOOKING THE EXHIBITIONS

OVERLOOKING THE EXHIBITIONS

Overlooking exhibition spaces from

Wooden partitions slotted

Breakout space during theatre

Interactive bar to serve audience

central colonnade

between columns to create private

intermission session

members and visitors

spaces

37

SERVICE

Flexible pop up cafe and stalls

PROPOSAL

SERVICE

38

PROPOSAL

ROOF EXPERIMENTATION

39

SERVICE

PROPOSAL

SECTION Central colonnade

1 : 200 0

1

3

6

10m 1 : 200

SERVICE

40

PROPOSAL

A38

41

SERVICE

PROPOSAL

EAST ELEVATION Facing A38

1 : 200 0

1

3

6

10m 1 : 200

SERVICE

42

TEGY PROPOSAL m access E STRATEGY ATEGY e diagram gram ck stair access air access een belt elt

EAST FACADE

Fire stair as a feature

Inverting front entrance

facing the A38

Contrast between treatment of glazing based on internal spaces

43

SERVICE

Glazing integrated into zig - zag door

Creation of pathways through landscape

Fire escape stairs

Fire exits on ground floor

PROPOSAL

SERVICE

44

PROPOSAL

STABILITY CORE There are four stability cores in the building within the service colonnades.

Each are identical and act as the vertical circulation connecting all offices, plant rooms and BOH facilities.

Bespoke handrail using standard steel sections

Balustrade detail

1:20 Section model

45

SERVICE

Stair and lift core

PROPOSAL

SECTION Service colonnade

1 : 200 0

1

3

6

10m 1 : 200

SERVICE

46

PROPOSAL

SERVICE COLONNADE

External Infills

There are three different infills used on the exterior. These can be replaced during future lives of the building depending on the function of the interior spaces. The metal infills have varying openings and the louvres provide shade.

The doors allow the storage to be accessed from the side streets.

1

2

3

Key

47

SERVICE

1

BOH / Storage

2

Services

3

Offices / Classrooms

PROPOSAL

SOUTH ELEVATION Service colonnade

1 : 200 0

1

3

6

10m 1 : 200

SERVICE

48

PROPOSAL

SERVICE COLONNADE

Internal Infills

There are three different infills used on the interior. A wooden partition, full glazing and a balustrade.

1

2

3

Key

49

SERVICE

1

BOH / Storage

2

Services / Offices

3

Circulation

PROPOSAL

SECTION Flexible spaces

1 : 200 0

1

3

6

10m 1 : 200

SERVICE

50

PROPOSAL

OFFICES 1. separate private entrances 3. separate office spaces 4. overlooking exhibition space

START UP OFFICES The offices placed within the service colonnades have the ability to operate as private entities as they have their own stability and circulation core with public amenities.

The start up companies can also inhabit and occupy more floor space as their company grows.

51

SERVICE

Creating indents in the facade

Ability to identify individual

Individual offices sharing

Dual aspect allows for views

Individual facilities

to reflect private entrances

office block entrances

common spaces

into exhibition space and

which share same

external landscape

service core

PROPOSAL

SERVICE

52

PROPOSAL

SERVICES 1. see into plant rooms inside and out 2. integrated through building 3. Blue colour

PLANT ROOM The plant rooms within the building are placed in strategic locations, in line with the services plan. The ductwork and pipework are exposed within the colonnades and flexible spaces to engage the public.

Plant rooms placed according to

Service routes mapped

Services integrated through

service engineering plan

onto floor to engage with

structure and building

the public

53

SERVICE

Transparent plant rooms

Using ductwork and pipework to guide the public through the building

PROPOSAL

SERVICE

54

PROPOSAL

SERVICES ROUTING Working from our design intent of increasing the transparency between the community and industry of Filton, we chose to expose all our services and structures in the main body of the building.

Water Plant

We thought it was important to research and plan the locations of the specific plant rooms as well as the routes of the ductwork and pipes as this was an integral part of the design.

WC

Kitchen

WC

Detailed plan showing plumbing system in service colonnade These pipes connect to the water tank located on the ground floor for grey water harvesting

Rainwater harvesting connected to water tank Cold water pipe

Office kitchenette

WC Bar Water tank room

Hot water pipe

Drainage pipe Key Hot water pipe Illustration showing design of

Cold water pipe

pipework in WC

Sewage pipes Isometric schematic drawing showing plumbing system

55

SERVICE

Key Exhaust ductwork Supply ductwork MVHR units Detailed plan showing mechanical ventilation system

Schematic isometric showing ductwork within building

Large exhibition space

PROPOSAL

SECTIONAL PERSPECTIVE

57

SERVICE

PROPOSAL

SERVICE

58

PROPOSAL

SUSTAINABILITY Rather than focusing on emerging technologies in terms of an environmental strategy, our focus with regards to making the building sustainable revolved around making a building that would be long lasting beyond the first two lives and a constant occupancy throughout a typical day.

Therefore we prioritised flexibility and mixed-use within the building.

Permanent - Temporary

FLEXIBILITY Flexibility is enabled via the combination of permanent and temporary spaces - respectively the structurally independent concrete colonnades and the trusses spanning between them. These temporary spaces are large volumes capable of serving many different functions. The open grid of the concrete colonnades in combination with the exposed services mean that the services may be flexibly reconfigured as required.

MIXED-USE

Mixed-use is maximised with multiple activities occurring during the building the day, particularly in the large flexible spaces which may serve different functions - for example the large exhibition also doubling up as a banquet hall.

Reconfigurable services

Mixed use

Occupied hours

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SERVICE

STRUCTURAL SPAN - CONCRETE COLONNADE

OVERALL STRUCTURAL ISOMETRIC

1

2

3

4 5 6

7 Key Reinforced Concrete Column Reinforced Concrete Beam Shear Wall Reinforced Concrete Slab Steel Truss Plywood Diaphragm

1 2 3 4 5 6 7

- Sawtooth Roof with secondary steel beams and posts Primary Steel Trusses Concrete Colonnade cast in-situ Concrete Stability Core Concrete Raft Slab Concrete Shear Wall Concrete Pile Foundations

PROPOSAL

MATERIALS

3

2

3

3

1

2 Concrete was chosen for the colonnades for its longevity and structural strength.

In contrast, exposing timber colonnades externally and internally would have given rise to durability issues. Having chosen concrete as our main material, we had concerns with the embodied carbon of Portland cement.

Cemfree cement - Hanson Ecoplus, which is an alkali- activated cement, is available and suited for the application.

For cladding the colonnades we chose to use insulated render. 150mm of insulation is adhered directly to the columns and beams, a base render with reinforcing mesh is then applied and finally a finishing layer of render.

We chose to use a heavily textured render.

Using formwork a rough finish is indented into the render. This gives a stronger aesthetic and also acts acoustically, absorbing sound along the side streets.

2

Concrete and steel are both very heavy materials, so short transportation distances was a key aim of ours. Both steel fabricators and concrete plants sourced are no further than 10 miles away from the site. This helps to reduce the embodied carbon.

Key

We decided on steel trusses to span our flexible spaces. Due to the long spans in the exhibition areas, timber was ruled out because of the level of carbon required to achieve the spans; transportation of material would have significantly increased the embodied carbon of the material, as timber would be sourced from abroad. The potential re-use of material was also a key consideration of ours, for this reason we stuck to standard steel sections.

61

SERVICE

Our faรงades all make use of extruded anodised aluminium for louvres, rainscreens and door panels. This hard-wearing material allows the potential for long lasting faรงades. However, if the faรงades need to be reconfigured in anyway, the aluminium is highly recyclable, with an infinite cycle. We will source 100% recycled aluminium, which uses 5% of the energy needed to produce primary material.

1

Site location

2

Steel fabricators

3

Concrete fabricators

DETAIL CALLOUTS - 1:10

COLONNADE FACADE DETAILED SECTION 1:50

DETAIL A 1:10

DETAIL C 1:10

16

16

17

1

5

2 3 4

6

A

18 19

1 7 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33

28

20

21

22 23 24

29

25

DETAIL B 1:10

26 27

DETAIL C 1:10

25

29

30 8

28

Concrete pavers on risers 160mm Rigid insulation Screed sloped toward drain 250mm Reinforced concrete slab Aluminium coping 150mm Insulation, rendered Timber stud wall, aluminium rain screen Power floated concrete finish Timber windows, aluminium louvres - 75mm Power floated concrete floor, UFH 150mm Rigid insulation 200mm raft slab Hardcore Pile foundations and cap External terrace 750mm deep downstand RC beam 150mm rigid insulation Base render with reinforcing mesh External acoustic render finish 12.5mm plasterboard 140mm timber stud wall 80mm Batten insulation 9mm OSB 50mm rigid insulation Aluminium rain screen Vapour control layer Breather membrane Timber window frame Aluminium horizontal louvres Aluminium sill Drainage channel Concrete facing Stone paving

B

8 4 6

9

8 4

6

C

30 32

19

9

33 10 11 31

18 16

17

12 14

10 11 12 13

D 14

15

PROPOSAL

SAWTOOTH ROOF AND PV PANELS 15°

1m

The roof between the colonnades has been designed in a sawtooth formation. This produces a south facing platform where PV cells are placed. The roof has been designed to ensure that the PV cells are orientated at 35° from the horizontal in order to benefit from optimum solar energy all year round.

The sizing of PV cells has been estimated based on overshadowing caused by the previous sawtooth. PV panels don’t produce a current when partially shaded, so this is key.

1:200 model showing sawtooth roof and PV Panels

63

SERVICE

We sized the panels using the lowest sun angle of the year, 15° during the winter solstice. This gives a 1m wide strip of solar panels along each of the 14 sawtooth edges, at 53m in length.

35°

Annual energy production of PV: Assuming 1100kWh/m2.

Using monocrystalline PV cells with 16% efficiency and performance ratio of 0.75.

99,800 kWh Annual energy production produced by air source heat pumps: Powered by energy produced by solar PV. A COP factor of 2.8 has been used (Mitsubushi Ecodan) 279,440 kWh 279,440 kWh total

ROOF DETAILED SECTION - 1:20

ROOF AND TRUSS ISOMETRIC

1 1

9 ROOF SECTION - 1:200

2 3

10

8

4 5 6

9 7

11

8

ROOF DETAILED SECTION - 1:10

2 12

9

3 13

8

4 5

10

6 7 10

14

10

11

15 9 16 11

17

12 13 14 15 16 17

-

Waterproofing membrane Vapour control layer Gutter valley Tapered rigid insulation Services ceiling run Steel rods to hold fabric

1 2 3 4 5 6 7 8 9 10 11

-

1m x 2m photovoltaic panels Zinc roofing material 80mm Rigid insulation 24mm ply diaphragm 100mm batt insulation 54mm x 130mm timber joists 12.5mm plasterboard Composite window frames Secondary steel beams and posts Fabric light diffuser Primary steel trusses

PROPOSAL

DUCTWORK AND TRUSSES Passive ventilation methods will be used in the smaller volume of spaces within the building such as the dressing rooms and the classrooms. Hybrid systems are proposed in the offices and the auditoriums. This will allow changes over operations in specific seasons where in autumn and spring, windows are relied on and in the summer, mechanical cooling can be used.

Hot and dirty air

Fresh air

Due to the volume of the flexible spaces which are nearly three storeys high and the amount of space the air would have to travel to reach the occupants, we have introduced ductwork of varying lengths.

1:20 Corbel detail

The supply ductwork are 1.5m longer than the exhaust ductwork to account for the layer of hot and dirty air towards the top of the room. This extra length would allow the fresh air to be injected at a level closer to the occupants, avoiding any mixing of fresh and stale air.

These varying ductwork lengths are also more interactive and engaging as the public view these large spaces.

Key Exhaust ductwork Supply ductwork

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SERVICE

Illustration showing how ventilation ductwork interacts with audience members in the auditoria

1:20 Truss detail

TRUSS & CORBEL ELEVATION - 1:20

TRUSS & CORBEL ISOMETRIC

1 2

1

50mm

5 6 7

1500

1500 2

CORBEL LONG SECTION 1:10

TRUSS SECTION 1:10

CORBEL SHORT SECTION 1:10 7 3

1

3

2

8 8

4

4 980

3

CORBEL PLAN 1:10

6

8 2 6

7

5 6 7 8

-

Lower unequal angles cut short 300 x 300 RC column Welded unequal angles and strut Steel reinforcing bar

1 2 3 4

-

200 x 100 x 15 Unequal leg angles 30mm Pig nose anchor bolt 50mm solid steel continuous strut Reinforced concrete corbel

PROPOSAL

ZIG - ZAG DOOR The treatment of the facade for the zig-zag doors was informed by our daylight analysis.

1

The facade of the zig-zag door on the West, which faces onto Flagship Square allows for glimpses into the exhibition spaces whilst maintaining a sense of privacy for the events occurring within the space.

2

The facade of the East elevation was made to be more transparent so that the small exhibition space can be viewed from a distance by vehicles on the motorway.

3

4

5

West elevation (Flagship)

East elevation (A38)

4

1

North light 2

5

South light West light

3

North light Sketch development

67

SERVICE

West light

South light East light

DOOR OPENING

ZIG-ZAG DOOR ISOMETRIC

7

1 9 8

9 2 1 4

Door closed 3

2 Midway opened

3 Fully opened

5 3 4

6 1 2 3 4 5 6 7 8 9

-

Aluminium screen Fixed opaque upper panel Glazed panel with louvres Opaque panel Hydraulic piston Floor seal Insulated aluminium panel Glass unit with aluminium louvres Track mechanism for raising door

PROPOSAL

FLEXIBLE SPACES LARGE EXHIBITION SPACE

SMALL AUDITORIUM

Exhibition mode

Banquet mode Chinook lifted up 69

SERVICE

Backdrop suspended using fly-tower

Fly-tower mechanism visible from large exhibition space

SMALL EXHIBITION SPACE

Exhibition mode

Event hire mode View through central colonnade

PROPOSAL

LARGE AUDITORIUM

Flexibility:

Retractable Bleacher Seating

71

SERVICE

Compromises:

Zig-Zag Door Opening to Flagship Square

Sawtooth Rooflight

User Comfort

Poor Acoustics

Blackout Blinds Required during Performances/Projector Presentations

Auditorium mode

Market mode Large auditorium

PROPOSAL

CONSTRUCTION SEQUENCE

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SERVICE

Main contractor

Phase 1: Groundworks sub-contractor

Phase 1: Groundwork sub-contractor

Phase 2: RC frame contractor

Location of access and egress routes around the site. Set up site accommodation in between the colonnade set-out.

Excavating foundations, installation of drainage. Working across the site from east to west to maintain access.

Progressive pouring of foundations from East to West using a small mobile concrete pump.

Reinforcement, formwork for raft slab erected. Slab in colonnades poured using mobile concrete pump in Flagship Square.

PROPOSAL

Phase 2: RC frame contractor

Main contractor

Phase 3: Lifting / steel sub-contractor

Phase 3/4: Steel/ fit-out subcontractors

Reinforcement, formwork for columns erected. Columns poured by floor using a pump located in Flagship Square.

Repeating stages 4 & 5 until the colonnadeâ&#x20AC;&#x2122;s superstructure is complete.

Moving of site accommodation into the colonnades. To allow for construction of ground slab between colonnades.

Erection of mobile tower crane with boom length of 60m to the far west of the site, trusses are spliced at ground level and then lifted into position, followed by secondary steelwork.

Steel workers to bolt together secondary roofing steel. Allowing carpenters to complete roof work, releasing window fitters package, followed by internal works.

SERVICE

74

SITE PLAN

1 : 500

0

2

10

20

40m 1 : 500

View of service colonnade

PROPOSAL

VENTILATION AND HEATING ROOM ANALYSIS

GROUND FLOOR PLAN

1 : 250

0

1

5

10

20m 1 : 250

Key 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Key Requires heating Requires cooling and mechanical ventilation No heating or cooling requirements

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Information point Large exhibition space Water tank (plant room) Classroom Office entrance WC Storage and deliveries Kitchen Dressing room Small auditorium Small exhibition space Storage Large auditorium Auditorium storage Storage entrance Bar

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3

6

6 10

11

5

5

8

4

16 7

15 12

6

6

5

5

1

4

3

2

9

13

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PROPOSAL

FIRST FLOOR PLAN

LIGHTING REQUIREMENTS

1 : 250 0.40 3050

0.08 450

0.08 450

0.04 320

0.40 3050

0.23 2600

0.12 760

0.08 450

0.08 450

0.04 320 0.40 3050

0.40 3050

Colour key 50 lux 100 lux 150 lux 300 lux 500 lux

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5

10

20m 1 : 250

Key

0.05 100

0.23 4500

0

Text key Luminaires (per m2 in each accommodation) Estimated energy consumption (kWh/year) per accommodation

1 2 3 4 5 6 7 8

-

Office WC Server and ventilation (plant room) Dressing room Technical access balcony Public viewing gallery Open control booth Storage

4

1

5

2

2 7

6

3

3

8 1

7 2

1

2

1

PROPOSAL

VENTILATION DUCT ROUTING

SECOND FLOOR PLAN

1 : 250

0

1

5

10

20m 1 : 250

1 2 3 4 5

Key Ventilation exhaust Ventilation inlet

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Roof access stair Ventilation plant room Office WC Fire stair

3

3 5

4

4

3

3

2

2

2

2

1

1

PROPOSAL

DRAINAGE STRATEGY

ROOF PLAN

1 : 250

0

1

5

10

20m 1 : 250

1 2 3 4 5 6

Key Direction of flow Ground floor water tank Underground attenuation tank Permeable pavement

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Roof access stair Air handling unit Fire stair Saw tooth roof PV panels Circular roof light

XX

2

2 3

5

1

4

6

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Future ‘There’s endless possibilities with your scheme! What if it were to turn into a fabulous nursery’ - Guest critic -

FUTURE

The following is a 30 year test on options of how our building could adapt and change according to Filtonâ&#x20AC;&#x2122;s needs.

As each colonnade has been designed with its own stability system, it has the ability to stand independently as private buildings in the near future.

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FUTURE

LIFE 3 In life 3, we imagine our building undergoing a change in use of space as the structure of the building still remains the same.

As the population of Brabazon increases and the younger generation moves towards a healthier lifestyle, we imagine a sports hall replacing the large auditorium and small exhibition space.

Large exhibition space remains as event venues

Sports hall

Isometric of proposal 20 years old Jo uses the various basketball and theatre spaces within the building to develop hobbies and interests

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FUTURE

LIFE 4 In life 4, as the population continues to expand and the need for higher education spaces increase, we imagine our building being occupied by the University of West Englandâ&#x20AC;&#x2122;s Mechanical Engineering department.

Due to the nature and history of the building and how it was designed, we imagine the large exhibition space turning into a testing hub for UWE Bristol whereas the other flexible space would be demounted and repurposed as an open green space. One of the service colonnades has also been converted into student housing to support the new school.

Large exhibition space converted to testing hub for mechanical engineering school

Flexible space demounted and repurposed as public green space

Width of colonnade allows for cross ventilation through student housing Isometric of proposal

30 years old Jo specialises and becomes a mechanical engineer - working in UWEâ&#x20AC;&#x2122;s new experimental mechanical engineering lab

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FUTURE

LIFE 5 In life 5, as the trends of working at home start to make offices redundant, we imagine our building transforming into private residential blocks.

As the colonnades have independent stability systems, they are able to operate irrespective of the use of the surrounding buildings. The width of the colonnades and the spacing between them are optimal for residential use as they allow for cross ventilation as well as having a green barrier between them for privacy.

Colonnades converted to private residential blocks

Public green space as privacy barrier

Width of colonnade allows for cross ventilation through residential property Isometric of proposal

40 years old Jo buys one of the newly converted apartments within the building and moves in with his family

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Process ‘Just keep smiling’ - Week 3 -

Proposal ‘ You need one diagram to explain your scheme ’ - Interim Crit -

PROCESS

WEEK 1 THE HOT AIR BALLOON Initially, we struggled to find a starting point. The complexity of the brief - having multiple lives and essentially being an unused site with little to no architectural context surrounding it immediately made us scramble and bounce around in a million different directions.

We started to jot down a few key ideas which resonated with each one of us and the particular site. We also carried out individual research to figure out what Filton was all about and how our â&#x20AC;&#x2DC;Flagshipâ&#x20AC;&#x2122; building could stand out from the rest. A key theme here was the industry and its community.

Every week, we found ourselves dwelling in a significantly tiny problem (of which we had overestimated its importance). In week 1, it was the small exhibition space and what it would hold in the second life.

Although we were still very confused and undecided at the end of week 1, we were very pleased with the fact that everyone in the group was genuinely on the same page about the project and the nature of our working schedule. We said we would do a 0930 to 1800 every weekday in studio and this set the pace for the rest of the project.

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WEEK 2 THE SPHERE, THE PRISM AND THE BLOCK We started experimenting with different shapes and objects - primarily, a sphere, a prism and a rectangular box.

We played around with the idea of levels and how you could interact with the exhibitions and auditoriums from different entrances and view points within the building. There were ideas about suspended walkways which bridged between each section of the building as well as ideas about an underground service floor which operated independently but was viewed in plain sight.

The series of first tutorials we had raised a lot of questions about integrity and what we were trying to achieve with our scheme. This made us question our intent a little bit deeper which meant to go back to the drawing board and to think about what we really wanted to achieve.

This weekâ&#x20AC;&#x2122;s overestimated problem - whether we wanted to enter the large exhibition from a higher entrance point or at ground level.

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PROCESS

WEEK 3 THE VELODROME Week 3 was a roller coaster of ideas. We started off the week feeling a little bit intimidated as every group around us had already fixated on a ‘big idea’ and was pushing through production for interim crit next week. We were still fiddling with the idea of what our intent was and what we were trying to achieve.

We then did some research and came across an article about Bristol trying to encourage cycling and reduce carbon emissions. Hence, we thought ‘Why don’t we have a velodrome on our roof to encourage the younger generation to cycle?’.

We entertained this idea and came up with a full scheme of how we would have ramps along the sides of our tower to gain access to this rooftop velodrome which also acted as a bar.

After a very important chat, we then took a step back and asked ourselves what we were trying to achieve with our proposal. We decided then that we did not need a gimmick and all we needed was honesty and integrity towards our proposal and the community we were trying to tap into.

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WEEK 4 THE COLONNADES

Week 4 was the week of clarity and confidence as we finally settled on our design intent and were very happy with the simplicity of our approach.

We stopped thinking about this â&#x20AC;&#x2DC;big ideaâ&#x20AC;&#x2122; we were chasing and started looking at the actual picture we stepped back and settled on this idea of large flexible spaces connected by corridors of circulation between them to bridge the existing gap between the community and industry of Filton.

We pitched our scheme to our critics at interim and we were very happy with the feedback we received as we were commended on the number of ideas we had and how we had integrated them. We were also told to make our scheme even simpler - to a point where a one line diagram could explain the whole thing.

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PROCESS

WEEK 5 THE PIPES The feedback we received from interim was a great acknowledgement for us as we were told to go bolder and celebrate the beauty of our colonnades. We started looking at different uses for our colonnades - other than just pure circulation.

We were able to go back to one of our initial ideas in Week 1, where we had a network of services running through the building and operating in plain sight. This would then play in well to our idea of engaging the community with the industrial side of the world through a system of exposed services and mechanical engineering.

The overestimated problem of the week - the size of the colonnades. This was an aspect we really struggled with as we were very unsure of how mechanical plant and services actually worked within a building.

After a long chat with Doug King as well as actually researching the principle ideas behind service routings within a building, and how this could inform the placement of plantwork, we finally agreed on a 6-metre wide colonnade.

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WEEK 6 THE BIG DOORS

Week 6 was a wake up call for us as we were told that we could be producing way more than we currently were - and we all felt the same way.

This was apparent when we realised it had been 6 weeks and we had just been explaining these large exhibition doors as â&#x20AC;&#x2DC;large exhibition doorsâ&#x20AC;&#x2122; and we had not actually detailed or designed them.

We had to start dividing up work in terms of designing certain aspects of the building and trusting each other with their individual abilities.

We were told multiple times that we had the essence of a magical scheme and now all we had to do was produce these drawings and start detailing at a higher level. We started to split up work between ourselves and found that everyone had a specific strength in terms of production and it worked out pretty well with everyone using their skills to the best of their abilities.

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WEEK 7 & 8 THE CRIT The final weeks before crit were a mad rush. We each had our own bit to do as well as figure out how these services actually worked within our building.

We thought it was important to have a rough working idea of how our ductwork and piping would actually sit within our scheme. Hence, this put a halt on production of drawings for a few days as we scrambled to figure these out.

The last few days were a bit frantic as we found ourselves spending way more time on things we did not expect to take as long. Nevertheless, with the help of each other and the 110% that everyone put in, we managed to pull it off.

Our scheme was well received at the crit and it was a great feeling to hear our guest critic, Jo Noero describe our proposal as a â&#x20AC;&#x2DC;fabulous schemeâ&#x20AC;&#x2122;. We were also commended on the fact that we chose to actually map out our services and that we had made a really good attempt at it.

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‘Brabazon Housing’

‘My dream proposal would be a housing unit!’

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Matthew Dodd ‘That could be quite fun’

‘A series of lows’ is another quote that I may or may not be responsible for. But looking back this turns out not to really be the case.

I personally struggled initially with the brief, finding it very broad with nothing obvious to focus on. This was probably partially responsible for the snail like pace of our design phase. Every day was a new design, attempting to solve one issue, or wow with a big idea. Whilst this really tested us, it’s clear that this phase was key to our late emerging scheme - we realised that one simple architectural idea is enough to generate a design.

We were all very involved in this stage, all having a go at arranging plans, working mostly together in conversation. My approach for this stage was to try and keep check on the reality of the building, keeping in mind materials and spaces. The scale of the building certainly made this difficult as I struggled for a while to grasp the sizes we were working with. This approach resulted in a circular design process, constantly swapping between drawing types and scope, and more often than not starting with a blank sheet of paper. Whilst strenuous I think this was a very beneficial process, helping to create a believable vision.

As a group we were constantly questioning each others ideas and designs, testing them and exploring the reasoning behind each

decision. Few designs stood up to this, but when we arrived at our final scheme it was clear that it delivered upon our demands.

I was very happy with the simplicity of our design, and the rational thinking behind it.

Our approach for developing also followed this rationality, allowing us all to design, whilst retaining a cohesive style throughout, something I always tried to prioritise.

In the final stages of the project my work focused on the detailing. Making the large scale models was a part of this, I especially enjoyed making the steel trusses at 1:20 with actual metal. As final crit loomed I left the workshop and started working on the large renders, I’m very happy with how these turned out and think they really helped to sell our vision in the crit.

I’m more than happy with how the whole project turned out. I think the biggest factor in its success is how well our group got along.

Everyone kept their sense of humour, at times perhaps a detriment, but this really helped us in our collaboration, which is what the Basil Spence project is really about. I’m very grateful to have had such a talented team, I have been endlessly impressed by the quality and heart of the work each of us has created.

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‘Brabazon Library’

‘My dream proposal would be a library!’

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Michael Tsang ‘To foster a relationship...’

Our process as a team has at times been a jumpy one. We began with simple geometry: a circle, a square and a triangle - with thoughts that this childish form could have a childfriendly focus - before exploring numerous ideas, some even as bizarre as a velodrome roof. I enjoyed this jumpy process in the early weeks of the project, whereby we would all scribble on a single piece of paper, churning out floorplan after floorplan without ever committing to a design idea, yet throughout this early period in the project, I could not help but hold some feeling of uncertainty.

When it came to the Interim Crit this meant that our pin-up contained many ideas instead of a single strong one. This, I believe, worked well for us as our critiques were able to pick out the strongest of these ideas, particularly the colonnade form in a model I had made, subsequently pushing us in the right direction, towards the idea of a ‘service colonnade’.

From this point on my feelings of uncertainty began to fade as we began to build upon this simple idea into our complete scheme.

crit. I am very grateful to have had such lovely teammates who have made working in this team an enjoyable and often comedic experience, and from whom I have learnt so much in witnessing their individual strengths.

Ultimately I am very happy with where we arrived with our design - though we moved away from simple geometry and velodromes, a childishness managed to find its way back into the scheme in a way that I feel really reflects our team’s personality, characterised by smiles, laughter and some not so witty banter.

My role in the project involved the reiterating of plans, producing some collages and diagrams, and a lot of model making which I really enjoyed as the process of model making raised some important but unanswered questions regarding the external appearance of the building as we approached the final

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PROCESS

‘Brabazon Outdoor Cinema’

‘My dream proposal would be an outdoor cinema for Brabazon!’

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Lilya McGinley ‘So, I was watching this documentary...’

Going into this project I was apprehensive as I felt that the last four years have been building up to Basil Spence. I realise now that I shouldn’t have been nervous at all. This project has been incredibly rewarding and due to my team members the last 10 weeks has been unbelievably fun. Even amidst the stress of deadlines, our time in studio would be full of laughter. We were all able to bring our own individual strengths and interests to the project and I feel our final scheme really reflects this.

We spent the first few weeks exploring our initial ideas, jumping from design to design, all of which had minimal similarities to the last.

After Interim, we grew in confidence as the tutors highlighted that our colonnades were a strong feature and had the potential of playing a more significant role in our building.

We developed this further and after weeks of discussions, we explored the possibility of exposing our services. This was when we knew we had landed on our idea. Compared with my previous group projects, it did take a lot longer to get to our final design idea, but looking back, I think this meant that we reached a more thoroughly developed scheme in the end.

structural side of design is an area where I lack in confidence, but I always felt I could ask the engineers about anything and we all communicated incredibly well. Almost all our design decisions stemmed from our structural strategy and this resulted in a fully integrated design. A highlight of the project was being told during a structural tutorial that our scheme was “brutally simple in the best way”, a comment which spurred us on.

My role in the team was forming conceptual renders, elevations, sections, model making and creating content for the design report. I felt that I brought my own touch (and bright colours) to the project and each person contributed equally. We soon got to know each others working styles. I’ll miss Michael’s constant questions, Matt’s Australian accent and Sweta’s infectious enthusiasm (apart from when she’s hangry). I have learnt so much from my peers and tutors during Basil Spence, and I am so proud of what we have achieved. It truly was a team effort.

I am thankful for having such great engineers who were completely involved in every stage of the project. I’ve always thought that the

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PROCESS

‘Brabazon Shops’

‘My dream proposal would be a retail shopping centre - filled with my favourite shops - Zara, TopShop, & Other Stories!’

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Sweta Sanker ‘Just for the lols’

Basil Spence was always that one project that every architecture student at Bath would fear from the early years - and I was no exception.

I remember walking through the fourth year pin ups and being stunned by the complexity of drawings and models displayed - thinking to myself ‘Dear God, how am I going to do that next year’.

Personally, I have also loved working in groups as I think some of the best ideas come from a combination of discussions and compromises - but quite frankly, I was terrified to begin Basil Spence as I had always heard that this particular project was notoriously known to create strains on friendships. To my surprise however, the past 10 weeks have been some of the best weeks I have spent in studio.

I will be the first to admit that we were barely even friends over the last 3 years - other than the occasional corridor ‘hey, how’s it going’ chat. I knew of their work and I knew of their personalities but we had all never really hung out as a group before. 10 weeks later and I can happily say that they have become some of my closest friends - having way too many inside jokes together and laughing way too much in studio.

The first few weeks of the project were quite confusing as we struggled to fixate on a design intent. We went around in circles trying

to find this ‘big idea’ that every group seemed to have already found by Week 2 whilst we were still sketching and carrying out research on Filton itself. We then had one of the best brainstorming sessions in Week 3 where everyone sat down for 30 minutes and tuned everyone else out except for our thoughts and that was when we realised the true intent of our scheme - honesty and integrity.

The highlight of this project for me was when our weekly tutors would always ask us why we were always smiling, when compared to the other groups. Quite frankly, we did not know either. All we knew was that we thoroughly enjoyed each other’s company and we were genuinely happy with the pace at which we worked.

Everyone in our group had a particular forte which they loved to do and this made dividing the work up all the more easier as each person would volunteer for particular parts.

I mainly spent most of my time illustrating and preparing all the graphic design elements as well as the report - my group mates were always encouraging about my childlike comics and this genuinely touched my heart as I was always doubtful about my work and how that translated into the serious world of architecture. I am truly going to miss working together but I am ever so grateful for the friends I have gained throughout this process.

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PROCESS

‘Home to the Bristol Pitbulls’

‘My dream proposal for the future of our scheme is an ice rink!’

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Yoyo Wong â&#x20AC;&#x2DC;You just need one of these big boy columns hereâ&#x20AC;&#x2122;

During the initial part of the project, everyone took turns in designing the building and little was differentiated between engineers and architects. All ideas were put forward and evaluated as a group. As the designs developed, we discussed the materiality and aesthetics of the building, where the distinction of roles became more apparent, as we shared our engineering knowledge within the group, such as typical spans of materials and how they can be incorporated to the design.

Up until the writing of the report, we, as engineers both engaged in structural and environmental aspects of the design. We researched into ways the environmental aspect could be integrated into our design and the analysis of structural and environmental elements. The engineering integration was heavily developed in this stage, as we identified the feasible strategies that could be implemented or would drive the design of the building.

In my group project last year, we settled with an idea very early on and had a lot of time to refine our concept. However, in this design project, we had many initial designs and took longer to establish a design and theme we were happy with. Through this, I have developed my ability to come up with different structural schemes quickly and explain them

with clarity.

As a team, we were always inquisitive in each otherâ&#x20AC;&#x2122;s designs and knowledge. I was able to learn more about how designs are initially delivered, including massing and zoning of spaces. Conversely, the architects were also asking about how loads get transferred from one place to another. As engineers, we complimented each other very well, filling in areas of knowledge where one was less experienced in; I personally was able to learn about the small details in construction and ways to overcome bearing details with different materials. In addition, I gained a good appreciation of M&E requirements within buildings, which I believe would be of use in the future.

All in all, I have enjoyed the design process, despite the initial struggle. We worked together very well and produced a design that we were all passionate about. I truly am going to miss studio days and laughing (working) with my team when the new semester arrives.

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PROCESS

‘Brabazon Gym’

‘My dream proposal would be a gym!’

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Curtis Mowlem ‘Aight, I’m gonna head out’

In the initial stages of this project, we collaboratively studied the brief, each offering our own interpretation and ideas on the building form. Yoyo and I offered advice to the architects on the feasibility of different structural options and the buildability of different proposals.

workload well throughout the project.

After the initial few weeks of this project, once we had established a solidified theme, as an engineering team we began to investigate structural elements in more detail and provide estimations towards energy demands, while the architects worked on interior layout design.

As engineers, we were able to utilise our variety of knowledge across different areas to assist one another with each element to develop a cohesive design. And as a team of designers, we were able to combine our assortment of experience to support and teach one another.

I have been primarily focused on completing environmental calculations and studying the various strategies we could integrate into our scheme. Using a spreadsheet to estimate ventilation, heating, and lighting demands, this allowed for a quick reassessment as the building evolved throughout the refining design stages. This worked as an iterative process by the way of providing information, such as required glazing areas, which can then inform the design allowing for sufficient daylighting levels throughout the building.

Overall, I have learnt a lot from this project whether it be from my team or just from having the opportunity to refamiliarise myself with aspects of engineering that had become unpractised.

I think that this project was a success, as we maintained a strong level of communication throughout. Bouncing ideas of one another and challenging each other’s ideas, to produce a meaningful and refined outcome.

Furthermore, I was heavily involved in completing the construction strategy for this project, it was an area I was more familiar with. However, I feel that we balanced the

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