R e g i o n a l seat of government Cambridge Feasibilty Report William Salter Fig. 1.1: Site Response
- Contents Introduction 005 Brief 007 Study of Intended Use 009 Alan Turing: The Man 013 Alan Turing: The Machine 015 The Alan Turing Institute 017 Cloud Computing: The Future 019 Breakdown of Spaces within a Data Centre 021 Schedule of Accommodation 025 Museum 027 Data Centre 029 Curating the Objects 033 Contributors & Partners 035 Context 037 Why RSG Cambridge was built 039 Site History 041 Historic Maps 043 Site Analysis 047 Spirit of the Place 049 Location & Connectivity 051 Cambridge 055 Accordia Residential Development 057 Vicars Brook 061 My Journey & Immediate Reactions 063 Setting 065 Surrounding Landscape 067 Size & Shape 069
Building Analysis 071 Description 073 Positioning 074 Technical Drawings 075 War Room / Old Building 077 Materiality 081 Interior 083 Original Technical Drawings 085 Interior Photographs 087 Possible Interventions 091 Regional Seat of Government / New Building 093 Description 095 Interior Photographs 099 Detail Technical Drawings 103 107 On The Beach at Cambridge Tape Relay Instructions 109 111 Environmental Analysis + Strategies Sun Path Analysis 113 Roof 115 Environmental Considerations 117 Ferrari Museum 119 Sustainable Design Considerations 121 Big Data Impact on Sustainability 123 Case Studies 125 The Science Museum 127 Kelvedon Hatch 163 Bletchley Park 189 Comparison of Case Studies 207 Precedent Studies 209 Yad Vashem 211 Facebook Data Centre 215 Barbican Centre 219 Ruhr Museum 225 Approach & Inspirations 231 Personal Concept Material
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Converted Cold War Bunkers
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Bibliography 259 Image References 261
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Fig1.2: Concept Painting
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Site: Regional Seat of Government Location: Kingfisher Way, Cambridge, United Kingdom Date of Construction: 1952, 1963 Original Use: Government Centre of Communications
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Fig 1.3: RSG Cambridge
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- Introduction -
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Fig 1.5: Turing
The Cambridge Regional Seat of Government is a Grade II Listed, decommissioned bunker. It is situated on what used to be a large government site on Brooklands Avenue, 1 mile south of Cambridge city centre, today a contemporary housing development. In 1952, from fear of nuclear attack during the Cold War, the War Room (or Old Building) was constructed to house and protect the highest-ranking Government Officials and Staff. Ten years later a second building was added to the South elevation which included dormitories and a canteen. The bunker then became The Regional Seat of Government. It remained active until 1991, when the whole site was decommissioned and the powers held by Cambridge delegated to London. Subsequently most of its furniture and fittings have been removed. All that remains inside the building today is the standby generators, air filtration plants and obsolete items of furniture. Alan Mathison Turing, OBE, was a British pioneering computer scientist, mathematician and codebreaker. He was highly influential in the development of computer science, providing an explaination of the concepts of “algorithm” and “computation” with the Turing machine, which can be considered a model of a general purpose computer. Turing is widely considered to be the father of theoretical computer science and artificial intelligence.
Turing’s legacy has affected us all and improved the quality of lives of people all over the world. By questioning whether machines could think, it could be said that he sparked the birth of the digital age. Today, in the 21st Century, most of us carry a supercomputer in our pockets in the form of a smartphone that allows us instant access to the Internet and social media amongst many other things. Every time we send an email, write a tweet or post a picture data is created. There are now over 50 billion devices now connected to the Internet globally, a rise of 300% in the last ten years and there are expected to be 200 billion by the end of the decade. What is truly staggering is that 90% of all the data currently in the world has been generated over the last two years. The current problem is that all this data needs to be stored somewhere and then analysed to identify and predict changes in a variety of areas from consumer trends to weather patterns. The Alan Turing Institute was established at the end of 2014 by the Government to promote the development and use of Big Data collection and analysis, with the University of Cambridge named as a leading institute for the project.
He attended the University of Cambridge in 1931 to study mathematics where he proved the central limit theorem and was made a fellow at the age of 22; a true ‘Cambridge Mind’, a term used to describe incredibly intelligent students that attend the University. It was here that he fell in love with machines and became enthralled with the development of computers. He was known to go for long walks in the fields south of Cambridge where he would stare at the sky and dream of machines. It is possible that he was in the location of RSG Cambridge twenty years prior to its construction with his imagination running wild. Turing went from strength to strength after leaving Cambridge and his code breaking work at Bletchley Park during World War II, including breaking the German Naval Enigma Code, was so important Winston Churchill hailed him to have “made the single biggest contribution to Allied victory”. The achievements at Bletchley Park had to remain secret as the Government did not want it known that the Enigma Code had been cracked. This meant that Alan Turing was not publicly recognised for his work. After the war, Turing joined the National Physical Laboratory where he worked on developing plans for a computing machine that would later become the ACE, the world’s first supercomputer. In 1952 Turing was arrested and tried for homosexuality, then a criminal offence. To avoid prison, he accepted injections of oestrogen for a year, which were intended to neutralise his libido. On 7th June 1954, Turing was found dead of cyanide poisoning. The coroner’s report deemed suicide although others believe he was murdered, possibly because of the secrecy regarding his work at Bletchley Park. Fig 1.4: Infographic
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The purpose of the Design Report is to inform and support the process of remodelling RSG Cambridge. The aim is to reimagine the Regional Seat of Government Cambridge as an innovative Computer Science space in recognition of Alan Turing, with two primary functions of a Museum and a Data Centre. The building was given Grade II listed status to save and protect it from demolition because of its national importance. It has stood abandoned and empty for over 20 years and has watched the surrounding area transform from Government Offices into a contemporary residential site, designed with the aesthetics of RSG Cambridge in mind. It is evident that the local community did not want to see the Bunker demolished. (see page 235) The exhibition within the Museum space will tell the story of Alan Turing and how his work influenced Computer Science and the start of the digital age. It will be open to the general public and will also amalgamate with the national curriculum in the field of mathematics providing an educational factor to the space for school visits. The opportunity for events to take place such as demonstrations, lectures and workshops running in conjunction with the Data Centre will also be explored.
The Data Centre will be occupied by students and staff from the University of Cambridge to undertake the collection, storage, research and analysis of Big Data, funded by the Alan Turing institute. It will be a private space due to the value of the information however shared areas with the Museum, will be encouraged to show the relationship between the two primary functions. After receiving a posthumous royal pardon in 2013 and the recent motion picture ‘The Imitation Game’, depicting his life, Alan Turing is slowly becoming recognised by the public. With the recently established Alan Turing Institute it seems ideal timing to redevelop this well positioned site within the boundaries of Cambridge, recognised as where he felt most at home, into a Computer Science haven. The space will deal with the past, present and future of the subject and not only for the local and academic community of Cambridge but also the National community as a whole. An Architectural Approach of the preservation and celebration of existing features should be followed where possible while exploring the juxtaposition of both old and new.
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- Study of Intended Use -
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Fig 1.05: Turing Computing Cover
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Alan Mathison Turing, OBE, was a British pioneering computer scientist, mathematician, logician, cryptanalyst, philosopher, mathematical biologist, and marathon runner. He was highly influential in the development of computer science, providing a formalisation of the concepts of “algorithm” and “computation” with the Turing machine, which can be considered a model of a general purpose computer. Turing is widely considered to be the father of theoretical computer science and artificial intelligence.
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Fig 1.6: Alan Turing Poster
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Alan Turing : the man Personal Timeline
Born 23rd June in Maida Vale, London
1912
“...his Cambridge scientific mind made the war a chess game...�
http://www.turing.org.uk/publications/ cambridge1.html
1931
He attended Cambridge University to study mathematics where he proved the central limit theorem and was made a fellow at the age of 22. It was at Cambridge that he developed the ideas that automatic computation cannot solve all mathematical problems. This concept, also known as the Turing machine, is considered the basis for the modern theory of computation.
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Fig 2.1: Turing, Fig 2.2: Machine Fig 2.3: University Logo
1939 Turing joined the Government Codes and Ciphers School and arrived at Bletchley Park the day after war is declared. Here, Turing helped develop the Bombe, a device for decrypting the messages sent by the Germans using their Enigma machine. The Enigma code is broken
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Turing was arrested and tried for homosexuality, then a criminal offence. To avoid prison, he accepted injections of oestrogen for a year. In that era, homosexuals were considered a security risk as they were open to blackmail. Turing’s security clearance was withdrawn, meaning he could no longer work for GCHQ, the post-war successor to Bletchley Park.
1952
His code breaking work at Bletchley Park during World War II, was so important Winston Churchill hailed him to have “made the single biggest contribution to Allied victory”. Winston Churchill
Fig 2.7: Apple Logo Fig 2.6: Turing Apple Fig 2.5: Stilboestrol Fig 2.4: Winston Churchill
1954 On 7th June 1954, Turing was found dead of cyanide poisoning from a contaminated apple. The coroner’s report deemed suicide although others aren’t so sure. There is a rumour that the Apple Logo was inspired by Alan Turing.
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Alan Turing : the machine ‘If anywhere was Turing’s territory, it was at King’s College’
Alan Turing is a man who has been regarded as a British hero, and the father of computer science. However, this has not always been the case. Most of his work was kept a secret from the public eye until as recently as 2012 because they were seen as too important. His OBE, which was issued after World War II, did not disclose what it was awarded for as the Government were keen to keep all codebreaking activity as secret. Turing’s work during World War Two was only shared with staff with the highest security clearance. Turing and his fellow code breakers at Bletchley Park broke the German Enigma code and it is said that it shortened the war by up to two years. However it is not only his code breaking work that Alan Turing is remembered for. He is regarded as the father of computer science, as he was one of the first men to question whether computers could think, when the first general purpose computers were being designed and constructed. It was at King’s College Cambridge where he fell in love with machines. He first arrived at 1931 to read mathematics. In 1935 he was elected as a fellow at the age of 22, and it was then that he wrote his celebrated thesis “On Computable Numbers and the Entscheidungsproblem” questioning whether mathematics is in fact decidable. In 1936 he introduced the Turing test, considered an influential early example of Artificial Intelligence, a term not even created until after his death. The purpose was to test a machines ability to behave like a human.
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Fig 2.9: Turing Runner Fig 2.8: Cambridge University
The day after the outbreak of war in 1939, Turing arrived at Bletchley Park, where he remained until the end of the war. In 1945 he joined the National Physical Laboratory where he worked on a concept that would later become the Automatic Computing Engine. In 1947 even the man who worked like a machine needed a rest and he took a sabbatical year in Cambridge, said to be the place he felt most at home. It is here that it is believed that he went for long walks in the picturesque landscape and dreamed of machines. The Pilot Ace was one of the first computers built in the country. Although designed by Turing in 1946 it was built while he was in Cambridge and ran its first program in May 1950. It was built only intended as a prototype, however it was soon evident that it was a revolutionary design. The effect of Turing’s work on the first computer laid the foundation for the innovative technology that has effected us all and globally improved the quality of human life. It is a great shame how tragically Alan Turing’s life ended as if he was allowed to continue his work, what else would he have done?
Fig 2.12: Bombe machine cogs Fig 2.13: Enigma machine Fig 2.11: Turing Cipher Fig 2.10: Pilot Ace
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The Alan Turing Institute
‘Big Data, or Cloud Computing, is going to play a central role in how we run our industries, businesses and services. Economies that invest in research are more likely to be strong and resilient; the Alan Turing Institute will help us be both.’
Professor Philip Nelson, EPSRC’s Chief Executive
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In 2014, George Osborne announced the establishment of The Alan Turing Institute and that it would receive ÂŁ42 million in government funding for its first five years. The institute will support exploration on methods of collecting, storing and analysing Big Data and Cloud Computing. The aim is to build a bridge between organisations that need development and research in these areas with the research being undertaken at specific Universities. In January 2015 it was announced that Cambridge University will be one of the institutions leading the program.
Fig 2.15: University of Cambridge Logo Fig 2.14: Turing Statue
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Cloud Computing : the future
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Fig 3.1: Demystifying the Cloud
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Breakdown of Spaces within a Data Centre
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Fig 3.2: Data Centre Plans
Recently, the demand for Data Centres has increased rapidly. We all benefit from Data Centres every day whether we realise it or not. Just by using your smartphone or computer for a few seconds creates information that needs to be stored. Cambridge University has rapidly increased its use of electronic data in the last few years and have resorted to converting a variety of rooms around their site to accommodate storage and act as makeshift data halls. The benefits of a Data Centre are that power, structure and safety can be located in the same place making the operation more efficient. The principles of designing a Data Centre can be broken down into four sections; Data Halls, Power and Cooling Plant, Ancillary Space and Circulation. Security is a key consideration to also be considered. Data Halls are large spaces that accommodate data storage servers which use a lot of electrical power and create a large amount of heat. Materiality is usually of that similar to a scientific laboratory. Consequently, this creates the need for a Cooling Plant that circulates cool air and removes heat from the servers. This can be located separately from the data halls and then a ventilation system can be put in place to circulate cool air to all needed spaces efficiently. Back Up Generators are required for use in emergency situations where loss of power or cooling can be catastrophic. It is common for the Cooling Plant and Back Up Generators to be located in the same place. Ancillary space contains accommodation needed to run the building and to keep it secure. Circulation is also extremely important with the consideration of public and private space a key consideration. A member of public should not be able to access a private space as the information stored is extremely important and the equipment required is extremely expensive. Toilets, lobbies, corridors and stairs all fall into this section. Other design considerations include Electrical and Mechanical Plant Battery Back – Up Fire Suppression Equipment Loading Bay Security Accommodation Meeting Rooms Process of Data Collection Engagement Design Begin Measurements Collected Data Available Analysis and Report Generation Deliver Findings & Recommendations Implement Recommendations Measure & Improve Repeat process
Fig 3.3:.Inside a Data Center Fig 3.4: Inside a Data Center Fig 3.5: Inside a Data Center, Fig 3.6: Data Cloud
Fig 3.7: Utah Data Infographic
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A Data Centre is a facility that houses computer systems and components like storage and telecommunications systems. Researchers in Data Centre’s are tasked with converting the immense volumes of data collected by Cloud servers into useful and actionable information. Consumer companies and retail organisations use Data Centre’s to monitor social media such as Facebook to understand customer behaviour and product perception. Hospitals can use the service to analyse medical data to predict if patients are likely to be re-admitted. The uses of Data Centre’s are seen as a good thing by some and bad by others. The reality is that the demand for them is rapidly increasing and shows no signs of slowing down. As Cambridge University is leading the research into Cloud Computing and Big Data in conjunction with the Alan Turing Institute, the RSG Cambridge seems a perfect location for the location of a Data Centre. The Centre will house the site for the development of advanced mathematics, computer science and big data for human advantage. It will attract the top data scientists and mathematicians from the UK, the modern day Turing’s, to break the boundaries of how we use big data in an area of extreme growth. Professor Philip Nelson, EPSRC’s Chief Executive said: ‘The Alan Turing Institute will draw on the best of the best academic talent in the country. It will use the power of mathematics, statistics, and computer science to analyse Big Data in many ways, including the ability to improve online security. Big Data is going to play a central role in how we run our industries, businesses and services. Economies that invest in research are more likely to be strong and resilient; the Alan Turing Institute will help us be both.’
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Fig 3.9:Inside a Data Center, Fig 3.8: Inside a Data Center,
Data Centre’s can vary in size, occupying anything from one room to a whole building. Most of the servers are stored in 19 Inch Rack cabinets that measure 482mm wide and feature protruding edges on each side to allow the unit to be attached to the cabinet. The cabinets are primarily arranged in rows which creates aisles in between them allowing access to both the front and rear. The most commonly used server rack is the 1U which stands at 6 feet (1828mm) so this must be considered with the final scheme. Another factor to consider when designing a Data Centre is the storage of cabling, usually apertures are created in the floor, or ceiling, to house the cables but accessibility is vital.
Fig 3.10: Inside a Data Center Fig 3.11: Inside a Data Center, Fig 3.12: Inside a Data Center, Fig 3.13: Inside a Data Center
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Suggested Parking Suggested New Route to Site Open Space, consideation of Surrounding Buildings required Open Space, workable Old Building, Museum New Building, Data Centre
Fig 4.1: Proposed Site Plan (not to scale)
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Museum
Approach-
Educational Space –
The new proposed route that follows and then crosses the Vicar’s Brook stream via a new bridge will require suitable materiality to ensure safe access to site. The natural landscape should be preserved as much as possible to allow visitors to appreciate its beauty. The building can’t be seen from Vicar’s Brook as it is hidden behind trees making the immediate reaction to such a brutal structure one of shock and awe. The juxtaposition of beautiful natural scenery and brutal reinforced concrete should be clear.
The exhibition will target all age groups and be visited by school groups of up to 50 children, which could require a separate entrance. The current emergency exit located on the North elevation of the New Building could be a suitable option. The educational space will focus on the basics of computing and how simple mathematic algorithm’s can be applied to data to predict changes in trends. The opportunity for staff or students associated with the Data Centre could give talks or demonstrations to the children and even incorporate them into experiments. This would be a clear cross over of the two primary functions within the building. Classrooms, toilets and an eating area will all need to be considered within the space.
EntranceThe entrance to the building is one of the most important spaces of the building. It needs to set the scene and start the narrative; this could include a timeline of Alan Turing’s personal life and his relationship with Cambridge. It is important to have an open space directly after the entrance to reduce the risk of over crowding, to act as a meeting point and to allow visitors to appreciate the building they have just stepped in to. This space should also contain facilities such as toilets, baby changing and possibly a cloakroom. A ticket barrier or desk will need to be included to distinguish between open public space and gallery space. Near this desk should be information, on screen or leaflet, about current and future exhibitions and also site maps to reduce the risk of visitors becoming lost. The colour pallet of the design should be evident upon arrival and consistent throughout. A clear differentiation of public and private space will need to be clear upon arrival and throughout circulation of the building. This could primarily be done using signage however doing this through architectural interventions and materiality should be explored.
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Garden / Exterior SpacesThe building has no apertures for light gain so removing the roof in one or more places will be necessary. The space will allow visitors to appreciate the tranquil natural setting of the building’s surroundings and allow natural light in. Seating, plants and waste collection should all be considered when designing the space. RetailThere could be an opportunity for retail space to sell items such as books to visitors. The shop will focus on educational products correlating with subjects covered within the museum. Information on the history of the bunker could also be available. Café’s / Eateries Due to the sheer size of the building, it is suggested that there are at least two separate areas for eating. They will also act as a meeting point and a place for visitors to sit down and rest if they wish. These areas should include as much natural light as possible with one suggested location being where the canteen is currently located in the New building.
Exhibition SpaceThe space will attract members of the public and also school visits of up to 50 children. For this the space will need to be reasonably large and preferably open plan so that visitors are less likely to get lost and teachers/parents can keep an eye on their children. The exhibition space will be broken into three sections; The Man, The Machine and The Future. These spaces should contrast in materiality and lighting to enforce the narrative. The RSG Cambridge has two buildings adjoined informally known as the New Building and the Old Building, built 10 years apart. This should be considered when designed the exhibition and one option could be to house the sections dealing with the past, ‘The Man’ and ‘The Machine’, in the Old Building and ‘The Future” in the New Building. The Man – This section will focus on Alan Turing’s personal life, his achievements and his relationship with Cambridge. His code breaking work at Bletchley Park should also be included. The story could be started by displaying examples of his early ideas and work such as his letter to his mother at the age of 9 explaining Newton’s first law of motion or his thesis “On Computable Numbers and the Entscheidungsproblem’ that he wrote while at Cambridge. The BBC Prom 8 composed by the Pet Shop Boys and influenced by Alan Turing’s work should be playing as it is an extremely atmospheric piece of music with some effective quotes like ‘Cambridge..1936, Alan Turing lay in a field and dreamed of machines…’ Features should be of a standard display, to represent that of Alan Turing’s day; minimal computerised input. The quote from Winston Churchill stating that Turing made the single biggest contribution to winning the War should also be included.
The Machine – The space will allow visitors to explore Turing’s ideas and work on computers. There should be a clear contrast between the previous space and this space to differentiate his dream and then the reality. Examples of his work such as the Turing test or the ACE computer could be included to show the sheer scale of the machines that he was designing and building. Displays could include hands on mechanical interactive features such as buttons to press and ropes to pull to aid learning. The Bombe machine that cracked the German Enigma code that Turing designed at Bletchley Park during the Second World War should be shown physically by displaying the actual machine to stress the level of innovation it was built with. Artefacts and objects should be displayed at a range of heights with some possibly suspended above visitors to force them to look up and around the entire space. The FutureThis space will focus on the rapid growth of the digital age. This could be done by comparing computers from the past with ones available on the market today. This juxtaposition of objects will clearly show the staggering rate of progression and at the same time should spark questions such as ‘where will we be in 20 years time?’. Questions similar to this could be printed onto displays using a relevant typography. This section should include computerised interactive features such as touch screens and projections to ensure the narrative is clear and allow visitors to visually understand the rapid growth of the digital age. StorageMost art galleries or exhibition spaces suffer from a lack of storage space. Storage space is particularly important with this project because of the large size of the objects on display. However, storage does not have to be a locked room hidden away at the back of the museum. Different layers can be introduced to create versatile uses of space. For example storage units could support a suspended walkway. The importance of security of storage is also extremely high and this will need to be considered in the final scheme.
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Data Centre ReceptionA reception area at the entrance of the Data Centre is necessary to prevent members of the public from entering the space and also to allow staff or visitors to be directed to the right place. Retina scanners that scan and store the information of the human eye will be required as security of the center is of great importance. Fuel TanksFuel tanks are required for Data Centres to provide power throughout the site. Currently there is an original fuel tank measuring 1500mm x 3000mm on the east elevation so the possibility of replacing or restoring it could be explored. Data HallsData Halls are large spaces that accommodate data storage servers that use a lot of electrical power and create a large amount of heat. Blade Servers require less energy and take up less space. The servers measure 800mm x 350mm but a large amount are required and stored in rack cabinets that measure 1828mm x 482mm. High speed ethernet is required for passing large amounts of data between systems. The most commonly used ethernet switches are 100GB. Cooling PlantData Centres produce a lot of energy so the challenge to reduce mechanical cooling and carbon footprint is of importance. Some centres use oil powered cooling systems however water powered is more environmentally friendly. The process involved circulating evaporated water through ventilation systems to purify and cool the space. Back Up GeneratorsTo ensure successful running of the centre back up generators will need to be included to act as an alternative source of power. Generators need to be placed on a raised grid like floor to allow heat outlet from the base.
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WorkstationThere will need to be a minimum of 8 workspaces in which staff can work on both large and small machinery. Therefore it is suggested that workbenches are located against the exterior walls of the space, with open plan large tables in the center of the space. These stations will require power sources for tools and machinery with the correct health and safety requirements put in place. With the rapid increase of tablet computing wireless access points will be required to allow ease of use throughout the site. Digital Data Shredders will be required for the same reason that paper shredders are required in offices. A digital data shredder is a unit which you connect disk drives to in order to wipe them completely. The correct disposal of data is of upmost importance. Loading BayA loading bay and build rooms are needed for the construction and repair of machinery on site. The bay needs to have a large enough opening to easily manoeuvre components in and out of the building. A suggested location for this is where the door is located on the South Elevation. Security AccommodationThe research conducted in the building will, at times, be highly secretive and classified. Therefore there will need to be security considerations around the site, particularly as members of the public are visiting the site. Lecture HallA space for academics, staff or students working at the Data Center to give talks or presentations about their research or progress. The space should be able to comfortably house 50 people.
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Old Building
Museum
New Building
Data Center
P u b l i c Entrance Map Room
Transition between old and new. Possibly exterior space.
Journey to Site
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Fig 4.2: Proposed Site Plan 2
Public
Private
D a t Research
Fig 4.3: Proposed Site Section Fig. 4.4: Crossover of spaces diagram
a
Exhibition
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Curating the objects in the Exhibition Turing’s Letter to his mother aged 10
Turing Test Machine
Newspaper of his pardon
4.8 889mm x 320mm, Machinery 4.7 420mm x 210mm, Paper 4.5 297mm x 210mm, Paper
The Machine
The Man
Typewriter
Turing’s Thesis on Computabe Numbers
4.6 210mm x 297mm, Paper
4.9 612mm x 420mm x 550mm, Machinery 4.10
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fig.4.5: Turing’s Letter to his mother aged 10 fig.4.6:Turing’s Thesis on Computabe Numbers fig.4.7: Newspaper of his pardon
fig.4.8 :Turing Test Machine fig. 4.9:Typewriter fig. 4.10: Pet Shop Boys BBC Prom
The Bombe Machine
The Pilot Ace Machine
4.13 1800mm x 900mm x 1700mm, Machinery
4.14 4.11 1200mm x 500mm x 1800mm, Machinery
The Colossus Machine
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The Future
Hard Drives
4.12 1400mm x 200mm x 1800mm, Machinery 4.16 400mm x 200mm, Machinery fig. 4.11: The Bombe Machine fig. 4.12: The Colossus Machine fig. 4.13: The Pilot Ace Machine Fig. 4.14: Technology Growth
Fig 4.15: Apple iPhone 6 Fig 4.16:Hard Drives
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- Contributors & Partners -
Cambridge Computing HistoryEstablished in 2014, the Cambridge Computing History is an educational charity currently applying for museum status. Its aim is to increase understanding of progress in computing over the last 60 years by exploring social, historical and cultural impact of the digital age. Located a 15 minute drive away from RSG Cambridge and requiring extra space, the building could house objects from the CCH and also a conduct a variety of activities related to computer history. Turing Centenary Arts and CultureEstablished in 2012 to mark the 100th year of Alan Turing’s birth, the exhibition of artworks was created by pioneers of digital art who have been strongly influenced by Turing’s life and ideas. RSG Cambridge could offer display space for the collection or draw inspiration when curating the exhibition. Computer Arts Society – The Computer Arts Society promotes the creative uses of computers in the arts and culture generally. Their aim is to explore the use of computers to create artwork. They regularly curate exhibitions displaying work from contemporary artists who work in this particular field. RSG Cambridge could draw inspiration from the Computer Arts Society and be considered when curating the exhibition within it, particularly in ‘The Future’ section.
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Academic Links
University of Cambridge – The University is renowned globally for its exceptional status as an educational institution, particularly in computer science. Alan Turing attended Kings College Cambridge and later returned as a lecturer, he was truly a ‘Cambridge Mind’. As it has been recently named as heading the research for the Alan Turing Institution, RSG Cambridge would be a perfect place for the research and analysis of Data to take place.
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- Context -
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Fig 5.1: South East of RSG Cambridge
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Why RSG Cambridge was built
Cold War
The dramatic end to the Second World War in 1945 was when the United States dropped two fission atomic bombs on Nagasaki and Hiroshima. The bombs totally destroyed both cities. A few days later the Japanese surrendered and then on 14th August Mr Atlee, the Prime Minister of Britain 1945-51, announced to the British people that they could celebrate peace at last, having fought the Second World War for nearly six years. The Atomic bombs that annihilated the Japanese cities had 2000 times the blast power than the “Grand Slam”, the most advanced British bomb at the time. Thermal radiation produced by the nuclear explosion reached temperatures hotter than the sun. At the point of detonation all inflammable material was ignited and even 4 kilometres away any exposed skin was burnt off. At the time of its creation the atom bomb, which was designed by American and British scientists, was considered a “wonder weapon” and was hailed as the greatest scientific discovery in history. In March 1946, a year later, Winston Churchill warned Europe about “an Iron Curtain that had descended across the Continent”. In a chilling voice the Prime Minister of the United Kingdom delivered his message about a rising Soviet menace. In April 1948, the Cold War deepened when the Russians began imposing severe checks on all rail and road traffic between Berlin and the Western zones in a plan to inhibit West Berlin. This led to the RAF and its Western Allies air lifting food and supplies into Berlin to beat the blockade, which ended a year later in 1949. The Russian threat was becoming increasingly apparent.
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Fig 5.2: Atomic Blast
“The dark ages may return on the gleaming wings of science. Beware, I say. Time may be short”
Winston Churchill, March 1946
In September 1949 news broke in the West that Russia had become a nuclear power and had conducted another atomic explosion. Western governments had doubted Stalin’s ability to catch up with the United States, who had been producing and storing bombs since 1945. It was also widely believed by the West that the Russians did not have the knowledge or skill of nuclear physics or enough fissionable materials to produce a bomb for many years. However, the Russians had obtained uranium ore from mines in Czechoslovakia and East Germany and then forced German scientists to help them design their Atomic bomb. It is believed that slave labour was used to construct several large complexes and secret soviet agents had been engaged in massive industrial espionage to accelerate production of the weapon. In early 1951, the United States tested another Atomic bomb in the Nevada desert. Residents one hundred miles away from the detonation site reported that the flash lit up whole rooms. In November 1952 the United States tested the first Hydrogen bomb on an island called Eniwetok Atoll in the mid-pacific. One eyewitness account reported that the entire island disappeared in the blast. This lethal Hydrogen bomb was hundreds of times more powerful than the atomic bomb. In 1952 Winston Churchill announced that Britain had developed an atomic bomb that would be tested later that year in Australia. It was hoped that by becoming a nuclear power, Britain would contribute to word peace. RSG Cambridge construction begins to protect the most important people in the county in the event of a nuclear attack. The threat was real.
On 14th August 1953, precisely eight years to the day after Mr Atlee’s announcement to the British public that the Second World War was over, the Soviet Prime Minister, Malenkov, told Russia’s Parliament that the Soviet Union had now finally caught up with the United States in the race for nuclear arms. Russia now became the latest holder of the hydrogen bomb. When this alarming claim reached the West it was greeted with both shock and scepticism.
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- Site history -
Provision was made for the continuance of central government through a group of commissioners after civil unrest in the 1920s. In an emergency they were next in command to make decisions on behalf of the government, and in a crisis they could hold all the powers of the state. The country was organised into divisions for administrative reasons. Cambridge was selected as headquarters for the Eastern part of England. Throughout the Second World War Cambridge remained as the Headquarters and when the war ended it retained its role termed as the Headquarters of Home Defence Region 4.
The location is unknown of the headquarters building for the commissioner during the 1920’s and 1930’s. It is believed that the wartime civil defence offices and staff were located in the Temporary Office Buildings constructed on Brooklands Avenue at some point during the Second World War. During the early 1950s the commissioners were issued with “War Rooms” which were able to withstand the effects of atomic blast, fire and radiation. They were usually based in the towns of their wartime predecessors with the exception of two.
Each of the 12 post-war, homeland defence regions in the mainland and Northern Ireland was provided with a War Room. London was subdivided into four regions meaning there were 17 War Rooms in total. Each one cost around £100,000, a considerable amount at the time. These War Rooms provided accommodation for the Regional Commissioner and around 50 key staff. This would have included a scientific advisor, hospital and fire controllers, police and military liaison staff.
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This network of War Rooms was however short lived and with the growing threat of the Hydrogen bomb, in September 1955 the government took the decision to strengthen and enlarge the system of the home defence regions. This new scheme resulted in the commissioners being equipped with larger protected headquarters known as Regional Seats of Government or RSGs. These RSGs were placed in alternative locations to the War Rooms, all but two; Cambridge and Nottingham. This is when the ‘New Building’ of RSG Cambridge was built. Within these centres there were rooms for representatives of the major government departments. The department titles displayed on doors of the Cambridge RSG suggest they reflect the layout in the late 1960s. Accommodation was provided for head officials from The Home Office, Ministry of Health, Civil Defence, Her Majesty’s Stationary Office, Central Office of Information, Ministry of Transport, Her Majesty’s Treasury, Ministry of Public Buildings and Works, The Board of Trade, Ministry of Labour, Ministry of Pensions National Insurance, National Assistance Board, and the Ministry of Agriculture, Fisheries and Food. Rooms were kept free for military liaison officers from the Army, Navy and Air Force. Local government would have been represented by a select few of officials as well as officers from the police and fire services. If legal matters arose in an emergency situation there was a legal advisor, a clerk of court and a commissioner of justice. Everyone was to report to the regional commissioner and his deputy. There was also accommodation provided for scientific advisors as well as support staff such as illustrators, telecommunications and clerical staff. The BBC provided a small number of staff to run a studio and to transmit taped messages and live broadcasts from the regional commissioner.
Fig 5.3: Aerial View of RSG Cambridge
A scheme was devised in 1963 and exercised in 1965, the country was split into 27 sub-regions each administered by a Sub-Regional Control (SRC). Cambridge was designated SRC41. In 1972 the home defence underwent its fifth post-war reorganisation and under this plan the centres of control were renamed Sub-Regional Headquarters (SRHQs) although Cambridge was not listed as one. However it has been confirmed that the structure was maintained throughout the 1970s and during the late 1980s a plan to refurbish it had been put in place to bring it up to the standards required for a Regional Government Headquarters (RGHQ). For all of this time the building was kept in a state of readiness, to be inhabited in the event of developing crisis. It would receive periodic visits from maintenance men and at times was used by designated personnel for training exercises to simulate its wartime role. It is believed that provision was made to sleep around 450 people although this number could have been larger if a ‘hot bed’ system was being used. The building remained in operation until the early 1990s and subsequently most of its furniture and fittings have been removed. All that remains today is the standby generators, air filtration plants and obsolete items of furniture.
context
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historic maps
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Site Map, 1920 RSG Cambridge does not appear on any OS maps until 1970, even though it was built in 1952. This would have been for security reasons. The decision to build a site of Government Offices in this location was because of its close proximity to London. It was felt that due to its rural surroundings, a potential enemy would not attack an area like Cambridge. Site Map, 1950
Scale: 1:5000
The site that RSG Cambridge was built
Fig 5.5: Historic 1950 OS Map Fig 5.4: Historic 1920 OS Map
The site that RSG Cambridge was built
context
044
045
Site Map, 1960
Scale: 1:7500
The site that RSG Cambridge was built
Fig 5.7: Historic 1970 Fig 5.6: Historic 1960
Site Map, 1970
Scale: 1:7500
RSG Cambridge
context
046
- Site Analysis -
047
Fig 5.8: Current OS Map
site analysis
048
spirit of the place
RSG Cambridge sits in a quiet, tranquil setting. The sound of birds tweeting and children playing can be heard constantly and creates a slightly eerie atmosphere while looking at the building. It stands as a brutal reminder of a poignant time in the past and thoughts of captivity, torture and power come to mind while looking at the site. The building’s relationship with its contemporary surroundings makes it feel like it is finally ready to be given a new life.
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Fig 6.1: Site Panorama
site analysis
050
Location & Connectivity
RSG Cambridge is easily accessible by car, train and bus. Cambridge Train station is a fifteen minute walk (5 min) drive north of the site. There is a bus stop at the entrance to the Accordia site on Brooklands Avenue.
Schools University Buildings Government Buildings Driving Routes to Site Motorway (M11)
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Fig 6.2: Site Connectivity Plan
site analysis
052
053
Fig 6.9: Circulation Sketch
The site can also be accessed by bicycle by following the designated cycle lane south from Cambridge city centre along Trumpington Road. Cycling is very popular in Cambridge due to its large student population married with its beautiful scenery. The Cambridge Cycling Campaign is a charity that is run by volunteers who hope to achieve more cycling in the city. Their vision is to extend routes from the city centre out to the fielded areas of Cambridge. Currently, one of the cycle paths runs parallel with Trumpington Road and then along Brooklands avenue. A continuation of the cycle route from Trumpington Road following the Vicars Brook stream, which runs past RSG Cambridge, would increase the potential number of visitors to site. The Accordia scheme was developed with cycling in mind so provision has already begun.
Fig 6.10: Current Cycle Plan Fig 6.11: Suggested Cycle Plan
site analysis
054
Cambridge
Cambridge is a university city in Cambridgeshire, 50 miles north of London. The city is widely known as the home of the University of Cambridge which was established in 1209 and consistently ranks in the top five educational institutions in the world. It boasts notable alumni such as Stephen Hawking, Charles Darwin and Alan Turing.
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Fig 6.3: Cambridge Location Map Fig 6.4: Cambridge University, Fig 6.5: Cambridge University
Today, Cambridge lies at the heart of the high-tech Silicon Fen, a large collection of businesses focusing on biotechnology, software and electronics. It is believed that the area has become so successful due to the academic pre-eminence of Cambridge University. There is a high standard of living throughout the county with good transport links via road, rail and air.
Fig 6.7: Silicon Fen Map Fig 6.8: Silicon Fen Graph
site analysis
056
accordia residential development
“The values of Accordia are those British cities need more of: a subtly controlling masterplan, a collaborative approach and an eye for both the detail and the big picture in the landscape and the architecture.� RIBA
The Regional Seat of Government lies in the southwest corner of the multiple award winning Accordia Housing development, formerly a large site of government offices, entered from Brooklands Avenue. The building sits in an enclosure on the corner of Kingfisher Way and Gilpin Road, a mile south of Cambridge city centre. Currently, the only way to access the RSG is to drive, or walk, through the Accordia housing development. On approaching the RSG from Kingfisher Way, the building does not feel out of place. The layout of the residential properties and angular qualities of the design compliment the brutal aesthetic of the RSG and creates a relationship between old and new. It is clear that the RSG was considered when designing the Accordia development and not hidden or forgotten. Consequently the RSG lies in wait for a new life.
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Fig 6.12: Accordia Plan Fig 6.13: View of Building Fig 6.14: Site Sketch
Feilden Clegg Bradley Studios designed the Accordia development and the aim was to create a desirable place to live that balanced usable private space with high quality public space. The contemporary design replaces traditional exterior garden space with a variety of terraces, courtyards and balconies. Due to the natural beauty of Hobsons Brooke, the idea of bringing the outside in has been explored strongly and is very aesthetically pleasing. This also creates varied viewpoints across the site. The same approach should be taken with RSG Cambridge. The site contains 700 mature trees which have been integrated into the designed landscape and communal gardens. Environmental design was a key consideration it would seem.
Fig 6.15: Accordia Visual Fig 6.16: Accordia Section
site analysis
058
6.17
6.20
6.18
6.23
6.21
The external materials consist primarily of sand coloured brick, similar to the traditional Cambridge Gault clay bricks evident all around Cambridge, Copper and Green Oak. To allow daylight into sub-floor car parking stone gabions are thin and provide a dramatic effect. As these materials elegantly age they will require minimal maintenance. During the construction stage of Accordia, many elements were constructed off site to reduce waste and increase the speed of production. Wind tunnels provide fresh air circulation through the properties of Accordia which could be seen as reference to RSG Cambridge’s brutal ventilation. 6.19
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Fig 6.17: Accordia balconies Fig 6.18: Timber Fig 6.19: Steel Fig 6.20: Gabion Wall Fig 6.21: Car Park Wall
Fig 6.22: Lower Wall Fig 6.23: Collage Panorama Fig 6.24: Wind Tunnel Fig 6.25: Wind Tunnel Sketch
There is a mix of 212 houses and 166 apartments and the masterplan from Feilden Clegg Bradley Studios proposed improvements to cycle routes and integrated cycle parking into the buildings to allow the environment to be appreciated as much as possible. Car parking is also hidden as a way of retaining the natural beauty of the site. The development has a community feel throughout with children playing in the multiple parks and dog walkers in abundance. A consideration of the people who live at Accordia and a respect for the design should be apparent with the new use of RSG Cambridge.
Fig 6.26: Accordia Visual Fig 6.27: Accordia Visual 2
site analysis
060
vicars brook The Vicar’s Brook originally flowed from its spring-line source at Nine Wells, in the parish of Great Shelford, through Trumpington and then into the River Cam at its present-day outflow near River Farm. In the early 17th century, the University and town of Cambridge diverted this stream near “Trumpington Ford” (where the London Road crossed the brook) with a newly created drain that ran, and still runs, into Cambridge. The watercourse is now named Hobson’s Brook from Nine Wells to the point where it divides into the stream, still called Vicar’s Brook, and the artificial channel, called Hobson’s Conduit. Vicar’s Brook is a natural stream that runs past the University Botanic Gardens and then past the building. The proposed new cycle path would follow the Vicar’s Brook stream past RSG Cambridge.
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Fig 6.28: Vicars Brook
Fig 6.29: Hobsons Brook Fig 6.30: The stream Fig 6.31: Suggested Approach
site analysis
062
My Journey & Immediate Reactions
063
Fig 7.1: South East View of RSG
After doing some research in to why RSG Cambridge was built during the Cold War the journey to site was uncomfortable, as one did not know what to expect. My approach to the site by driving through Accordia Housing development created a sense of intrigue but also confusion, leading me to question if I was in the correct location. However, as I reached the far end of the complex I spotted the decommissioned bunker waiting intimidatingly for me. The brutal design and scarred materiality of the structure tells a story of fear. Facing the East Elevation, the heavily industrial ventilation defined the clear function over form key design element of the building. The beauty of the surrounding landscape is only evident on the opposite side of the building. Vinery and moss run across the exterior walls warping into the concrete. As I circulated the site the sheer size of the structure became apparent and made me realize the extent of the importance of the operation that RSG was built for and question how many people would have worked here. With knowledge that the site had been abandoned in 1991 it was clear that it is regularly maintained, possibly by tree surgeons. Due to RSG Cambridge having no entry to the public by any means I left it to my imagination what it would feel like inside the building. By the time I left the site I had ‘become used’ to the bunker and felt excited to breathe a new life and purpose into it, after it has patiently watched the surrounding area transform from Government Offices into a contemporary residential haven and eagerly lies in wait for its turn.
site analysis
064
Setting
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Fig 7.2: Sketch at site
The building has a sympathetic relationship with the landscape. The location of the site was chosen for its hidden quality from above and this is still evident from the tall trees that run parallel with the West Elevation. These trees will need to be considered in the design stage as they effect sunlight on the West Elevation and also currently obstruct views of the building from the public footpath that runs along Vicars Brook Stream. The pebbledash panels on the exterior of the building were added to help the building blend in with its surroundings, although it does not seem to have worked. It is suggested that these panels are considered in the design stage with the possibility of extruding the form out of the building to curate new spaces that reference original features. The panels should also be re-used where possible.
Fig 7.3: Landscape Setting Fig 7.4: Landscape Setting
site analysis
066
Surrounding Landscape
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Fig 7.5: Proposed new route Plan Fig 7.6: Surrounding Landscape
The positioning of a site in relation to its surrounding environment and buildings should inform the design process to ensure a cohesive scheme. The land surrounding RSG Cambridge is relatively flat grass apart from a 10m x 8m dip that sits 15m from the North Elevation. This should be considered in the design process to prevent visitors from harm and to improve its aesthetics. There is limited car parking space around the building. Currently there are spaces allocated for residents however no public parking. Space for visitor parking will need to be incorporated into the scheme. One approach could be to explore using the empty common as a parking area, meaning visitors will not have to drive through the Accordia residential development. Visitors should however be encouraged to use public transport where possible to increase the environmental effectiveness of the scheme.
Fig 7.7: Site Panorama
site analysis
068
Size and shape
069
Fig 7.8: Sketch at Site Fig 7.9: Sketch at Site
Compared to its surrounding buildings within the site, RSG Cambridge spans across a much larger volume of floor space although it is not the tallest. It is overlooked from the north by a residential building primarily inhibited by families and young professionals. It will need to be remembered that the entire building is overlooked when making architectural interventions or apertures for light in the roof. On the East Elevation there is a gap of 3000mm between the bunker and the residential building. The close proximity of the two will need to be considered in the final scheme of RSG Cambridge so as not to cause conflict. The refined linear form of the building resembles strong themes of Brutalism and it is suggested that this is referenced in the re-design of the building.
Fig 7.10: Site Panorama
site analysis
070
Building Analysis
071
b u i l d i n g analysis
072
description The RSG is a two-phase structure, the first being the 1950s War Room and the second being the early 1960s addition. During their working life they were known as the Old Building and the New Building.
N
The building is clearly visible on approach and its weathered, eroded materiality makes it feel forgotton and the absence of windows creates a feeling of intrigue to know what is inside. Old Building, 1952
New Building, 1962
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Fig 8.2: Original Plans
positioning The building sits in an enclosure on the corner of Kingfisher Way and Gilpin Road. Fenced by standard concrete posts with out-turned tops supporting three strands of barbed wire it is clear that the public are not welcome to enter the building. The compound is entered through double gates at its northeast corner.
Fig 8.3: South East of Site Fig 8.4: Fencing Fig 8.5: View of Cambridge University
b u i l d i n g analysis
074
elevations
technical drawings
075
Fig 8.6: West Elevation Fig 8.7: East Elevation
Fig 8.8: North Elevation, Fig 8.9: South Elevation
b u i l d i n g analysis
076
War Room 1953 / Old Building The building is of standard design of War Rooms at the time. It has a rectangular plan of 27.13m by 22.25m with its long axis of south-west-west to north-easteast orientation. It is difficult to identify when exactly construction began. Aerial photographs show that there was no building activity in April 1952, however in May 1953 construction of the War Room was almost complete with all exterior walls built in preparation for the roof slabs. On the North elevation there is a steel blast door with steps leading up to it. Vines engulf the western elevation and part of the northern one, however it seems that periodically the exterior is maintained. This creates a feeling that the building has been trapped in time and is being taken over by the landscape.
077
Fig 8.10: East Elevation
Fig 8.11: Ground Floor Plan
b u i l d i n g analysis
078
079
Fig 8.12: Ventilation Technical Drawing Fig 8.13: Fuel Tank Technical Drawing
Fig 8.14: Photo of Ventilation
b u i l d i n g analysis
080
MATERIALITY Exterior
The building is constructed from self-finish reinforced concrete with the external walls having a depth of 1.57m. It is a stepped structure with a double storey section to the west that houses the map room and associated offices. To the east there is a single storey annexe that accommodates the plant room and also toilets. The roof of The War Room is 1.5m thick and on the single story roof above the plant room there are three flat rectangular exhaust shafts and air intakes. Any rain water that would otherwise sit on the flat roof is collected by cast iron drainpipes and gutters. The upper part of the drainpipes have been encased by stainless steel sheeting, thought to deflect damage from a blast or to prevent anyone climbing up them. To prevent any rain water running down the exterior of the building the roof was extended with a cantilevered gutter. Parallel to the eastern wall of the War Room is a freestanding, unprotected steel fuel tank with a capacity of 6820 litres. (1500 gallons)
081
Fig 8.15: Reinforced Concrete Diagram
8.16
8 .17
8.18
8.19
8.20
8.21
8.22
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Fig 8.16: Steel Pipe Fig 8.17: Blast Door Fig 8.18: Vinery Fig 8.19: Vinery 2
Fig 8.20: Steps to entrance Fig 8.21: Moss Fig 8.22: Blast Door Detail Fig 8.23: Concrete Texture
b u i l d i n g analysis
082
Interior The layout is fundamentally symmetrical and the arrangement of rooms is almost unaltered from the 1950’s. The most obvious exemption is the suspended floor in the formerly double-storey map room in the centre of the building. The interior walls are of self-finish concrete, and in some parts the impression of timber shuttering is visible. Hollow bricks have been used for some internal partition walls. The surfaces of the walls are painted, for the most part in a cream colour. The functions of the rooms that are displayed on the doors probably date from the re-organisation of the War Room in the early 1960’s, after the construction of the New Building. The entrance to the War Room is located on the north elevation, which faces the largest stretch of open space out of any of the elevations. It is accessed up a flight of five steps to a locked steel door. In the most recent phase of use this door became the rear entrance to the bunker. The entrance corridor turns through 90 degrees, also known as a dogleg, to deflect the effect of any blast striking the building. At the end of this short corridor is a steel blast door, which leads into the War Room. Passing the blast door, instantly on the left are female lavatories, which contain three toilet cubicles, three sinks and a shower cubicle. A “Twenty Two” electric boiler supplied by Heatrae of Norwich provided hot water. The interior walls are constructed from hollow bricks. The layout on the opposite side of the building is identical, although the blast door has been removed to give access to the new building. On this side the lavatories are male and as well as the three cubicles, it features three urinals and four sinks.
083
Fig 8.24: Original War Room Plans, Allan T Adams
Between the lavatories is the plant room that contains an air filtration plant and a stand-by electricity generator. The equipment is a mixture of the original plant, installed in 1953 with periodic updates evident. For example, a new electric switch box was installed in 1973. Typically for bunkers of this date, air conditioning was installed using rectangular galvanised metal ducting attached to the ceiling. All electric cabling is housed around the bunker in small metal pipes that are fastened to the wall. Two circuits are evident, normal and emergency. The emergency circuit is usually linked to a single light fitting at the centre of each room. Doorknobs, keyholes and fingerplates are made from Bakelite, an early plastic.
Fig 8.25: Original Plans, Allan T Adams Fig 8.26: Plant Room
b u i l d i n g analysis
084
technical drawings
085
Fig 8.27: Original Section BB1,
Fig 8.28: Original Section AA1
b u i l d i n g analysis
086
interior photographs
087
Fig 8.29: Plant Room Fig 8.30: TeleCommunications Room
Fig 8.31: Shower Fig 8.32: Shower Room Fig 8.33: Air Conditioning Vent
b u i l d i n g analysis
088
At the centre of the building is a square block of rooms which measure 10m2. A corridor runs along the eastern and southern sides of this block that gives access into the rooms, and also the rooms that are arranged around the external walls of the building. A short corridor on the western side gives access to rooms that are on the western part of the bunker. The western half of this central block was originally a double height map room. To the east, smaller control rooms on the ground and first floors overlook the double height map room. This group of rooms housed the main activity within the building. Possibly during the refurbishment of the bunker in the 1960’s, a suspended floor supported by concrete beams and pillars was inserted to create an upper part to the map room. The map room is entered through a door on its southern wall. When in use, the west wall of the map room would have contained a large situation map, and a plotting table would have been in the centre of the room. The rooms that overlook the map room are self contained and entered through doors from the corridor bordering to the plant room. All three of these rooms have observation windows that are metal framed and glazed in 6mm Perspex. At the base of these windows are small serving hatches that allowed messages to be passed between the map room and the control rooms. The tops of the windows are curved in order to give a clear view of the upper part of the map room wall. There is a control room on the southern side of the map room on the ground floor. In the later stages of operation this housed the most sensitive functions in the buildings. Steel doors restricted entry to this block with combination locks and a steel grill was inserted over an opening between the plant room and the eastern corridor.
089
Fig 8.34: Map Room Floor Fig 8.35: Map Room Recreation Fig 8.36: Map Room Diagram
In its final stage of use, the other rooms on the ground floor were occupied by telecommunications equipment. The equipment has largely been stripped, apart from in one room a small loudspeaker unit and a receiver speech unit installed as part of the warning broadcast system. In another room a distribution frame that looks like it was manufactured in the 1980’s remains. Along the western side of the building, rooms contained by teleprinters and tape relay machines, are lined in soundproof boards. Access up to the first floor is via concrete stairs located in the eastern corner of the main double storey block. Concrete slabs support galvanised metal water tanks above the central landings of the stairs. Two more water tanks are located in rooms on the first floor. The floor plan of the first floor is similar to the ground floor plan. The map room and surrounding rooms are replicated in the same place, along the eastern side. As previously stated, the map room was originally double height but a suspended floor was inserted to create an upper room, used as a conference room with access from a door in the southern wall. On the eastern side there are three rooms overlooking it through glazed panels. During the last phase of use, one room was occupied by the Deputy Principal Officer and another by the Deputy Regional Commissioner. The Regional Commissioner’s room was in the northwest corner of the War Room. Along the northern wall were rooms each for a Legal Advisor and a Finance Officer. In the Legal Advisor’s room is a small vertical lift shaft that would have been used to pass messages to the room below. The remaining rooms housed secretarial services.
Fig 8.37: Map Room 2 Fig 8.38: Map Room Fig 8.39: Original Ground Floor Plan
b u i l d i n g analysis
090
Possible interventions
As RSG Cambridge is constructed from reinforced concrete, the reworking and reuse of the buildings original form should be explored. The double height map room at the heart of the building could be used as the main exhibition space of the museum. Bringing light in from apertures in the roof could be one possibility. The Interactive Museum in Spain, designed by Nieto Sobejano architects, features large circular courtyards that allow natural light to flood in to the otherwise dark spaces. Inspiration could be taken from this for the scheme of RSG Cambridge.
091
Fig 8.40: Map Room Sketch Fig 8.41: Skylight Fig 8.42: Courtyard Fig 8.43: Section
Insertions could be made into the concrete walls however it must be considered that the correct support implementation are put in place.
Fig 8.44: Concrete Diagram Fig 8.45: Working with existing openings Sketch
b u i l d i n g analysis
092
Regional Seat of Government (early 1960’s) / New Building
It is unclear of the exact date at which RSG Cambridge was constructed as the only obtainable design drawing for the period is dated April 1962. It is believed however, that The Regional Seat of Government was constructed in 1963 when the original War Room was rebuilt and the new building was to become one of three central command Armed Forces Headquarters. The plan was dropped later in 1965. The building remained in use, accommodating staff and equipment, until the end of the Cold War in 1991 which resulted in the closure of all similar RSG’s.
093
Fig 9.1: East Elevation Fig 9.2: Ventilation Technical Drawing Fig 9.3: Reinforced concrete
Fig 9.4: South East Panorama
b u i l d i n g analysis
094
description
The RSG is located against the southern elevation of the War Room and its former entrance has been retained as a connection between the old and new building. The structure is double storey standing at 6.8m and heavily protected as it is constructed from reinforced concrete. The building is notable for the elaboration of the concrete surfaces. In contrast to the plain surface finish on the exterior of the War Room, all of the RSG’s exterior elevations are separated into panels measuring 2.44m by 1.12m. Arranged in an alternating pattern they are slightly raised with a washed gravel finish that looks similar to modern day pebbledash. There are plain finish panels in between the gravel washed ones. The pattern was created using shuttering boards at various heights to produce an uneven finish. Similarly to the War Room, all the rainwater pipes are encased by curved stainless steel shields. On the buildings eastern elevation at ground level is a steel plate bolted to the wall that secures an opening to the plant room, measuring 1.88m by 2.50m. There are four openings on the same elevation that allow air intake into the filter room. Three of these openings measure 1m square and the most southern one is 1.5m wide. Over these openings and above the roof lines at opposite ends of the elevation are raised exhaust vents. The southern elevation has a double set of double doors measuring 1.44m by 2.08m and to the west a single steel door provides the main entrance to the RSG measuring 0.9m by 2.08m. The western elevation is reasonably featureless apart from two security lights attached on either corner. The northern elevation has a single emergency exit door constructed from steel and measuring 2.44m by 1.14m A tall steel framed radio mast has been removed from the roof of the building.
095
Fig 9.5: New Building Ground Floor Plan
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9.11
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Fig 9.6: Steel Pipe Fig 9.7: West Elevation Fig 9.8: Pebbledash Texture Fig 9.9: Concrete Texture
Fig 9.10: Vinery 2 Fig. 9.11: East Elevation Vent Fig 9.12: East Elevation Vent 2 Fig 9.13: East Elevation Vent 3
b u i l d i n g analysis
096
The main entrance to the RSG is in the southern elevation. It leads into a small lobby area which is protected by a steel blast door, possibly the one removed from the War Room. Immediately after the lobby area is a staircase which leads down to both the basement and the first floor. The basement level is directly beneath the plant rooms and features a large Braithwaite tank that holds an emergency water supply, and in a separate room is a large diesel storage tank. A corridor from the lobby runs along the width of the building towards the former northern entrance of the War Room. On the eastern side of this corridor are the plant rooms, which, like the plant rooms in the Old Building, had periodic refurbishment; with the C plant had only been run for 58 hours. Inbetween the C and E plants is a small room which accommodates standby batteries. At the far end of the corridor, doors open into large rooms which would have been equipped to house government departments and secretarial services. Roughly halfway down the main corridor another corridor runs towards the west which gives access to rooms occupied by other government departments and a BBC studio. When the building was closed the studio was undergoing refurbishment which is evident from the unfinished plaster on the walls and some loose hanging wires. The corridor then turns northwards to stairs up to the first floor. A large L shaped room in the central block accommodated the Ministry of Defence as well as armed services, including three small rooms for the Army, Air Force and Navy.
097
Fig 9.14: New Building Plant Room Fig 9.15: New Building Plant Room 2 Fig 9.16: New Building Ground Floor Plan
The staircase just after the lobby, near the entrance, opens out on the first floor into a small corridor. At the end of this corridor is the main axial corridor which runs directly above the one on the ground floor. Male and female lavatories are located at the end of this corridor. There is a large recreational room and a self-contained radio room adjacent to the male lavatories. To the west there are five identical male dormitories, all entered from single doors along the main corridor and all having interconnecting doors to the rear. Each dormitory contained two and three tier bunk beds and was capable of sleeping 50 people. There is a large kitchen in the southern part of the bunker, adjacent to the ladies lavatories. It is equipped with two electric ovens, three sinks and two water boilers along its eastern wall. There is a tea bar on the opposite side of the room, equipped with an Automatic Still Boiler. A narrow corridor around the end of the stairs connects the kitchen and dining area, followed by two female dormitories which slept around 60. There is an L shaped room in the south west corner with a large communal centre in the middle. There are small rooms along the walls which would have been occupied by officials from various different government departments. At the end of the corridor is a storage room and next to it the sick bay which is over the lobby of the emergency exit.
Fig 9.17: New Building First Floor Plan Fig 9.18: New Building Plant Room 3 Fig 9.19: New Building Kitchen
b u i l d i n g analysis
098
interior photographs
099
Fig 9.20: New Building Corridor Fig 9.21: BBC Studio
Fig 9.22: Blast Door Fig 9.23: Blast Door 2 Fig 9.24: New Building Air Conditioning
b u i l d i n g analysis
100
101
Fig 9.25: Office Room Fig 9.26: Sinks
Fig 9.27: 1950’s Power Switch Fig 9.28: 1970’s Power Switch Fig 9.29: Tea Bar Ground Floor
b u i l d i n g analysis
102
detail
technical drawings
103
Fig 9.30: Section, Allan T Adams
Fig 9.31: Ventilation ÂŹSection, Allan T Adams
b u i l d i n g analysis
104
105
Fig 9.32: Plant Room Plan, Allan T Adams
Fig 9.33: Control Room Plan, Allan T Adams,
b u i l d i n g analysis
106
‘On the Beach at Cambridge’ adrian mitchell, 1980’s
Adrian Mitchell, a poet, was moved by the sheer presence of the Regional Seat of Government at Cambridge and wrote a poem entitled ‘On the Beach at Cambridge’. Inspired by the novel ‘On the beach’ by Nevil Shute 1957, he described what it would be like to emerge from the bunker after a nuclear holocaust.
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Fig 9.34: On the Beach at Cambridge, Poem, Adrian Mitchell
b u i l d i n g analysis
108
found at site
tape relay instructions
Instuctions on how to operate the Tape Relay in the Telecommunications Centre of RSG Cambridge were found inside the building the last time any members of public were allowed inside. This confirms that telecommunication operations were excercised during RSG Cambridge’s original use.
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Fig 9.35: Tape Relay Centre, found at site.
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- Environmental Analysis + Strategies -
re-use
recycle
celebrate existing features
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Summer Sun Path N
Winter Sun Path
SHADED AREAS
Fig 10.1: Sun path Diagram
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sun path analysis
The site will gain the sun all year round with the South elevation receiving the most uninterrupted sunlight. The west elevation currently receives the least sunlight due to the tall trees that run parallel with the exterior wall. As mentioned before, a residential building to the north overlooks RSG Cambridge, although this does not majorly affect the sun across the site but it does create a dark space between the two buildings. This is also the case to the west of the building. The site receives roughly 8 hours of sunlight a day between April and August which should be considered when arranging Photovoltaic cells.
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Fig 10.2: Sunrise Summer Fig 10.3: Midday Summer Fig 10.4: Sunset Summer
Fig 10.5: Sunrise Winter Fig 10.6: Midday Winter Fig 10.7: Sunset Winter
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Roof suggested interventions
Old Building
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New Building
Fig 10.8: Suggested Interventions Section
RSG Cambridge has a large amount of flat surface area on its roof. This area should be utilised possibly for double height spaces, balconies or solar panels. At present RSG Cambridge has no windows meaning that no natural light can enter the interior space. This was so that the building was completely blast proof. To allow natural light into the space, it may be possible to make interventions in the roof. An area where this could be done is where the dormitories are located on the first floor. The area has no real historic importance and would receive undisrupted sunlight all day.
Possible light
Apertures
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Fig 10.9: Inner courtyard / Isay Weinfeld House in Sao Paulo, Fig 10.10: Concrete Roof Light Fig 10.11: RSG 3D Diagram
Potential Space Photovoltaic cells
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Possible Apertures for light
Fig 10.12: RSG Possible Apertures Fig 10.13: RSG Possible Aperture
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environmental considerations
Solar Gain Solar Gain refers to the rise of temperature in a space resulting from sunlight. The level of solar gain rises with the strength of any sunlight and any intervening material to obstruct the radiation. Within design it is usually the aim to maximise solar gain inside the building during the winter months and to control it in the summer.
Thermal Mass RSG Cambridge is primarily constructed from concrete and therefore has a high thermal mass. Thermal mass is the abaility of a material to absorb and store heat energy. The ability of heavyweight buildings to stay cooler during the summer by absorbing heat on warm days is well known. However this continues all year round and can reduce the energy needed to keep a structure like RSG Cambridge warm during the winter months. This is due to thermal mass being captured from south facing windows therefore architectural interventions to the South Elevation should be included in the final scheme.
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Fig 10.14: Passive Solar Design Fig 10.15: Thermal Mass Diagram
concrete Working with the existing concrete structure should be explored where possible. Perforating the material creates inlets for natural light and views in and out of the building. This technique could be seen to represent a futuristic, scientific aesthetic that could work well in the final scheme.
Fig 10.16: Tile & Concrete Fig 10.17: Perforated Concrete Fig 10.18: Perforated Concrete
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Ferrari Museum Designed by Shiro Studio, the Ferrari Museum is located in Modena and is renowned for its energy efficient design and environmental sustainability. It includes a geothermal system which circulates air conditioning throughout the building and a varied use of natural and artificial light. The roof structure is made from curved yellow aluminium, the same as the Ferrari logo, with incisions to allow natural light to flood into the space and also acts as ventilation. The design celebrates the aesthetic values of vehicle design. The form is constructed by using a patented tongue and groove system. Similarly to RSG Cambridge the Ferrari Museum has two buildings. The designers wanted to express a sensitive relationship between the two buildings and this was done by creating views out of the new building, framing the old building. Visitors have uninterrupted views into the whole exhibition space and the walls and floors transition subtly into one another.
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Fig 10.19: Ferrari Museum Roof Fig 10.20: Ferrari Museum Aerial View
Fig 10.21: Ferrari Museum Roof 2 Fig 10.22: Ferrari Museum Plan, Fig 10.23: Ferrari Museum Roof 3 Fig 10.24: Ferrari Museum
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sustainable design considerations
In 2012 the Accordia Bridge Group submitted an application to Cambridge County Council to construct a footbridge across Hobsons Brook, the stream that runs past RSG Cambridge. The application was approved although the bridge was never built. Inspiration can be taken from this plan as placing a bridge in this location would improve circulation and access to RSG Cambridge.
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Fig 10.25: Proposed new Footbridge by Accordia Bridge Group
refurbishment of concrete buildings
The Refurbishment of Concrete Buildings document, produced by The Building Services Research and Information Association, provides guidelines for the refurbishment of concrete buildings. The focus is on office buildings, but much of the information is applicable to other building types. The document provides clear structural considerations and should be used in the design stage of RSG Cambridge.
sustainable design and construction
‘The Sustainable Design and Construction’ document was issued by Cambridge County Council in June 2007. It outlines requirements to be followed for any construction in the area. It explains that we all owe it to future generations to design in ways that reduce waste, minimise energy requirements and use local and renewable energy sources. The final scheme should comply with this document as much as possible.
Fig 10.26: Refurbishment of Concrete Building Fig 10.27: Sustainable Design and Construction
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Big Data Impact on Sustainability The rapid growth of data collection and computing technology means that we now have more information than ever before available to us. The majority of data is generated by people going about their daily lives; simply carrying a smart phone around with them and browsing the internet, social media or sending emails and texts. It has been estimated that in 2020 there will be 300 times more information data in the world than in 2005. Understanding and analysing data can achieve positive results such as Nate Silver’s United States election predictions. This has led to a high demand for Data Centres globally and in most cases they are constructed with minimal regard for the environment. However 42U, a ‘green’ data centre website have identified three ways of improving sustainability:
Reducing overall power Under floor cooling Hot & Cold Aisles
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Fig 10.28: Improving Energy Utilisation,
Cold Air directed to cold aisles Hot Air exhausted from hot aisles Bypass Airflow should be monitored Limit obstructions and openings
Fig 10.29: Hot & Cold Aisles Fig10.30:Improving Environmental Conditions
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Case Studies
The Science Museum 127 Kelvedon Hatch 163 Bletchley Park 189
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The Science Museum
The Science Museum Exhibition Road South Kensignton London SW7 2DD
Fig 11.1: Science Museum Fig 11.2: Science Museum Logo
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Introduction
The Science Museum is located on Exhibition Road in South Kensington, London. Founded in 1909 and designed by Sir Richard Allison, was opened to the public in stages at various different stages between 1919-28. It is now one of London’s most popular attractions. General admission is free. The Science Museum prides it self as being the home of human ingenuity. Across its five key locations in London, Manchester, Bradford, York and Shildon it contains over 7 million objects and attracts 5.1 million visitors annually. The collections tell numerous stories of human ingenuity and how inventions and ideas have changed the way we live. A key goal for the museum is to understand and celebrate the past, but to also keep up with the latest innovation and what is in store for the future. The decision was taken to visit the Science Museum to study the General Arrangement of the Museum with an analysis of specific exhibitions to aid with the design process of RSG Cambridge.
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Fig 11.3: Science Museum Interior
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Location
The origins of the Science Museum can be traced back to the Great Exhibition of 1851, an extremely successful exhibition that made a large profit. Prince Albert had been closely involved and suggested the profits should be used to buy land in South Kensington and construct libraries and museums; hence why the area boasts many national institutions such as the Natural History Museum, the Victoria & Albert Museum and the Royal Albert Hall.
The Science Museum is surrounded by the Natural History Museum and the Royal College of Art University Building. This presents a problem for the inlet of natural light and has been addressed by creating spaces for light to flow from the roof down to the ground floor.
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Fig 11.4: Location Plan
Transport & Connectivity
The Science Museum is easily accessible by the London Underground. A tunnel from the exit of South Kensington station runs directly past entrances to the Victoria & Albert Museum and the Science Museum.
Fig 11.5: Science Museum Entrance Tunnel Fig 11.6: Science Museum Entrance
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ACCESS & ENTRANCE
You enter through the traditional faรงade doors which are permanently open and then through a secondary glass door. Nice juxtaposition of old and new on arrival. There is a large open space between the entrance and the ticket office to accommodate for busy periods. Natural light floods into entrance area through original windows and additional artificial lighting panels are mounted on the ceiling. Using this technique reduces glare and makes the artificial lighting subtle and unnoticeable. This technique is effective and should be considered in the design stage.
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Fig 11.7: Science Museum Entrance Plan Sketch
Fig 11.8: Science Museum Entrance 2 Fig 11.9: Entrance Lighting
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Immediate Reactions
Impressive display of bicycles mounted on the ceiling tells the story of progression. This display forces the visitor to look up while entering the museum and acts as a simple summary of the story of progression told throughout.
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Fig 11.10: Entrance Bicycles
Views & Vistas
Display Techniques
Views over other exhibitions are regular. This helps the visitor understand where they are in the building. Some pieces are displayed in “open space” – an area that can’t be reached but can be viewed from various different points around the building.
Thetechnique of mounting displays at various different heights is consistent throughout the museum and shows a clear hierarchy of information throughout.
Fig 11.11: Science Museum Atrium Fig 11:12: Science Museum Atrium 2
The graphics wall that faces the entrance informs visitors of what the intention of the museum is. Sets the scene - Home of human ingenuity. Clues of what is inside
Fig 11.13: Science Museum Gallery Fig11.14: Science Museum Information Screen
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“Mummy..” “What’s that?”....
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Fig 11:15: Infographics Board
Genius Loci
It is clear you are here to learn. From typography & facts on the walls raising questions. The visitor is then intrigued to find out the answer. On arrival the sound of children asking questions could be heard in abundance. The majority of visitors to the Science Museum on the day that I visited appeared to be families with young children. This is due to the ‘Launchpad’ area. It is a hands on area where children can ‘learn from doing’, thought to be the most effective method of learning. It is also a bonding experience for parents and children with parents explaining to their children the processes of things like power, pressure and heat.
Fig 11.16: Typography Fig 11.17: Science Museum Launchpad Entrance Fig 11.18: Typography 2
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Circulation It is extremely easy to navigate around the Science Museum because of how simple the circulation through the building is. The primary route is a straight line through the centre of exhibition spaces from the entrance to the Wellcome Wing. This means that if you wish to visit a specific exhibition you can reach it easily without getting lost in other displays.
Staircase
The secondary route is taken by visitors that wish to explore the whole museum, allowing them to freely explore the space in a journey of their choice.
Staircase
Staircases and lifts are frequently located around the Museum making circulation around the building easy and simple.
P r i m s r y Route Seconday Route
Staircase
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Fig 11.19: Science Museum Escalator Fig 11.20: Science Museum Circulation Diagram
Exit
Entrance
Materiality
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In the Making the Model World exhibition there is an architectural intervention of a glass ‘Model Bridge’. The space contains historical models and is an effective way of creating space by layers. Objects can be displayed on the bridge, giving visitors a different view of the whole exhibition. The space underneath the bridge act as segregated display areas and storage spaces.
The materiality of the flooring throughout the museum is polished tile which is easily maintained. It gives a clean clinical feel which is relevent with the scientific theme of the Museum.
Fig 11.21: Science Museum Display Fixture Fig 11.22: Science Museum Glass Display Fig 11.22 Science Museum Glass Display
Fig 11.23: Science Museum Pattern Pod Flooring Fig 11.24: Science Museum Interior Panorama
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Fig 11.25: Science Museum Making the Modern World Gallery
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Threshold The Science Museum was constructed in various different stages, the East Block was constructed in 1913 and the Children’s Gallery in 1931. The centre block was constructed in 1963 and the Wellcome Galleries in 1980, followed by the construction of the Wellcome Wing in 2000. The various different stages of construction have created a varied threshold throughout the building. As visitors circulate the building they pass through a bright naturally lit double height space before entering a single height dark artificially lit space. This contrast of old and new and different layers is very effective.
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1. Entrance - A light, open, single height space. Natural + Artificial lighting 2. Energy Hall - Triple height space with an impressive atrium rising from the floor to the ceiling allowing natural light to flow in. 3. Exploring Space - A dark single height space with no natural light, only artificial. 4. Making the Modern World - A double height exhibition space with the main source of light being natural sunlight spilling in from the original windows. 5. Wellcome Wing - A triple height space with suspended floors, lit primarily by artificial lighting with a tinted glass wall.
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Fig 11.26: Science Museum Ground Floor Plan Fig 11.27: Science Museum Threshold Sketch
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Fig 11.32: Science Museum Wellcome Wing
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Light & Lighting Artificial lighting panels are mounted onto the walls of the Wellcome Wing creating a completely different aesthetic in the space than the Making the Modern World exhibition. The Deep Blue restaurant’s tables have LED’s mounted under the surface and illuminates visitors as they eat. The aesthetics of the lighting in the Wellcome Wing is extremely important in creating the scientific, futuristic atmosphere.
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Fig 11.33: Science Museum Wellcome Wing Lighting Fig 11.34: Science Museum Wellcome Wing Entrance Lighting
Fig 11.35: Science Museum Wellcome Wing Lighting 2 Fig 11.36: Science Museum Wellcome Wing Lighting 3
Natural light seamlessly filters into the Wellcome Wing through a blue tint glass wall. The floors of the exhibitions in the Wellcome wing do not touch the glass wall. This allows more natural light into each floor, than if the supporting floors were joined to all four exterior walls. The effect of this causes anything that is white to illuminate, creating an atmospheric effect. The effect allows the map to be readable when in all parts of the Museum, an example of good design.
Fig 11.37: Science Museum Wellcome Wing Looking Up Fig 11.38: Science Museum Wellcome Wing Map
Fig 11.39: Science Museum Wellcome Wing Shoe Fig 11.40: Science Museum Wellcome Wing Light Sketch
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Breakdown of Spaces
The museum has a variety of café’s and eateries available on every floor which means if you want to get something to eat you don’t have to leave the floor that you are currently on. They are also designed with a large open space in front to allow for queues to form.These spaces should be included in the re-design of RSG Cambridge because of its large size, visitors will require refreshments and place to stop and rest. The opportunity for an outside eatery should be considered due to the relationship with the landscape of Hobson’s Brooke, to the west of the building. Toilets are easily accessible on all floors of the museum, located next to each exhibition space. These will be necessary in the final design and should be easily accessible from all parts of the building as they are here. Separate baby changing facilities are located on the ground floor by the Exploring Space gallery. This is a space that should also be included in the final design. There are also dedicated Picnic Areas allocated to those bringing a packed lunch with them. This could also be considered in the design process for RSG Cambridge. Information desk manned by members of staff to provide help for any visitors who may fall ill or to answer any questions. Guide dogs are welcome throughout the Museum and this will have been considered in the design of the exhibition, if only briefly. This should also be considered during the design process of the RSG Cambridge. Two first aid rooms are on the Ground Floor to tend to patients who fall ill or are injured. There is a cloakroom located on the lower ground floor of the Museum. This is an area which should be included in the final design. The science museum has a bookshop on the ground floor, near the entrance. This is a space that should be considered in the design stage of RSG Cambridge. Storage spaces are an extremely important space to consider with the re-design of RSG Cambridge and should be tackled by creating space with layers.
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Fig 11.41: Science Museum Plan & Section
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Signage
Clear signage is used to reduce the risk of visitors being unable to find the museum. From visiting this case study I have understood the importance of signage around the broader site to both inform the public of the museum and also to direct visitors to it, and also to aid navigation around the building once inside.
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Fig 11.42: Science Museum Exterior Signage Fig 11.43: Science Museum Interior Signage, Fig 11.44: Science Museum Interior Signage 2
Fig 11:45: Science Museum Exterior Signage 2
Fig 11.46: Science Museum Antenna Signage
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Pattern Pod Pattern Pod is located on the Ground Floor of the Wellcome Wing and is aimed at children under the age of 8. It invites visitors to explore how identifying patterns makes it simpler to understand the nature of things as studying patterns is a crucial part of scientists work. Visitors can meet working scientist or become the subject of live experiments. To explain the intention of the exhibtion, there is a projected video of a clear water pond onto a rubber mat on the floor. The video projector has motion sensor built into it so that when you walk across the ‘pond’ a ripple effect is created. Sounds also react to the sensors such as a water effect.
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Fig 11.47: Science Museum Pattern Pod Fig 11.48: Science Museum Pattern Pod 2
Fig 11.49: Science Museum Pattern Pod 3 Fig 11.50: Science Museum Pattern Pod Projection Sketch
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Interactive Features
The Science Museum is not just a building filled with historical artefacts. In 1931, Colonel Sir Henry George Lyons encouraged curators to use the museum’s collections to tell stories. The Children’s Gallery was opened later that year and was a great success with buttons to press and handles to turn. The museum is now a family favourite, providing visitors with happy memories and ensuring that they return one day with their children. The rise of digital technology has enabled exhibition designers to incorporate more and more interactive features into the galleries. Interactive features such as the use of reactive projection, touch screens and hands on equipment aids with the story telling throughout the museum. This works well at the science museum and interactive features should be a consideration in the design process of RSG Cambridge. Interactive touch screens give visitors an insight into the science behind the displays and research into ways that children play and learn.
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Fig 11.51: Wellcome Wing Interactive Screens Fig 11.52: Wellcome Wing Interactive Screen Unit Fig 11.53: Wellcome Wing Interactive Screen Display
Fig 11.54: Wellcome Wing Interactive Projection Fig 11.55: Wellcome Wing Bench Fig 11.56: Wellcome Wing Interactive Projection 2
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Information Age: Six Networks That Changed Our World
‘One of the biggest challenges on the project was how to give the objects a voice...’ Universal Design Studio
The exhibition was designed by Universal Design Studio and explores the impact of communication technology. It is the first permanent exhibition in the UK dedicated to the history of communication technology. The impressive layout consists of a ‘monochromatic landscape’ including an elevated walkway, which is partly supported by story boxes. These boxes house projection rooms and are an effective amalgamation of structural support and display techniques. The walkway allows different viewpoints of the exhibition and allows visitors to explore at their own pace. By focusing on the stories of inventors and users, visitors can fully understand the impact of the technologies on all of our lives. There are six separate story boxes: Cable, Broadcast, Exchange, Constellation, Web and Cell. The concept is similar to that of peering into windows at night, gaining a privileged insight into someone else’s world. It is primarily lit by natural light spilling in from large windows.
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Fig 11.57: Information Age Walkway Sketch Fig 11.58: Information Age Visua
Fig 11.59: Science Museum Information Age Fig 11.60: Science Museum Information Age Supercomputer
Fig 11.61: Science Museum Information Age Walkway
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Unlocking Lovelock The Unlocking Lovelock exhibition is dedicated to celebrating the life of the inventor and scientist James Lovelock. The designers have divided up the space using strategically places display boards that guide visitors through the display ensuring that nothing is missed. Information is displayed through the use of contemporary infographics and typography on display boards along with personal belongings of James Lovelock. This method was an effective way of displaying facts although it was not as aesthetically pleasing as the Information Age exhibition. The display boards feel too large for the space and disrupts circulation. This is a problem to be aware of when designing the exhibition space of RSG Cambridge
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Fig 11.62: Unlocking Lovelock Circulation Sketch
Fig 11.63: Unlocking Lovelock Typography Fig 11.64: Unlocking Lovelock Display Boards
Fig 11.65: Unlocking Lovelock Display Boards 2 Fig 11.66: Unlocking Lovelock Screen
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Expressive Qualities
On the basement level of the museum is the switch room that houses utilities such as power generators, temperature control and ventilation. Instead of being hidden from the public it has been exposed and educates visitors of its purpose with hands on features. This could be considered with the re-design of RSG Cambridge as it contains a similar space; the plant room. The Making the Modern World exhibition was designed with the intention of accommodating functions and meals when the museum is closed to the public. The versatility of space at the Science Museum is effective as it allows the space to be used for a variety of activities, not solely an exhibition space. The museum tells the story of its exhibitions most effectively by displaying historic artefacts such as the first supercomputers and machines. The same approach should be considered with the re-design of RSG Cambridge.
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Fig 11.65: Science Museum Detail Fig 11.66: Science Museum Switch Room Fig 11.67: Science Museum Switch Room Temperature Control,
Fig 11.68: Science Museum Supercomputer 2 Fig 11.69: Science Museum Supercomputer 3
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450,000 young people visit the Science Museum on educational trips annually, more than any other museum in the country. Appealing to schools and colleges and developing a scheme that ties in with the national curriculum is to be explored for RSG Cambridge. The museum organises an event called ‘Science Night’, described as an all night extravaganza with a scientific twist. It is for children aged 8-11 where an evening is spent taking part in fun scientific activities and then can stay overnight sleeping in the museum. The museum also organises adults only evenings of the last Wednesday after every month. These range from lectures to silent discos. The versatility of the Science Museum is very impressive as there is always an activity taking place. This should be a consideration when designing RSG Cambridge.
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Fig 11.70: Science Museum Science Night
Fig 11.71: Science Museum Lates Logo Fig 11.72: Science Museum Lates
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Kelvedon Hatch Secret Nuclear Bunker
Kelvedon Hatch Secret Nuclear Bunker Crown Buildings Kelvedon Hall Lane Kelvedon Hatch CM14 5TL
Fig 12.1: Kelvedon Entrance
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introduction Built in 1952 Constructed by Peter Lind & Company Originally used as a ROTOR air defence station Now a museum, accurately restored to its originally working state I chose to use Kelvedon Hatch as a case study because it was commissioned at the same time as RSG Cambridge and has been restored back to its original working state. Visiting it will allow me to really understand the day to day runnings of the building when in use and observe the objects that occupied the spaces.
context Construction started in 1952 and was completed in 1953 by the Air Ministry as a Royal Air Force defence station, part of the ROTOR project to improve Britain’s air defence and radar system. It provided command and control of the London Sector of Fighter Command. It then served as a civil defence centre for a short period in the 1960s before becoming a Regional Seat of Government Headquarters. From 1970 to the early 1990’s it was kept as an emergency defence site by the government. When nuclear threat was seen as diminished in the early 1990’s, the bunker was sold back to family who originally owned the land in the 1950’s. Today it is a Cold War museum and contains original ROTOR and RSG features.
Fig 12.2: Kelvedon Telecommunications
The bunker accommodated hundreds of staff and could sustain them for up to three months in the event of an emergency. The bunker was decommissioned in 1992 and sold back to the original owners. It has been renovated and is now a museum and can also be hired by TV and Film crews alike. It is privately owned and administered by J.A. Parrish and Sons. It has no financial help from any organisation or outside support.
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Location
The bunker is located at Kelvedon Hatch, Brentwood in the county of Essex.
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Fig 12.3: Kelvedon Current OS Map
Access and entrance From the car park, you follow signs for the ‘Secret Nuclear Bunker’ into and through woodland, which runs next to a paintball centre. The sound of screaming children while on the way to a bunker is an uneasy, strange but ironic experience given the original purpose of the bunker. The path is steep and muddy and is not suitable for wheelchairs and prams. This is a negative as it reduces the number of people able to visit. Wheelchair and pram access should be considered in the design stage of RSG Cambridge. The entrance is accessed through an ordinary looking bungalow, which was to resemble a typical farm cottage. This was standard for ROTOR stations to conceal and disguise its true purpose. Its deceptive appearance conceals the steel shutters and bombproof doors. The bungalow is set amongst trees and could not be seen from an aerial view when constructed (as was RSG Cambridge) , although today some trees have been cut down exposing it.
The use of signage is important at the site as it would be easy to get lost on the site without them. They are effective at Kelveden Hatch, as there is a lack of staff present, in navigating visitors to the entrance of the site. The effective use of signage should be evident in the re-design of RSG Cambridge.
Immediate Reactions
As you step out of the car you are greeted by a sign reading ‘you are now stood above the secret bunker’ which created a sense of intrigue and asked the question ‘so how do we get in?’. Time Capsule
Fig 12.4: Kelvedon Entrance Path Fig 12.5: Kelvedon Entrance Signage Fig 12.6: Kelvedon Entrance Signage 2 Fig 12.7: Kelvedon Entrance Signage 3
Fig 12.8: Kelvedon Entrance Signage 4
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Transportation links & connectivity
The location of the bunker was chosen for its remote location so can be slightly tasking to find. The bunker can be accessible via car from the A128 Chipping Ongar to Brentwood Road. Visitors are reminded to look out for the brown tourist signs. The closest train station, Brentwood, is 4.5 miles away and visitors can get a taxi to the bunker from there which would take 5-10 minutes, or the #21 bus stops outside the entrance to the site of the bunker. The bunker can also be reached by the London Underground by taking the Central Line eastbound to the last stop, Epping, and taking a taxi 7 miles.
Fig 12.9: Kelvedon Entrance Tunnel Fig 12.10: Kelvedon Car Park Signage
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Genius Loci After learning the reason for the commission of bunkers all over the country, for fear of a nuclear attack, I couldn’t help but imagine the effects of a nuclear blast on the surrounding area. This gave the approach to the building dark and very serious. This feeling lasted throughout the bunker, particularly when seeing the posters and leaflets that were issued to the public, at the time of the Cuban Missile Crisis, explaining what one should do if there was a nuclear attack.
The name of the ‘Secret Nuclear Bunker’ describes exactly the spirit of the place on arrival – secret. You approach the car park by following a country lane parallel with an open field with no evidence of a bunker anywhere insight. This creates a feeling of intrigue accompanied with a slightly eerie atmosphere. It is hard to imagine that in the past hundreds of staff living and working under your feet, presumably, the intended purpose. From the car park, you follow on foot the signs to the bunker. The sound of screaming children while on the way to a bunker is an uneasy, strange but ironic experience.
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Fig 12.11: Kelvedon Entrance Signage 5 Fig 12.12: Kelvedon Propaganda Poster Fig 12.13: Kelvedon Propaganda Poster 2
Fig 12.14: Kelvedon Bag Rack,
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Circulation
On entering the bunker, visitors are asked to collect an audio guide or ‘wand’. There are no members of staff present at the entrance which makes understanding that fact you have to collect one of these wands quite confusing. However the level of factual information stored on the audio guide was particularly impressive. As well as arrows and signs on the walls the audio guide ensures you do not get lost or miss out any parts of the bunker.
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Fig 12.15: Kelvedon Interior Circulation Signage Fig 12.16: Kelvedon Interior Circulation Signage 2
Fig 12.17: Kelvedon Interior Circulation Wand
The audio guides have a keypad on. Each room/area that you enter has a sign displaying a number. When the relevant number is entered into the keypad on the audio guide, the information for the room that you are in begins. I found this an effective way of exploring the bunker as you could do so at your own pace. If you missed any part of the information from the audio guide, as I did whilst taking photos, you could restart it. You enter the bunker at the lowest level and work your way up to the highest level.
Fig 12.18: Kelvedon Interior Circulation Signage 4 Fig 12.19: Kelvedon Interior Circulation Signage 5
Fig 12.20: Kelvedon Interior Circulation Signage 6
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Fig 12.21: Kelvedon Original Map Room
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Construction methods
The task of building the bunker at Kelveden Hatch was an enormous one. The hillside was excavated to a depth of 38 meters, at the bottom of which 6 meters of gravel was laid to absorb shock and to aid drainage. Concrete walls with a depth of 3 meters were then built, reinforced with 25mm (1 inch) tungsten enhanced rods placed at six inch intervals in the wall. After this, a lining of brick went onto the outside of the concrete wall. This was then covered with wire netting soaked in pitch. This not only acted as a sealant but the netting, buried deep under the soil, formed a well formed Faraday Cage that provided a ‘field-free’ space inside the bunker. A space in which there was no electric field that might disturb delicate electrical measurements. The internal doors were lined with metal plates to provide extra protection on the ground floor. After the concrete shell of the bunker had been constructed, some of the excavated soil was replaced to bury it. Concrete rafts, known as ‘burst caps’ were positioned in the soil to add extra protection. There is air conditioning and heating in the bunker which was upgraded throughout its life. Generators, radio equipment, teleprinters and military systems were all housed in the bunker. The last thing to be built was the brick guardhouse, disguised as a bungalow or farm cottage.
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The 8229m2 bunker, which is buried 6 meters under surface soil, is totally hidden. Only the 45m radio mast gives any clue to what is located at the site. Because of this, you don’t appreciate the sheer size of the bunker until you have reached the end of the tour. Visiting Kelvedon Hatch has allowed me to understand what life was like in a Cold War Bunker and what took place in different spaces. The construction of the interior of the building is similar to that of RSG Cambridge and it would seem that the Map Room was the ‘heart of the building’ at Kelvedon.
Fig 12.22: Kelvedon Section Drawing
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Fig 12.23: Kelvedon Original Blast Door Fig 12.24: Kelvedon Original Telecommunications Cables
Fig 12.25: Kelvedon Original Telecommunication Equipment Fig 12.26: Kelvedon Original Typewriters
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Fig 12.27: Kelvedon Ground Floor Plan Fig 12.28: Kelvedon Plant Room Fig 12.29: Kelvedon Plant Room 2
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Fig 12.30: Kelvedon Original Typewriters 2 Fig 12.31: Kelvedon Original Staff Offices Fig 12.32: Kelvedon Original Staff Offices 2
Fig 12.33: Kelvedon Original Telecommunication Machinery Fig 12.34: Kelvedon Original Typewriters 3
Fig 12.35: Kelvedon Middle Floor Plan
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Fig 12.36: Kelvedon Refectory Fig 12.37: Kelvedon Sick Bay Fig 12.38: Kelvedon Dormitory Fig 12.39: Kelvedon Dormitory 2
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Fig 12.40: Kelvedon Top Floor Plan
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Expressive Qualities The level of accuracy of the equipment and machines on display at Kelveden Hatch is impressive. Certain rooms around the building display informational videos to aid the narrative of the Cold War and how it affected both the public and the staff working in the bunker. Some videos describe the impact and effects of a nuclear bomb, others are videos made and broadcast at the time by the Government. This helps visitors understand the seriousness of the threat and the extent of the Government’s plans if there was ever an attack. Visitors are encouraged to try on items of clothing, such as gas masks, which again aids the understanding of the story of the Cold War and the threat the country was under.
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Fig 12.41: Kelvedon Air Conditioning Vent
As everything is positioned as they would have been during the buildings use, it allows visitors to create an image using their imagination of staff hard at work in the bunker. Fine details such as smoke stains from cigarettes on the ceiling above the Official’s desks again reinforce the recreation of atmosphere. The original kitchen / canteen area is in working order and offers hot food and drinks to visitors at the end of the tour, just before the exit. This is the only time I ever saw a member of staff. I don’t know whether this was intentional or not, however it made the whole experience more enjoyable. A member of staff stood at every doorway as at an exhibition takes away from the experience. The bunker organises activities such as sleepovers for scout groups from all over the country.
Light and lighting There are no windows in the bunker, the same as RSG Cambridge, because if there was a blast they would have been instantly shattered. This means that there is no natural light entering the building at all. All lighting in the interior is from the original fittings which is not particularly aesthetically pleasing, however serves the purpose of accurately recreating the bunker during the cold war. Certain areas, such as the plant room, are particularly dark and cold. I understand that the bunker has been restored to its original condition, however it was difficult to see some of the equipment and extra lighting would have made some parts of the bunker easier to understand and more visually exciting.
Sensory Experience SoundAs you walk around the building the sound of internal broadcasts calling various officials to the map room are played across internal speakers to recreate the experience of the bunker during its original use. Smell – The smell of the deep fat fryers from the canteen seeps as far as the middle floor. It is a horrible smell, which made me feel slightly nauseous. However, if this was how the bunker would have smelt during its use then it is a very effective way of showing it.
Fig 12.42: Kelvedon Lighting
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Fig 12.43: Kelvedon Exit
The dark irony of creating a family attraction out of a building with such a serious history was slightly disturbing, but at the same time I felt pleased that this part of Britain’s history is being exposed to the public. There are over 12’000 protected parish churches in Britain, but only 2 listed cold war bunkers, the RSG in Cambridge being one of them. I believe that these bunkers say as much about Britain’s heritage in the 20th century as the protected churches do about the 15th century. As mentioned earlier, the audio guides are an effective way of conveying information easily to the visitors and also to ensure correct circulation of the building. Visiting Kelveden Hatch Bunker helped me to understand how the bunker in Cambridge would have operated while in use. The hierarchy of personnel and how they would have communicated inside the bunker are explained extremely well.
The display at Kelveden Hatch was not one to just walk through. In almost every room there are clothes to try on, or a bunk bed to test out or even a video to watch. This helped adults and children fully understand the seriousness of the threat during the Cold War and also added an element of fun. Parents were queuing up to take a photograph of their child with a gas mask or helmet on, creating a lasting memory to go away with and show their friends and family. The idea of a ‘lasting memory’ was created throughout the building and is something that I have taken away from Kelveden Hatch. The idea should be considered during the design stage of the re-design of the Cambridge RSG. Kelvedon Hatch offers a detailed, accurate display of life in the bunker during the Cold War. For the design of RSG Cambridge a more conceptual approach should be taken.
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Fig 13.1 Bletchley Park
Bletchley Park
Bletchley Park Sherwood Drive Bletchley Milton Keynes MK3 6EB
Fig 13.2: Enigma Photo Fig 13.3: Bombe Photo Fig 13.4: Books Photo
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Fig 13.5: ACE Bletchley Park
Introduction
Bletchley Park is a heritage site and tourist attraction that was once Britain’s best kept secret. It is open daily and invites visitors to explore some of the Codebreaking huts and blocks where Alan Turing and his team worked on breaking the Enigma code, among other achievements. It is run by the Bletchley Park Trust which was established in 1992 to preserve the site for the public. In 2014, work began on an £8 million restoration programme funded by the Heritage Lottery Fund. The project has seen the transformation of the derelict huts into a popular visitors centre with various exhibition spaces. The architects on the project are Kennedy O’Callaghan Architects and the exhibition design and fit out by Event Communications.
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Entrance & Access The car park is located at the rear of the site which allows visitors to fully appreciate the scale of the code breaking operation at Bletchley Park upon arrival. The idea of circulating visitors around RSG Cambridge upon arrival could be explored further. The entrance and exit to the site are located in the same place. This helps visitors realise that they circulate the site in a loop and reduces risk of getting lost as they see where the exit is upon arrival. circulation There is not a strict route of circulation at Bletchley Park as visitors are encouraged to explore the home of the code breakers. A clear site map is given to each visitor to aid navigation.
Ticket Barriers
Open space to prevent overcrowding
Exit
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Fig 13.6: Bletchley Park Entrance Fig 13.7: Bletchley Park Entrance 2
Fig 13.8: Bletchley Park Entrance Diagram
Entrance
Fig 13.9: Bletchley Park Site Map
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Fig 13.10: Red Form Photo
Genius Loci Arriving at Bletchley Park, you can’t help but imagine a young Alan Turing arriving here the day after the outbreak of World War II. The single story huts are instantly recognisable, from my research prior to visiting, with security huts at the entrance creating a sense of secrecy. The car park where I had to park was located at the back of the site meaning that I had to drive through the whole site before parking. It is only after circulating the whole site that one realises the true scale of operations conducted at Bletchley Park. There are no advertising boards or posters around the exterior of the site as you would expect at a public museum. This is to again reinforce the feeling of secrecy. However, once inside the huts there are propaganda posters from the Second World War stating that careless talk could cost lives. Certain huts have been refurbished to how they would have been during the Second World War curating the atmosphere of them being frozen in time. Features such as Alan Turing’s office including his typewriter and hat reinforce the concept of the site being frozen in time.
Fig 13.11: Bletchley Park Alan Turing’s Office Fig 13.12: Bletchley Park Codebreakers
Fig 13.13: Bletchley Park Alan Turing’s Office 2
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The colour palette at Bletchley is clear upon arrival and consistent throughout
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Fig 13.14: Air Vent, Fig 13.15: Colour Scheme 2 Fig 13.16: Door Handle Fig 13.17: Existing Ventilation
Fig 13.18: Bletchley Park Colour Scheme 5 Fig 13.19: Fuel Tank Fig 13.20: Fence Fig 13.21: Radiator
materiality
As Bletchley Park is currently still undergoing refurbishment, the newly refurbished huts at Bletchley face derelict huts showing a clear juxtaposition of old and new. Existing features have been highlighted simply by painting them green, black or grey to inkeep with the clear colour palette of the site.
Fig 13.22: Bletchley Park Derelict Hut Fig 13.23: Bletchley Park New Hut
Fig 13.24: Bletchley Park Derelict Material Fig 13.25: Bletchley Park New Material
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Story of the Codebreakers Design Qualities The story of the code breakers is told using a variety of techniques. Artefacts such as the German Enigma machine are encased in glass and timber displays, complimenting their colour. Displaying these artefacts are the start of telling the story of the code breakers. Pictures of Bletchley Park during the war and the code breakers at work are displayed on projection boards. This is an effective way of setting the scene and context. Typography located on the walls around the exhibition raise questions to visitors and hopefully they will leave knowing the answers. Interactive touch screens feature throughout the exhibition, displaying information, videos and games. These are an effective way of telling the story as visitors can learn by doing and could be considered in the final design of RSG Cambridge. The materiality of the exhibition consisted of a lot of dark wood, to reference the materials used in construction of the Enigma machine.
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Fig 13.26: Bletchley Park Engima Machine
Fig 13.27: Display Board Fig 13.28: Typography Fig 13.29: Interactive Bombe Display,
Fig 13.30: Projection Screen Fig 13.31: Display Unit Fig 13.32: Interactive Display Unit
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secrecy & security exhibition The Secrecy & Security exhibition is an educational display about internet safety. It includes sections on the history of the Internet, rapid growth, bullying. viruses and future dangers. The layout and structure of the narrative in this exhibition is clear, and the same approach should be followed for RSG Cambridge. The entrance sign for the exhibition is fixed to the original ventilation system. Incorporating and celebrating original features should be considered during the redesign of RSG Cambridge. The entrance graphic was printed on to a transparent mesh material with a motion sensor activated LED light behind it. The graphic only illuminates when a visitor walks near it and the sensor is activated. I found this very aesthetically pleasing and further enforced the atmosphere of a futuristic world.
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Fig 13.33: Secrecy Exhibition Entrance Fig 13.34: Secrecy Exhibition Entrance Graphic Fig 13.35: Secrecy Exhibition Display Unit
Fig 13.36: Secrecy Exhibition Display Graphic Fig 13.37: Secrecy Exhibition Display Unit 2
In comparison to the previous exhibition, constructed from timber and glass, the Secrecy & Security’s materiality consists of mesh displays fixed to the exterior walls and a central black Perspex display unit. The unit has a coloured square pattern, lit by LED’s behind the surface. This free standing temporary unit has a height of two metres, creating an effective ‘futuristic world’ without touching any existing structural features.
Technology moves so quickly that a good idea today will be obsolete tomorrow...’ Voice of a Computer Analysis, Playing throughout the exhibition.
Fig 13.38: Secrecy Exhibition Display Unit 3, Fig 13.39: Secrecy Exhibition Display Unit Fig 13.40: Secrecy Exhibition Display Unit
Fig 13.41: Secrecy Exhibition Display Unit 6 Fig 13.42: Secrecy Exhibition Plan Sketch
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interactive features
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Fig 13.44: Bletchley Park Demonstration Bombe Machine
Fig 13.43: Bletchley Park Interactive Bombe Machine
the bombe machine Bletchley Park organises demonstrations and talks of some of the machinery that was designed and built there. They explain how the different parts came together to achieve unthinkable things, at the time. These demonstrations take place once a week, usually on a weekend when the site is at optimum capacity. Sections of machinery are part of an interactive display aiming to explain the complexity of the design. Similar events should be considered to take place in the Museum of RSG Cambridge.
Projection Projection is used at Bletchley Park extensively to recreate the atmosphere of how it would have been at the height of operation during World War II. Interactive projections are used to explain how using probability and mathematic algorithms were used to break codes. The same as the Science Museum Pattern Pod, a projector is mounted to the ceiling with motion sensors attached to it that creates an interactive interface. Using this technique could be considered in the exhibition space of RSG Cambridge.
Fig 13.45: Bletchley Park Interactive Projection Fig 13.46: Bletchley Park Existing Feature
Fig 13.47: Bletchley Park Enigma Machine Components
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Signage
Signage is simple but effective at Bletchley park and is consistent throughout as well as aesthetically pleasing. The colour palette of the signage correlates with that of the site map for maximum clarity.
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Figure 13.49: Bletchley Park Signage 2 Figure 13.50: Bletchley Park Signage 3 Figure 13.51: Bletchley Park Signage 4
Figure 13.48: Bletchley Park Signage
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Attributes
Science Museum
Kelvedon Hatch
Bletchley Park
Lessons learned
Atmosphere
Strong
Medium
Medium
The exhibitions with interactive features created the desired atmosphere to be created in RSG Cambridge.
Threshold
Strong
Weak
Medium
Creating layers + viewpoints is a favoured approach.
Circulation
Strong
Medium
Strong
Creating a primary and a secondary circulation route should be explored.
Sensory Experiences
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Weak
Medium
Interactivity within the exhibtion design is key for visitor engagement.
Light and Lighting
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Weak
Medium
The final scheme should contain a balance of natural and artificial light.
Materiality / Construction
Strong
Strong
Strong
Celebrating the existing structure, features and materiality of a site is a key design characterstic to be explored within RSG Cambridge.
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Precedent Studies
Yad Vashem 211 Facebook Data Centre 215 Barbican Centre 219 Ruhr Museum 225
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Yad Vashem
Yad Vashem Jerusalem Israel Built: 1953 Architect: Moshe Safdie
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Fig 14.1: Yad Vashem Visual
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Yad Vashem is Israel’s official memorial to those who lost their lives to the Holocaust. It was designed by Moshe Safdie who implemented a large prism like structure that penetrated the mountain that it sits on and cantilevers out into the open air. The triangular shape of the concrete structure allows sunlight to flood into the building from the 200m long glass skylight. Visitors pass through dark and light spaces regularly throughout the building allowing to spaces to have various different uses and creating a contrasting aesthetic.. The method of bringing light into the space from apertures above is a theme that will need be explored for RSG Cambridge. Influence should be taken from Yad Vashem for this and also for its materiality.
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Fig 14.2: Yad Vashem Visual 2
Fig 14.3: Yad Vashem Exterior
The entire structure of the museum is constructed from reinforced concrete, another similarity. The complex is however aesthetically pleasing due to its linear and angular design, which is also prominent in the structure of RSG Cambridge. The viewpoints around the museum frame landscapes and the surrounding area magnificently and this method should be explored with RSG Cambridge.
Fig 14.4: Yad Vashem Interior Visual
Fig 14.5: Yad Vashem Visual 3
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Facebook Data Centre
Facebook Data Centre Lulea Sweden Built: 2013 Architect: Undisclosed
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Fig 15.1: Facebook Data Centre
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The 27,000 square metre site in Lulea is the first data centre Facebook have built outside the United States. With nearly 1.5 billion users relying on Facebook’s “always on� performance globally the decision was made to build a data storage center in Sweden to cope with the ever-increasing data traffic in Europe. Using the cloud network in Europe will allow Facebook to improve its data speed and reliability during business hours and then support servers in other parts of the world such as North America during their business hours. This method of switching and sharing cloud servers makes the whole operation more cost effective and efficient.
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Fig 15.2: Facebook Data Centre Interior Visual
When designing a data centre certain considerations are required such as cooling systems, flat floor space and lighting that emits minimal heat. In this center, rows of server racks sit either side of a central corridor and cool air is delivered from a cooling system fixed to the ceiling which pulls in air from outside. The design of this particular center is surprisingly aesthetically pleasing and shows that machinery can be beautiful, if displayed in this way. The simple addition of light and linear spacing creates an eerie, computerised atmosphere. The sight of flashing lights and the humming of machines can be expected throughout. This study should influence design for data storage and show that machinery can be aesthetically pleasing. The area could cross over with the exhibition space, comparing a modern day data storage unit with ones from the past.
Fig 15.3: Facebook Data Centre Interior Visual 2
Fig 15.4: Facebook Data Centre Interior
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Fig 16.1: Barbican Centre Exterior
Barbican Centre
Barbican Centre Silk Street, London, EC2Y 8DS Opened : 1982 Architect: Chamberlin, Powell and Bon
Fig 16.2: Barbican Centre Interior
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Go shopping Barbican Shop, Level G Design-led range of gifts, including bespoke Barbican products and stationary and a unique range of educational toys for children. Open daily. Art Gallery Shop, Level 3 The Art Gallery Shop reflects our current major exhibition and stocks books on art and design.
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Level 4 Frobisher Auditorium 1 & 2 Frobisher Rooms 1–6 Conservatory Terrace Frobisher Boardroom
barbican.org.uk/shops
Eat & Drink Gin Joint, Level 2 Brasserie and bar serving the best quality meats and an extensive gin list. Pre-theatre menu available. Open Mon–Fri 12–2.30pm for lunch; Mon–Sun 5–10.30pm for dinner Reservations: 020 7588 3008 or ginjoint@barbican.org.uk
Lounge, Level 1 Tapas style sharing dishes with informal table or bar service. Al fresco dining available. Open Mon–Fri 12 noon–8.30pm. Sat 5pm–8.30pm. Sun 12 noon–7.30pm Reservations 020 7382 6180
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Level 3 Art Gallery Garden Room Art Gallery shop Conservatory
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Level G Hall Circle Theatre Upper Circle Theatre Gallery Curve Gallery Advance Ticket Desk Barbican Foodhall Barbican Shop Lakeside Beech Street Cinema 2 & 3 Camera Cafe and Bar Côte Restaurant Silk Street Milton Court Guildhall School of Music & Drama
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Level 2 Library Gin Joint
Level -1 Hall Stalls Theatre Stalls Car Parks
Foodhall, Level G Cakes, coffee and daily changing hot dishes in a cafeteria-style setting. Tables available by the Lakeside. Open Mon–Sat 9am–8pm; Sun 11am–8pm Camera Cafe & Bar, Beech Street Cinemas Relaxing setting for pre-film drinks and snacks from the modern cafe and bar. Open Mon–Fri 8am–10.30pm; Sat and Sun 10am–10.30pm
Level 1 Hall Balcony Barbican Lounge Red Room Martini Bar
All restaurants have accessible toilets. barbican.org.uk/food
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Fig 16.3: Barbican Centre Breakdown of Spaces
Level -2 Cinema 1 Pit
The Barbican Centre is the largest performing arts centre in Europe offering a diverse range of arts and creative learning events. It is situated in a Grade II listed building, one of London’s fine examples of Brutalism. It was designed by Chamberlin, Powell and Bon with the key concept of a utopian vision to transform an area of London that was heavily affected by bombing during World War II. The total cost reached £156 million (equivalent to £500 million today). The site is of special architectural interest because of its scale, consistency and ambition.
The impressive space offers a wide range of activities and venues including a theatre, three cinemas, an art gallery, a separate exhibition space, a terrace, a conservatory and a concert hall. With so many events taking place it feels like the building never sleeps. Inspiration should be taken from the Barbican, because of its wide range of ongoing activities, for the scheme for RSG Cambridge
Fig 16.4: Barbican Centre Garden Terrace
Fig 16.5: Barbican Centre Rooftop Terrace
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Following 7 years of refurbishment the Barbican now has a new look, curated by Alford Hall Monaghan Morris to give the centre a strong identity. They used interventions such as removing a concrete wall and inserting a glass faรงade that echoes features of the original design. Lighting has been introduced into the ceiling of particular areas creating a natural daylight effect in areas that once suffered from terrible shadows. The merging of Brutalist concrete with contemporary steel and glass is apparent throughout the centre. The colour scheme of black and orange is consistent and aesthetically effective. Signage was completely redesigned by Cartlidge Levene to improve navigation around the centre which they won the Design Award for. The simple integration of new materials with existing is a key theme to be included in the scheme for RSG Cambridge. Architectural inspiration should be taken from the Barbican Centre for its modern day celebration of Brutalism.
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Fig 16.6: Barbican Centre Exterior Visual
Fig 16.7: Barbican Centre Rain Room
The Curve is an art exhibition space that has displayed some critically acclaimed installations, the most widely known one being the Rain Room. It was a 100 square metre field of falling water that encouraged visitors to walk through and experience how it might feel to control the rain. Using the cutting edge of digital technology, visitors become performers whilst creating an exciting atmosphere merging science and art. This kind of event should be considered in the final scheme. The Barbican and RSG Cambridge share similarities such as their brutal aesthetic and industrial materiality. The architectural interventions have given the building a ‘second life’, as are the intentions of this project. The wide range of activities run by the centre can be clearly seen on their website and the possibility for similar events should be considered and explored in RSG Cambridge.
Fig 16.8: Barbican Centre Signage Fig 16.9: Barbican Centre Website Screenshot Fig 16.10: Barbican Centre Rain Room 2
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Ruhr Museum
Ruhr Museum Essen Germany Built: 1930 Refurbished: 2010 Refurbishment Architect: Heinrich Bรถll + Hans Krabel Museum Design: HG Merz
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Fig 17.1: Ruhr Museum Interior
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The Zollverein coal mine is located in Essen, Germany and can be seen as a statement of the areas process of transformation. It is recognised as a World Heritage Site and was rehabilitated step by step by Boll + Krabel. At the heart of the former coal mine sits the immense coal-washing plant which has been refurbished using vibrant L.E.D lighting to reference the process and colour of the heated extracting process of mining coal. Where the ‘black gold’ (coal) was sorted and subjected to industrial processes is now home to an exhibition dedicated to the natural and cultural history of the Ruhr area.
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Fig 17.2: Ruhr Museum Interior Stair
Fig 17.3: Ruhr Museum Interior Stair 2
Fig 17.4: Ruhr Museum Working with Existing Features
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It is evident that changes have been made in the building, however the industrial monument does not only act as a container for objects but forms part of the exhibition. This was done by celebrating the existing features of the building such as ventilation, structural support and eroded materiality. Roughly 80% of the machinery has been left in place because of its historical value. Similarly to the Science Museum in London, the building’s character changes from one area to the next due to materiality, light and threshold. The museum brilliantly displays old and new in a raw manner that results in an aesthetically pleasing sight. Inspiration should be taken from the design of the Ruhr Museum for its celebration of existing features and how well the exhibition design compliments the existing building. Architectural interventions such as the staircase are extremely impressive and a similar approach should be adopted with the re-design of RSG Cambridge.
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Fig 17.5: Ruhr Museum Interior 2
Fig 17.6: Ruhr Museum Display Fig 17.7: Ruhr Museum Display 2
Fig 17.8: Ruhr Museum Interior Display
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Approach & Inspirations
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suggested
colour palette The suggested colour palette for the design stage of RSG Cambridge consists of concrete grey, charcoal and Cambridge University Blue. The concrete grey represents the reinforced concrete that RSG Cambridge is constructed from. This material is to be celebrated throughout the building and including this colour in certain areas will help create spaces that contrast in light and character.
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Fig 18.1: Cambridge Blue Diagram
The charcoal is to reference the dark era of the Cold War. Charcoal is an industrial colour and has a cold feeling, similar to that of RSG Cambridge. It should be used only in certain areas where a dim level of light is required as to not further darken a building which is already suffering from a lack of natural light. Cambridge University Blue is a certified colour thought to have been established in the 1920’s when members of the rowing team decided to paint the oars of their boat this colour in response to the Oxford University’s team colours, similar to a Navy Blue.
Fig 18.2: Cambridge Rowing Team
Fig 19.1: Concrete Texture Fig 19.2: Charcoal Fig 19.3: Cambridge Blue
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p u b l i c consideration Found in the comments section at the bottom of an article about RSG Cambridge on the BBC website, are some interesting views and concerns from the public regarding the building. It seems that the public would be glad to see the building given a new use due to its historic value.
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Fig 20.1: RSG Cambridge Comments Fig 20.2: RSG Cambridge Comments 2 Fig 20.3: RSG Cambridge Comments 3
Codebreaker
exhibition at the science museum Codebreaker was an exhibition developed by the Science Museum to recognise the centenary year of the birth of Alan Turing. Unfortunately it closed on 20 October 2013, although there is a video on the Science Museum website about the exhibition featuring an interview with the Curator, David Rooney. In the interview Rooney presents an interesting view on Turing’s work:
“...The pilot ace was like turing’s mind turned into metal and glass...”
PET SHOP BOYS BBC PROM In 2014 The Pet Shop Boys and the BBC Concert Orchestra composed and performed ‘A Man from the Future’, a piece inspired by the life and work of Alan Turing. It was performed at the Royal Albert Hall on Wednesday 23rd July 2014. The piece could be played in the exhibition space as it creates an extremely atmospheric depiction of Turing’s life and his time in Cambridge. The piece tells the story of Alan Turing’s life from birth to death with a 3 minute narrative interlude dedicated to his time in Cambridge. The most inspirational quotes are:
“in cambridge:”
“turing felt at home in cambridge”
“...he lay in a field, and dreamed of machines...”
“he combined a mechanistic picture of the mind...” “...and curated the idea of a universal machine that could take over the work of any machine” Fig 20.4: Pet Shop Boys & Turing
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James Turrell James Turrell is an artist who specialises in light and space. He has designed in iconic spaces such as the Guggenheim and has curated exhibitions like Light Show at the Hayward Gallery exploring the art of light. His experimentation with natural and artificial light to create illusions while invoking a rare feeling of wonder is one to be admired. RSG Cambridge has no apertures to allow natural light in to the interior of the building, therefore lighting is a prominent design consideration.
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Fig 21.1: James Turrell Skylight
Fig 21.2: James Turrell Guggenheim
Fig 21.3: James Turrell Hayward Gallery
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Doug Aitken Doug Aitken is widely known for his installations in which he uses a variety of media and artistic approaches. He uses an array of mediums including sculpture, photography, projection and sound to curate spaces in which space, time and memory become one creating surrealistic ‘worlds’. His installations are usually held in spaces with strong architectural values where he celebrates existing features. Inspiration can be taken from the way Aitken curates atmospheric spaces and the varied mediums he uses to do it.
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Fig 21.4: Doug Aitken
Fig 21.5: Doug Aitken
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Carsten Holler “Carsten is one of these artists who is always testing what it is possible to make, so there are some things that would involve some very unusual experiences. One would be that some visitors might fall asleep in one location and wake up in another. I don’t know any other artist who thinks the way Carsten does and has this kind of playfulness.” Ralph Rugoff, the guardian Carsten Holler’s playful approach to curating spaces is an inspiring one and could be explored further in the design process of RSG Cambridge.
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Fig 21.6: Casrten Holler Double Carousel
Fig 21.7: Casrten Holler Upside Down Mushroom Room
Fig 21.8: Casrten Holler Sliding Doors
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Personal Concept material
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Fig 22: Conceptual Site Response exploring the juxtaposition of site and surroundings
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Fig 22.1: New Building, Sketch at Site
Fig 22.2: Old Building, Concept Sketch
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Fig 22.3: Old Building, Concept Sketch 2
Fig 22.4 Old Building, Concept Sketch 3
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Fig 22.5: Rough Sketches
Fig 22.5: Rough Sketches
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initial response
This initial response to site aimed to show the legacy of Alan Turing frozen in time and his ‘Cambridge Scientific Mind’.
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Fig 22.6: Frozen In Time, Watch Components set in Concrete
A code was incorporated into the hat using a collection of computer keys that would only be solved by exploring all parts of the hat, as some letters were hidden. Setting concrete on the peak of the hat is a reference to the materiality of RSG Cambridge
Fig 22.7: Concept Hat Piece, Collection of materials and processes
Fig 22.8: Concept Hat Piece, Collection of materials and processes
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site combine
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Fig 22.9: Site Combine, Card, Paint & LED Lighting
Fig 22.11
Fig 22.10
This site model is an initial response to RSG Cambridge, created to explore topography and to identify key areas of the building. The model is at scale 1:100 to show the sheer scale of the structure. The first thing that was clear from the model was the large flat roof surface area. It is clear that insertions will need to be made to allow natural light into the building and there is an opportunity for solar panels to be installed to improve the sustainability of the project. The double height map room has been highlighted using L.E.D lighting to communicate where most of the activity took place during the building’s use. On the first floor, where the male dormitory’s are located that could be removed to allow natural light, is a unit built from electrical wiring and components from a computer keyboard to show the New Building’s futuristic proposed use of a Data Centre. The flashing LED lights can only be seen once the roof of the model is removed, to reference the building’s original design that it could not be seen from above and to create a sense of intrigue and then surprise.
Fig 22.10 Site Combine 4, Card, Paint & LED Lighting Fig 22.11: Site Combine 5, Card, Paint & LED Lighting
Fig 22.12: Site Combine 6, Computer components & LED Lighting
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converted cold war bunkers
RSG Cambridge is of course not the only Cold War bunker in the country. Recently, similar bunkers have been given a variety of new purposes including a house, a veterinary centre and even a laser tag arena. Dealing with a building with a dark and uneasy history by turning them into children’s attractions is an interesting idea and a bold statement. Inspiration can be taken for the fun approach taken towards converting a Cold War Bunker.
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Fig 23.1: Yeovil RSG before conversion
Fig 23.2: Yeovil RSG after conversion
Fig 23.3: Laser Tag Fig 23.4: Recording Studio
Fig 23.5: Map of converted bunkers
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bibliography
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bibliography Books Cocroft, W. & Adams, A (1997) Cambridge, Regional Seat of Government Survey Report, English Heritage Catford, N. (2010) Cold War Bunker, Folly Books LTD McCamley, N. (2002) Cold War Secret Nuclear Bunkers, Pen & Sword Challoner, J. (2014) Science Museum Souvenir Guide, Carlton Books Uknown, (2014) Bletchley Park Guidebook, The History Press Turing, D. (2013)Bletchley Park Demystifying the Bombe, The History Press Dormer, P. (2000) Concrete and Open Skies, Unicorn Press London Daab. R. (2007) Science Spaces, Daab GMBH Turner. J. (1998) Designing with Light, RotoVision Bloszies, C. (2012) Old Buildings, New Designs, Princeton Architectural Press
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http://www.bradford-on-avon.org.uk/booklist.html http://www.creativetourist.com/articles/art/manchester/sight-specific/ http://helicon.meccahosting.com/~a000386b/projects1.html https://decipher.sanger.ac.uk/ http://decoymagazine.blogspot.co.uk/ http://www.annefrankguide.net/en-gb/bronnenbank.asp?aid=17215 http://writing.upenn.edu/~afilreis/88/code-guy.html http://www.newscientist.com/special/unbreakable-codes http://www.newscientist.com/article/mg21028134.000-unbreakable-elgars-unread-message.html http://www.mirror.co.uk/news/uk-news/alan-turings-death-murder-not-4799480 http://www.bbc.co.uk/history/people/alan_turing#p00chmy6 http://cybermuse.gallery.ca/cybermuse/teachers/decoding/index_e.jsphttp://www.creativetourist.com/articles/art/manchester/sight-specific/http://www.newsweek.com/2014/09/26/plan-nuke-moon-and-other-cold-war-plots-revealed-secret-documents-271088.html https://www.whatdotheyknow.com/request/17272/response/45074/attach/html/3/090923%20FOI%20request%20RFI0002942.pdf. http://www.ooohmatron.org/cambridge-rsg/ http://www.academyofurbanism.org.uk/accordia/ http://cherryhintonroad.blogspot.co.uk/2008/12/no-to-bunker-records-centre.html http://www.dezeen.com/2010/07/28/women-at-war-by-charlotte-wilson-at-free-range/ http://www.dezeen.com/2011/03/03/sunset-chapel-by-bunker-arquitectura/ http://blogs.wsj.com/speakeasy/2015/01/05/benedict-cumberbatch-on-the-beauty-of-alan-turing-the-bile-of-richard-iii-and-the-spirituality-of-doctor-strange/ http://www.dezeen.com/2011/06/08/safe-house-by-robert-konieczny/ http://www.turingcasehistory.net/tasch/en/ http://www.nettleden.com/venues/
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image references Fig. 1.1: Site Response, Own Image, [1st Feb 2015] Fig1.2: Concept Painting, Own Image, Acrylic on paper [13th Feb 2015]ÂŹ Fig 1.3: RSG Cambridge, Own Image, Taken at Site [3rd January 2015] Fig 1.4: Infographic, Available from: http://getcloudcertified.com/uploads/2014/05/gotbigdata [accessed 1st March 2015] Fig 1.5: Turing, Available from: http://cas.uoregon.edu/wp-content/uploads/2013/05/1-turing.jpg[accessed 1st March 2015] Fig 1.05: Turing Computing Cover, Own Image Fig 1.6: Alan Turing Poster, (2012), available from: http://mashable.com/2012/06/23/alan-turing-100/ [accessed 10 Feb 2015] Fig 2.1: Turing, http://www.theguardian.com/science/2013/dec/25/misgivings-pardon-alan-turing Fig 2.2: Machine, Online Image, Available from: http://blog.sciencemuseum.org.uk/insight/files/2012/06/Pilot-Ace1.jpg[accessed[12th Feb 2015] Fig 2.3: Logo, Online Image. Available from: http://www.cam.ac.uk [accessed 11 Feb 2015] Fig 2.4: Winston Churchill, Online Image, available from: https://cllrandrewjames.files.wordpress.com/2015/01/sir-winston-churchill.jpg [accessed 10 Feb 2015] Fig 2.5: Stilboestrol, Online Image, Available from http://news.bbcimg.co.uk/media/images/60922000/jpg/_60922341_stilb.jpg[accessed 28th Feb 2015] Fig 2.6: Turing Apple, Online Image, Available from: https://mazzetta.wordpress.com/2012/06/23/alan-turing-il-martirio-di-un-genio/[Accessed 26th Feb 2015] Fig 2.7: Apple Logo, Online Image, Available from: apple.com/uk [accessed 25th Feb 2015] Fig 2.8: Cambridge University, Online Image, Available from: kings.cam.ac.uk [accessed Feb 19th Feb 2015] Fig 2.9: Turing Runner, Online Image, Available from: kings.cam.ac.uk [accessed Feb 19th Feb 2015] Fig 2.10: Pilot Ace, Online Image, Available from: http://www.npl.co.uk/upload/img/turing-5.jpg [accessed 11 Feb 2015] Fig 2.11: Turing Cipher, Online Image. Available from: http://cdni.wired.co.uk/1920x1280/s_v/Turing-Cipher-Final.jpg[accessed 13th feb 2015] Fig 2.12: Bombe machine cogs, Own Image, Taken at Bletchley Park, [12th Jan 2015] Fig 2.13: Enigma machine, Own Image, Taken at Bletchley Park, [12th Jan 2015] Fig 2.14: Turing Statue, Online Image. Available from: http://www.bletchleypark.org.uk [accessed 12th feb 2015] Fig 2.15: Logo, Online Image. Available from: http://www.cam.ac.uk [accessed 11 Feb 2015] Fig 3.1: Demystifying the Cloud, Online Image. Available from: http://www.visualistan.com/2014/01/demystifying-cloud-infographic.html [accessed 18th Feb 2015] Fig 3.2: Data Centre Plans, Online Image. Available from: http://cryptome.org/2013-info/07/nsa-utah-dc/pict17.jpg [accessed 1st march 2015] Fig 3.3:.Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/15 [Accessed 28th Feb 2015] Fig 3.4: Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/19 [Accessed 28th Feb 2015] Fig 3.5: Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/12 [Accessed 28th Feb 2015] Fig 3.6: Data Cloud, Online Image, Available from: http://www.google.co.uk/about/datacenters/ [Accessed 28th Feb 2015] Fig 3.7: Utah Data Infographic, Online Image. Available fro: http://cryptome.org/2013-info/07/nsa-utah-dc/pict18.jpg [accessed 1st March 2015] Fig 3.8: Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/3 [Accessed 28th Feb 2015] Fig 3.9:Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/10 [Accessed 28th Feb 2015] Fig 3.10: Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/16 [Accessed 28th Feb 2015] Fig 3.11: Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/21 [Accessed 28th Feb 2015] Fig 3.12: Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/2 [Accessed 28th Feb 2015] Fig 3.13: Inside a Data Center, Online Image, Available from: http://www.google.co.uk/about/datacenters/gallery/#/all/28[Accessed 28th Feb 2015] Fig 4.1: Proposed Site Plan, Own Image, [28th Feb 2015] Fig 4.2: Proposed Site Plan 2, Own Image, [28th Feb 2015] Fig 4.3: Proposed Site Section, Own Image, [28th Feb 2015] Fig. 4.4: Crossover of spaces, Own Image, [18th Feb 2015] Fig 4.5: Turing letter to mother, Online Image, Available From: http://www.polarimagazine.com/wp-content/uploads/2012/06/Alan-Turing-Letter-Mother.jpg [accessed 14th feb 2015] Fig 4.6: Computable Numbers, Online Image, Available from:http://scienceinseconds.com/cmsFiles/pageImages/Turing%202.jpg [accessed 12th feb 2015] Fig 4.7: Turing Pardoned, Online Image, Available From: http://www.bbc.co.uk/news/technology-25495315 [accessed 12th feb 2015]
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Fig 4.8: Turing Test, Online Image, Available from: http://scienceinseconds.com/cmsFiles/pageImages/Turing%201 [accessed feb 11th 2015] Fig 4.9 First Typewriter, Online Image, Available from: Morse code machine, Online Image, Available from: https://d1u1p2xjjiahg3.cloudfront.net/ [accessed 10 Feb 2015] Fig 4.10: Pet Shop Boys, Online Image, Available from: http://i.ytimg.com/vi/knXWMjIA59c/maxresdefault.jpg [accessed 10 Feb 2015] Fig 4.11: Bombe Machine, Online Image. Available from: http://www.bletchleypark.org.uk [accessed 12th feb 2015] Fig 4.12: Colossus Machine, Online Image, Available from: http://www.npl.co.uk/upload/img/turing-5.jpg [accessed 11 Feb 2015] Fig. 4.13: Pilot Ace, Online Image, Available from: http://www.npl.co.uk/upload/img/turing-5.jpg [accessed 11 Feb 2015] Fig. 4.14: Technology Growth, Online Image, Available from: https://etsmagazine.files.wordpress.com/2012/11/shutterstock_100185233.jpg [accessed 15th feb 2015] Fig 4.15: Apple iPhone 6, Online Image, Available from: apple.com/uk [accessed 25th Feb 2015] Fig 4.16:Hard Drives, Online Image, Available from: http://www.storagereview.com/images/Spinpoint%20MT2_disk_R45.jpg [accessed 14th Feb 2015] Fig 5.1: South East of RSG Cambridge, Online Image, Available from: http://www.subbrit.org.uk[Accessed 14th Feb 2015] Fig 5.2: Atomic Blast, Online Image, Available from: http://www.historywiz.com/images/coldwar/atomicblast.jpg [Accessed 16th Feb 2015] Fig 5.3: Aerial View of RSG, Online Image, Available from http://www.subbrit.org.uk/rsg/sites/c/cambridge/cambridge_1.jpg [accessed 23rd Feb 2015] Fig 5.4: Historic 1920 OS Map, Online Image, Available from: http://digimap.edina.ac.uk/digimap [accessed 19th Feb 2015] Fig 5.5: Historic 1950 OS Map, Online Image, Available from: http://digimap.edina.ac.uk/digimap [accessed 19th Feb 2015] Fig 5.6: Historic 1960 OS Map, Online Image, Available from: http://digimap.edina.ac.uk/digimap [accessed 19th Feb 2015] Fig 5.7: Historic 1970 OS Map, Online Image, Available from: http://digimap.edina.ac.uk/digimap [accessed 19th Feb 2015] Fig 5.8: Current OS Map, Online Image, Available from: http://digimap.edina.ac.uk/digimap [accessed 19th Feb 2015] Fig 6.1: Site Panorama, Own Image [1st Feb 2015] Fig 6.2: Site Connectivity Plan, Own Image & Digimap, [3rd Jan 2015] Fig 6.3: Cambridge Location Map, Online Image, Available from: http://www.lonelyplanet.com/maps/europe/england/mapjpg [accessed 18th Feb 2015] Fig 6.4: Cambridge University, Online Image, Available from: kings.cam.ac.uk [accessed Feb 19th Feb 2015] Fig 6.5: Cambridge University, Online Image, Available from: kings.cam.ac.uk [accessed Feb 19th Feb 2015] Fig 6.7: Silicon Fen Map, Online Image, Available From: www.snipview.com [accessed 20th feb 2015] Fig 6.8: Silicon Fen Graph, Online Image, Available From: http://news.bbc.co.uk/media/images/38758000/gif/_38758225_silicon_fen_gra150.gif [accessed Feb 16th 2015] Fig 6.9: Circulation Sketch, Own Image, [Feb 28th 2015] Fig 6.10: Current Cycle Plan, Own Image & Digimap, [3rd Jan 2015] Fig 6.11: New Cycle Plan, Own Image & Digimap, [3rd Jan 2015] Fig 6.12: Accordia Plan, Own Image & Digimap, [23rd Jan 2015] Fig 6.13: View of Building, Own Image [23rd Feb 2015] Fig 6.14: Site Sketch, Own Image, [19th Feb 2015] Fig 6.15: Accordia Visual, Online Image, Available From: http://fcbstudios.com/work/view/accordia [accessed 26th Feb 2015] Fig 6.16: Accordia Section, Online Image, Available From: http://fcbstudios.com/work/view/accordia [accessed 26th Feb 2015] Fig 6.17: Accordia balconies, Own Image, [23rd Jan 2015] Fig 6.18: Timber, Own Image, [23rd Jan 2015] Fig 6.19: Steel, Own Image, [23rd Jan 2015] Fig 6.20: Blocks, Own Image, [23rd Jan 2015] Fig 6.21: Car Park Wall, Own Image, [23rd Jan 2015] Fig 6.22: Lower Wall, Own Image, [23rd Jan 2015] Fig 6.23: Collage Panorama, Own Image, [23rd Feb 2015] Fig 6.24: Wind Tunnel, Own Image, [23rd Jan 2015] Fig 6.25: Wind Tunnel Sketch, Own Image, [23rd Jan 2015]
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Fig 6.26: Accordia Visual, Online Image, Available From: http://fcbstudios.com/work/view/accordia [accessed 26th Feb 2015] Fig 6.27: Accordia Visual, Online Image, Available From: http://fcbstudios.com/work/view/accordia [accessed 29th Feb 2015] Fig 6.28: Vicars Brook, Own Image, [23rd Jan 2015] Fig 6.29: Hobsons Brook, Own Image, [23rd Jan 2015] Fig 6.30: The stream, Vicars Brook, Own Image, [23rd Jan 2015] Fig 6.31: Approach, Own Image, [23rd Feb 2015] Fig 7.1: South East View of RSG, Online Image, Available from http://www.subbrit.org.uk/rsg/sites/c/cambridge/cambridge_1.jpg [accessed 23rd Feb 2015] Fig 7.2: Sketch at site, Own Image, [23rd Feb 2015] Fig 7.3: Landscape Setting, Own Image [18th Dec 2014] Fig 7.4: Landscape Setting, Own Image [18th Dec 2014] Fig 7.5: Proposed new route Plan, Own Image & Digimap, [23rd Jan 2015] Fig 7.6: Surrounding Landscape, Own Image [18th Dec 2014] Fig 7.7: Site Panorama, Own Image [1st Feb 2015] Fig 7.8: Sketch at Site, Own Image, [18th Dec 2014] Fig 7.9: Sketch at Site, Own Image, [18th Dec 2014] Fig 7.10: Site Panorama, Own Image [1st Feb 2015] Fig 8.2: Original Plans, Allan T Adams, [1997] English Heritage Survey Report Fig 8.3: South East of Site, Own Image [1st Feb 2015] Fig 8.4: Fencing, Own Image [1st Feb 2015] Fig 8.5: View of Cambridge University, Own Image [1st Feb 2015] Fig 8.6: West Elevation, Own Image [1st March 2015] Fig 8.7: East Elevation, Own Image [1st March 2015] Fig 8.8: North Elevation, Own Image [1st March 2015] Fig 8.9: South Elevation, Own Image [1st March 2015] Fig 8.10: East Elevation, Own Image [18th Dec 2014] Fig 8.11: Ground Floor Plan, Own Image, [20th Feb 2015] Fig 8.12: Ventilation Technical Drawing, Own Image [21st Feb 2015] Fig 8.13: Fuel Tank Technical Drawing, Own Image [21st Feb 2015] Fig 8.14: Photo of Ventilation, Own Image [21st Feb 2015] Fig 8.15: Reinforced Concrete Diagram, Online Image http://www.oas.org/cdmp/document/codedraw/images/fig-e1a.gif Fig 8.16: Steel Pipe, Own Image [18th Dec 2014] Fig 8.17: Blast Door, Own Image [18th Dec 2014] Fig 8.18: Vinery, Own Image [18th Dec 2014] Fig 8.19: Vinery 2, Own Image [18th Dec 2014] Fig 8.20: Steps to entrance, Own Image [18th Dec 2014] Fig 8.21: Moss, Own Image [18th Dec 2014] Fig 8.22: Blast Door Detail, Own Image [18th Dec 2014] Fig 8.23: Concrete Texture, Own Image [18th Dec 2014] Fig 8.24: Original Plans, Allan T Adams, [1997] English Heritage Survey Report Fig 8.25: Original Plans, Allan T Adams, [1997] English Heritage Survey Report Fig 8.26: Plant Room, Cold War Bunkers, Nick Catford [1998]
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Fig 8.27: Original Section BB1, Allan T Adams, [1997] English Heritage Survey Report Fig 8.28: Original Section AA1, Allan T Adams, [1997] English Heritage Survey Report Fig 8.29: Plant Room, Wayne D Cocroft [1997] English Heritage Survey Report Fig 8.30: TeleCommunications Room, Wayne D Cocroft [1997] English Heritage Survey Report Fig 8.31: Shower, Wayne D Cocroft [1997] English Heritage Survey Report Fig 8.32: Shower Room, Wayne D Cocroft [1997] English Heritage Survey Report Fig 8.33: Air Conditioning Vent, Wayne D Cocroft [1997] English Heritage Survey Report Fig 8.34: Map Room Floor, Wayne D Cocroft [1997] English Heritage Survey Report Fig 8.35: Map Room Recreation, Online Image, Available From: http://www.liverpoolwarmuseum.co.uk/images/toppics/maproom.jpg [Accessed 18th Feb 2015] Fig 8.36: Map Room Diagram, Online Image, Available From: http://www.subbrit.org.uk/rsg/sites/s/sopley/happidrome_plan4.gif [accessed 19th Feb 2015] Fig 8.37: Map Room 2, Wayne D Cocroft [1997] English Heritage Survey Report Fig 8.38: Map Room, Cold War Bunkers, Nick Catford [1998] Fig 8.39: Original Ground Floor Plan, Allan T Adams, [1997] English Heritage Survey Report Fig 8.40: Map Room Sketch, Own Image, [12th Jan 2015] Fig 8.41: Skylight, Online Image, Available from: http://www.dezeen.com/2011/08/08/interactive-museum-of-the-history-of-lugo-by-nieto-sobejano-arquitectos/ [accessed 12th feb 2015] Fig 8.42: Courtyard, Online Image, Available from: http://www.dezeen.com/2011/08/08/interactive-museum-of-the-history-of-lugo-by-nieto-sobejano-arquitectos/ [accessed 12th feb 2015] Fig 8.43: Section, Online Image, Available from: http://www.dezeen.com/2011/08/08/interactive-museum-of-the-history-of-lugo-by-nieto-sobejano-arquitectos/ [accessed 12th feb 2015] Fig 8.44: Concrete Diagram, Online Image, Available from: http://nycsubway.org.s3.amazonaws.com/images/articles/engnewsdc1153al.gif [accessed 14th feb 2015] Fig 8.45: Working with existing openings Sketch, Own Image, [12th Jan 2015] Fig 9.1: East Elevation, Own Image [18th Dec 2014] Fig 9.2: Ventilation Technical Drawing, Own Image [1st March 2015] Fig 9.3: Reinforced concrete, Online Image, Available from: http://www.google.co.uk/imgres?imgurl=http://img.archiexpo.com/images_ae/photo-g/reinforced-concrete [accessed 18th Feb 2015] Fig 9.4: South East Panorama, Own Image, [19th Feb 2015] Fig 9.5: New Building Ground Floor Plan, Allan T Adams, [1997] English Heritage Survey Report Fig 9.6: Steel Pipe, Own Image [18th Dec 2014] Fig 9.7: West Elevation, Own Image [18th Dec 2014] Fig 9.8: Pebble Dash Texture, Own Image [18th Dec 2014] Fig 9.9: Concrete Texture, Own Image [18th Dec 2014] Fig 9.10: Vinery 2, Own Image [18th Dec 2014] Fig. 9.11: East Elevation Vent, Own Image [18th Dec 2014] Fig 9.12: East Elevation Vent 2, Own Image [18th Dec 2014] Fig 9.13: East Elevation Vent 3, Own Image [18th Dec 2014] Fig 9.14: New Building Plant Room, Cold War Bunkers, Nick Catford [1998] Fig 9.15: New Building Plant Room 2, Cold War Bunkers, Nick Catford [1998] Fig 9.16: New Building Ground Floor Plan, Allan T Adams, [1997] English Heritage Survey Report Fig 9.17: New Building First Floor Plan, Allan T Adams, [1997] English Heritage Survey Report Fig 9.18: New Building Plant Room 3, Cold War Bunkers, Nick Catford [1998] Fig 9.19: New Building Kitchen, Cold War Bunkers, Nick Catford [1998] Fig 9.20: New Building Corridor, Cold War Bunkers, Nick Catford [1998] Fig 9.21: BBC Studio, Cold War Bunkers, Nick Catford [1998] Fig 9.22: Blast Door, Cold War Bunkers, Nick Catford [1998]
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Fig 9.23: Blast Door 2, Cold War Bunkers, Nick Catford [1998] Fig 9.24: New Building Air Conditioning, Cold War Bunkers, Nick Catford [1998] Fig 9.25: Office Room, Cold War Bunkers, Nick Catford [1998] Fig 9.26: Sinks, Cold War Bunkers, Nick Catford [1998] Fig 9.27: 1950’s Power Switch, Cold War Bunkers, Nick Catford [1998] Fig 9.28: 1970’s Power Switch, Cold War Bunkers, Nick Catford [1998] Fig 9.29: Tea Bar Ground Floor, Cold War Bunkers, Nick Catford [1998] Fig 9.30: Section, Allan T Adams, [1997] English Heritage Survey Report Fig 9.31: Ventilation ¬Section, Allan T Adams, [1997] English Heritage Survey Report ¬Fig 9.32: Plant Room Plan, Allan T Adams, [1997] English Heritage Survey Report ¬Fig 9.33: Control Room Plan, Allan T Adams, [1997] English Heritage Survey Report Fig 9.34: On the Beach at Cambridge, Poem, Adrian Mitchell, [1980’s] English Heritage Survey Report Fig 9.35: Tape Relay Centre Outgoing Circuit Operators, Found at site, English Heritage Survey Report Fig 10.1: Sun path Diagram, Own Image Fig 10.2: Sunrise Summer, Own Image Fig 10.3: Midday Summer, Own Image Fig 10.4: Sunset Summer, Own Image Fig 10.5: Sunrise Winter, Own Image Fig 10.6: Midday Winter, Own Image Fig 10.7: Sunset Winter, Own Image Fig 10.8: Suggested Interventions Section, Own Image Fig 10.9: Inner courtyard / Isay Weinfeld (Brazilian Architect) House in Sao Paulo, Online Image, Available from: dezeen.com [accessed 1st March 2015] Fig 10.10: Concrete Roof Light, Online Image, Available from: http://ad009cdnb.archdaily.net/wp-content/uploads/2008/06/00.jpg [accessed 2nd march 2015] Fig 10.11: RSG 3D Diagram, Own Image Fig 10.12: RSG Possible Apertures, Own Image Fig 10.13: RSG Possible Aperture, Own Image Fig 10.14: Passive Solar Design, Online Image, Available From: http://en.wikipedia.org/wiki/Passive_solar_building_design [accessed 1st march 2015] Fig 10.15: Thermal Mass Diagram, Online Image, Available From: http://www.yourhome.gov.au/sites/prod.yourhome.gov.au/files/images/63494.png [accessed 2nd march 2015 Fig 10.16: Tile & Concrete, Online Image, Available From: http://modernforest.com [accessed 3rd march 2015] Fig 10.17: Perforated Concrete, Online Image, Available From: http://static.dezeen.com/uploads/2013/08/dezeen_Courtyard-House-by-Formwerkz-Architects_1.jpg [accessed 2nd march 2015] Fig10.18:PerforatedConcrete,OnlineImage,AvailableFrom:http://static.dezeen.com/uploads/2014/02/Perforated-concrete-walls-encase-La-Tallera-gallery-by-Frida-Escobedo1.jpg[Accessed1stmarch2015] Fig 10.19: Ferrari Museum Roof, Online Image, Available From: http://www.dezeen.com/2012/03/15/enzo-ferrari-museum-by-future-systems/[accessed 1st march 2015] Fig 10.20: Ferrari Museum Aerial View, Online Image, Available From: http://www.dezeen.com/2012/03/15/enzo-ferrari-museum-by-future-systems/[accessed 1st march 2015] Fig 10.21: Ferrari Museum Roof 2, Online Image, Available From: http://www.dezeen.com/2012/03/15/enzo-ferrari-museum-by-future-systems/[accessed 1st march 2015] Fig 10.22: Ferrari Museum Plan, Online Image, Available From: http://www.dezeen.com/2012/03/15/enzo-ferrari-museum-by-future-systems/[accessed 1st march 2015] Fig 10.23: Ferrari Museum Roof 3, Online Image, Available From: http://www.dezeen.com/2012/03/15/enzo-ferrari-museum-by-future-systems/[accessed 1st march 2015] Fig 10.24: Ferrari Museum, Online Image, Available From: http://www.dezeen.com/2012/03/15/enzo-ferrari-museum-by-future-systems/[accessed 1st march 2015] Fig 10.25: Proposed new Footbridge by Accordia Bridge Group, Obtained from Cambridge County Council Planning Portal Fig 10.26: Refurbishment of Concrete Building, Online Image, Available From: http://products.ihs.com/CIS/Thumbnail.aspx?AccNo=251211 [accessed 2nd march 2015] Fig 10.27: Sustainable Design and Construction, Online Image, Available From: Cambridge County Council Planning Portal [accessed 2nd march 2015]
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Fig 10.28: Improving Energy Utilisation, Online Image, Available From: www.42u.com [accessed 4th march 2015] Fig 10.29: Hot & Cold Aisles, Online Image, Available From: www.42u.com [accessed 4th march 2015] Fig 10.30: Improving Environmental Conditions, Online Image, Available From: www.42u.com [accessed 4th march 2015] Fig 11.1: Science Museum, Online Image, Available From: http://www.sciencemuseum.org.uk [accessed 3rd march 2015] Fig 11.2: Science Museum Logo, Online Image, Available From: http://www.sciencemuseum.org.uk [accessed 3rd march 2015] Fig 11.3: Science Museum Interior, Online Image, Available From: http://www.sciencemuseum.org.uk [accessed 3rd march 2015] Fig 11.4: Location Plan, Online Image, Available From :digimap.edina.uk [accessed 4th march 2015] Fig 11.5: Science Museum Entrance Tunnel, Own Image [14th Feb 2015] Fig 11.6: Science Museum Entrance, Own Image [14th Feb 2015] Fig 11.7: Science Museum Entrance Plan Sketch, Own Image [14th Feb 2015] Fig 11.8: Science Museum Entrance 2, Own Image [14th Feb 2015] Fig 11.9: Entrance Lighting, Own Image [14th Feb 2015] Fig 11.10: Entrance Bicycles, Own Image [14th Feb 2015] Fig 11.11: Science Museum Atrium, Own Image [14th Feb 2015] Fig 11:12: Science Museum Atrium 2, Own Image [14th Feb 2015] Fig 11.13: Science Museum Gallery, Own Image [14th Feb 2015] Fig 11.14: Science Museum Information Screen, Own Image [14th Feb 2015] Fig 11:15: Infographics Board, Own Image [14th Feb 2015] Fig 11.16: Typography, Science Museum, Own Image [14th Feb 2015] Fig 11.17: Science Museum Launchpad Entrance, Own Image [14th Feb 2015] Fig 11.18: Typography 2, Own Image [14th Feb 2015] Fig 11.19: Science Museum Escalator, Own Image [14th Feb 2015] Fig 11.20: Science Museum Circulation Diagram, Own Image [18th Feb 2015] Fig 11.21: Science Museum Display Fixture, Own Image [14th Feb 2015] Fig 11.22: Science Museum Glass Display, Own Image [14th Feb 2015] Fig 11.23: Science Museum Pattern Pod Flooring, Own Image [14th Feb 2015] Fig 11.24: Science Museum Interior Panorama, Own Image [14th Feb 2015] Fig 11.25: Science Museum Making the Modern World Gallery, Own Image [14th Feb 2015] Fig 11.26: Science Museum Ground Floor Plan, Obtained from the Science Museum & Scanned [14th Feb 2015] Fig 11.27: Science Museum Threshold Sketch, Own Image [14th Feb 2015] Fig 11.28: Science Museum Entrance 3, Own Image [14th Feb 2015] Fig 11.29: Science Museum Atrium 3, Own Image [14th Feb 2015] Fig 11.30: Science Museum Atrium 4, Own Image [14th Feb 2015] Fig 11.31: Science Museum Gallery 2, Own Image [14th Feb 2015] Fig 11.32: Science Museum Wellcome Wing, Own Image [14th Feb 2015] Fig 11.33: Science Museum Wellcome Wing Lighting, Own Image [14th Feb 2015] Fig 11.34: Science Museum Wellcome Wing Entrance Lighting, Own Image [14th Feb 2015] Fig 11.35: Science Museum Wellcome Wing Lighting 2, Own Image [14th Feb 2015] Fig 11.36: Science Museum Wellcome Wing Lighting 3, Own Image [14th Feb 2015] Fig 11.37: Science Museum Wellcome Wing Looking Up, Own Image [14th Feb 2015] Fig 11.38: Science Museum Wellcome Wing Map, Own Image [14th Feb 2015]
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Fig 11.39: Science Museum Wellcome Wing Shoe, Own Image [14th Feb 2015] Fig 11.40: Science Museum Wellcome Wing Light Sketch, Own Image [14th Feb 2015] Fig 11.41: Science Museum Plan & Section, Obtained from the Science Museum [14th Feb 2015] Fig 11.42: Science Museum Exterior Signage, Own Image [14th Feb 2015] Fig 11.43: Science Museum Interior Signage, Own Image [14th Feb 2015] Fig 11.44: Science Museum Interior Signage 2, Own Image [14th Feb 2015] Fig 11:45: Science Museum Exterior Signage 2, Own Image [14th Feb 2015] Fig 11.46: Science Museum Antenna Signage, Own Image [14th Feb 2015] Fig 11.47: Science Museum Pattern Pod, Online Image, Available From: www.sciencemuseum.com[14th Feb 2015] Fig 11.48: Science Museum Pattern Pod 2, Own Image [14th Feb 2015] Fig 11.49: Science Museum Pattern Pod 3, Own Image [14th Feb 2015] Fig 11.50: Science Museum Pattern Pod Projection Sketch, Own Image [14th Feb 2015] Fig 11.51: Wellcome Wing Interactive Screens, Own Image [14th Feb 2015] Fig 11.52: Wellcome Wing Interactive Screen Unit, Own Image [14th Feb 2015] Fig 11.53: Wellcome Wing Interactive Screen Display, Own Image [14th Feb 2015] Fig 11.54: Wellcome Wing Interactive Projection, Own Image [14th Feb 2015] Fig 11.55: Wellcome Wing Bench, Own Image [14th Feb 2015] Fig 11.56: Wellcome Wing Interactive Projection 2, Own Image [14th Feb 2015] Fig 11.57: Information Age Walkway Sketch, Own Image Fig 11.58: Information Age Visual, Online Image, Available From: www.universaldesignstudio.com [accessed 16th Feb 2015] Fig 11.59: Science Museum Information Age, Own Image [14th Feb 2015] Fig 11.60: Science Museum Information Age Supercomputer, Own Image [14th Feb 2015] Fig 11.61: Science Museum Information Age Walkway, Own Image [14th Feb 2015] Fig 11.62: Unlocking Lovelock Circulation Sketch, Own Image [14th Feb 2015] Fig 11.63: Unlocking Lovelock Typography, Own Image [14th Feb 2015] Fig 11.64: Unlocking Lovelock Display Boards, Own Image [14th Feb 2015] Fig 11.65: Unlocking Lovelock Display Boards 2, Own Image [14th Feb 2015] Fig 11.66: Unlocking Lovelock Screen, Own Image [14th Feb 2015] Fig 11.65: Science Museum Detail, Own Image [14th Feb 2015] Fig 11.66: Science Museum Switch Room, Own Image [14th Feb 2015] Fig 11.67: Science Museum Switch Room Temperature Control, Own Image [14th Feb 2015] Fig 11.68: Science Museum Supercomputer 2, Own Image [14th Feb 2015] Fig 11.69: Science Museum Supercomputer 3, Own Image [14th Feb 2015] Fig 11.70: Science Museum Science Night, Online Image, Available From: http://www.sciencemuseum.org.uk [accessed 3rd march 2015] Fig 11.71: Science Museum Lates Logo, Online Image, Available From: http://www.sciencemuseum.org.uk [accessed 3rd march 2015] Fig 11.72: Science Museum Lates, Online Image, Available From: http://www.sciencemuseum.org.uk [accessed 3rd march 2015] Fig 12.1: Kelvedon Entrance, Online Image, Available from: http://upload.wikimedia.org/wikipedia/commons/0/0c/Entrance_to_Kelvedon_Hatch_Nuclear_Bunker.jpg [accessed 12 Feb 2015] Fig12.2:KelvedonTelecommunications,OnlineImage,Availablefrom:http://upload.wikimedia.org/wikipedia/commons/0/0c/Entrance_to_Kelvedon_Hatch_Nuclear_Bunker.jpg[accessed12Feb2015] Fig 12.3: Kelvedon Current OS Map, Online Image, Available from: http://digimap.edina.ac.uk/digimap [accessed 19th Feb 2015] Fig 12.4: Kelvedon Entrance Path, Own Image [18th Feb 2015] Fig 12.5: Kelvedon Entrance Signage, Own Image [18th Feb 2015]
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Fig 12.6: Kelvedon Entrance Signage 2, Own Image [18th Feb 2015] Fig 12.7: Kelvedon Entrance Signage 3, Own Image [18th Feb 2015] Fig 12.8: Kelvedon Entrance Signage 4, Own Image [18th Feb 2015] Fig 12.9: Kelvedon Entrance Tunnel, Own Image [18th Feb 2015] Fig 12.10: Kelvedon Car Park Signage, Own Image [18th Feb 2015] Fig 12.11: Kelvedon Entrance Signage 5, Own Image [18th Feb 2015] Fig 12.12: Kelvedon Propaganda Poster, Own Image [18th Feb 2015] Fig 12.13: Kelvedon Propaganda Poster 2, Own Image [18th Feb 2015] Fig 12.14: Kelvedon Bag Rack, Own Image [18th Feb 2015] Fig 12.15: Kelvedon Interior Circulation Signage, Own Image [18th Feb 2015] Fig 12.16: Kelvedon Interior Circulation Signage 2, Own Image [18th Feb 2015] Fig 12.17: Kelvedon Interior Circulation Wand, Own Image [18th Feb 2015] Fig 12.18: Kelvedon Interior Circulation Signage 4, Own Image [18th Feb 2015] Fig 12.19: Kelvedon Interior Circulation Signage 5, Own Image [18th Feb 2015] Fig 12.20: Kelvedon Interior Circulation Signage 6, Own Image [18th Feb 2015] Fig 12.21: Kelvedon Original Map Room, Own Image [18th Feb 2015] Fig 12.22: Kelvedon Section Drawing, Obtained from Kelvedon Hatch [18th Feb 2015] Fig 12.23: Kelvedon Original Blast Door, Own Image [18th Feb 2015] Fig 12.24: Kelvedon Original Telecommunications Cables, Own Image [18th Feb 2015] Fig 12.25: Kelvedon Original Telecommunication Equipment, Own Image [18th Feb 2015] Fig 12.26: Kelvedon Original Typewriters, Own Image [18th Feb 2015] Fig 12.27: Kelvedon Ground Floor Plan, Obtained from Kelvedon Hatch [18th Feb 2015] Fig 12.28: Kelvedon Plant Room, Own Image [18th Feb 2015] Fig 12.29: Kelvedon Plant Room 2, Own Image [18th Feb 2015] Fig 12.30: Kelvedon Original Typewriters 2, Own Image [18th Feb 2015] Fig 12.31: Kelvedon Original Staff Offices, Own Image [18th Feb 2015] Fig 12.32: Kelvedon Original Staff Offices 2, Own Image [18th Feb 2015] Fig 12.33: Kelvedon Original Telecommunication Machinery, Own Image [18th Feb 2015] Fig 12.34: Kelvedon Original Typewriters 3, Own Image [18th Feb 2015] Fig 12.35: Kelvedon Middle Floor Plan, Obtained from Kelvedon Hatch [18th Feb 2015] Fig 12.36: Kelvedon Refectory, Own Image [18th Feb 2015] Fig 12.37: Kelvedon Sick Bay, Own Image [18th Feb 2015] Fig 12.38: Kelvedon Dormitory, Own Image [18th Feb 2015] Fig 12.39: Kelvedon Dormitory 2, Own Image [18th Feb 2015] Fig 12.40: Kelvedon Top Floor Plan, Obtained from Kelvedon Hatch [18th Feb 2015] Fig 12.41: Kelvedon Air Conditioning Vent, Own Image [18th Feb 2015] Fig 12.42: Kelvedon Lighting, Own Image [18th Feb 2015] Fig 12.43: Kelvedon Exit, Own Image [18th Feb 2015] Fig 13.1 Bletchley Park Cover, Online Image. Available from: http://www.bletchleypark.org.uk [accessed 12th feb 2015] Fig 13.2: Enigma Photo, Online Image. Available from: http://www.bletchleypark.org.uk [accessed 12th feb 2015] Fig 13.3: Bombe Photo, Online Image. Available from: http://www.bletchleypark.org.uk [accessed 12th feb 2015]
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Fig 13.4: Books Photo, Online Image. Available from: http://www.bletchleypark.org.uk [accessed 12th feb 2015] Fig 13.5: ACE Bletchley Park, Available from: http://cdn3.computerworlduk.com/cmsdata/news/3365816/bletchleypark-pilotace.jpg [accessed 13 Feb 2015] Fig 13.6: Bletchley Park Entrance, Own Image [15th Feb 2015] Fig 13.7: Bletchley Park Entrance 2, Own Image [15th Feb 2015] Fig 13.8: Bletchley Park Entrance Diagram, Own Image [15th Feb 2015] Fig 13.9: Bletchley Park Site Map, Obtained From Bletchley Park [15th Feb 2015] Fig 13.10: Red Form Photo, Online Image. Available from: http://www.bletchleypark.org.uk [accessed 12th feb 2015] Fig 13.11: Bletchley Park Alan Turing’s Office, Own Image [15th Feb 2015] Fig 13.12: Bletchley Park Codebreakers, Online Image, Available From: http://cdni.wired.co.uk/1920x1280/s_v/Turing-Cipher-Final.jpg Fig 13.13: Bletchley Park Alan Turing’s Office 2, Own Image [15th Feb 2015] Fig 13.14: Air Vent, Own Image [15th Feb 2015] Fig 13.15: Colour Scheme 2, Own Image [15th Feb 2015] Fig 13.16: Door Handle, Own Image [15th Feb 2015] Fig 13.17: Existing Ventilation Own Image [15th Feb 2015] Fig 13.18: Bletchley Park Colour Scheme 5, Own Image [15th Feb 2015] Fig 13.19: Fuel Tank Own Image [15th Feb 2015] Fig 13.20: Fence, Own Image [15th Feb 2015] Fig 13.21: Radiator, Own Image [15th Feb 2015] Fig 13.22: Bletchley Park Derelict Hut, Own Image [15th Feb 2015] Fig 13.23: Bletchley Park New Hut, Own Image [15th Feb 2015] Fig 13.24: Bletchley Park Derelict Material, Own Image [15th Feb 2015] Fig 13.25: Bletchley Park New Material, Own Image [15th Feb 2015] Fig 13.26: Bletchley Park Engima Machine, Own Image [15th Feb 2015] Fig 13.27: Display Board, Own Image [15th Feb 2015] Fig 13.28: Typography, Own Image [15th Feb 2015] Fig 13.29: Interactive Bombe Display, Own Image [15th Feb 2015] Fig 13.30: Projection Screen, Own Image [15th Feb 2015] Fig 13.31: Display Unit, Own Image [15th Feb 2015] Fig 13.32: Interactive Display Unit, Own Image [15th Feb 2015] Fig 13.33: Secrecy Exhibition Entrance, Own Image [15th Feb 2015] Fig 13.34: Secrecy Exhibition Entrance Graphic, Own Image [15th Feb 2015] Fig 13.35: Secrecy Exhibition Display Unit, Own Image [15th Feb 2015] Fig 13.36: Secrecy Exhibition Display Graphic, Own Image [15th Feb 2015] Fig 13.37: Secrecy Exhibition Display Unit 2, Own Image [15th Feb 2015] Fig 13.38: Secrecy Exhibition Display Unit 3, Own Image [15th Feb 2015] Fig 13.39: Secrecy Exhibition Display Unit 4, Own Image [15th Feb 2015] Fig 13.40: Secrecy Exhibition Display Unit 5, Own Image [15th Feb 2015] Fig 13.41: Secrecy Exhibition Display Unit 6, Own Image [15th Feb 2015] Fig 13.42: Secrecy Exhibition Plan Sketch, Own Image [15th Feb 2015] Fig 13.43: Bletchley Park Interactive Bombe Machine, Own Image [15th Feb 2015] Fig 13.44: Bletchley Park Demonstration Bombe Machine, Own Image [15th Feb 2015]
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Fig 13.45: Bletchley Park Interactive Projection, Own Image [15th Feb 2015] Fig 13.46: Bletchley Park Existing Feature, Own Image [15th Feb 2015] Fig 13.47: Bletchley Park Enigma Machine Components, Own Image [15th Feb 2015] Figure 13.48: Bletchley Park Signage, Own Image [15th Feb 2015] Figure 13.49: Bletchley Park Signage 2, Own Image [15th Feb 2015] Figure 13.50: Bletchley Park Signage 3, Own Image [15th Feb 2015] Figure 13.51: Bletchley Park Signage 4, Own Image [15th Feb 2015] Fig 14.1: Yad Vashem Visual, Online Image, Available From: www.archdaily.com/179679/ [accessed 28th Feb 2015] Fig 14.2: Yad Vashem Visual 2, Online Image, Available From: www.archdaily.com/179679/ [accessed 28th Feb 2015] Fig 14.3: Yad Vashem Exterior, Online Image, Available From: www.archdaily.com/179679/ [accessed 28th Feb 2015] Fig 14.4: Yad Vashem Interior Visual, Online Image, Available From: www.archdaily.com/179679/ [accessed 28th Feb 2015] Fig 14.5: Yad Vashem Visual 3, Online Image, Available From: www.archdaily.com/179679/ [accessed 28th Feb 2015] Fig 15.1: Facebook Data Centre, Online Image, Available From: www.datacenterknowledge.com/the-facebook-data-center/ [accessed 26th Feb 2015] Fig 15.2: Facebook Data Centre Interior Visual, Online Image, Available From: www.datacenterknowledge.com/the-facebook-data-center/ [accessed 26th Feb 2015] Fig 15.3: Facebook Data Centre Interior Visual 2, Online Image, Available From: www.datacenterknowledge.com/the-facebook-data-center/ [accessed 26th Feb 2015] Fig 15.4: Facebook Data Centre Interior, Online Image, Available From: www.datacenterknowledge.com/the-facebook-data-center/ [accessed 26th Feb 2015] Fig 16.1: Barbican Centre Exterior, Online Image, Available From: www.barbican.org.uk/gallery-exterior [accessed 17th Feb 2015] Fig 16.2: Barbican Centre Interior, Online Image, Available From: www.barbican.org.uk/gallery-interior [accessed 17th Feb 2015] Fig 16.3: Barbican Centre Breakdown of Spaces, Online Image, Available From: www.barbican.org.uk/map [accessed 17th Feb 2015] Fig 16.4: Barbican Centre Garden Terrace, Online Image, Available From: www.barbican.org.uk/gallery-terrace [accessed 17th Feb 2015] Fig 16.5: Barbican Centre Rooftop Terrace, Online Image, Available From: www.barbican.org.uk/gallery-roof [accessed 17th Feb 2015] Fig 16.6: Barbican Centre Exterior Visual, Online Image, Available From: www.barbican.org.uk/gallery-exterior2030 [accessed 17th Feb 2015] Fig 16.7: Barbican Centre Rain Room, Online Image, Available From: www.barbican.org.uk/gallery-rain-room/the-curve [accessed 17th Feb 2015] Fig 16.8: Barbican Centre Signage, Online Image, Available From: www.barbican.org.uk/gallery-roof [accessed 17th Feb 2015] Fig 16.9: Barbican Centre Website Screenshot, Online Image, Available From: www.barbican.org.uk/about [accessed 17th Feb 2015] Fig 16.10: Barbican Centre Rain Room 2, Online Image, Available From: www.barbican.org.uk/gallery-the curve [accessed 17th Feb 2015] Fig 17.1: Ruhr Museum Interior, Online Image, Available From: https://ruhrmuseum.de/ [accessed 20th Feb 2015] Fig 17.2: Ruhr Museum Interior Stair, Online Image, Available From: https://ruhrmuseum.de/ [accessed 20th Feb 2015] Fig 17.3: Ruhr Museum Interior Stair 2, Online Image, Available From: https://ruhrmuseum.de/ [accessed 20th Feb 2015] Fig 17.4: Ruhr Museum Working with Existing Features, Online Image, Available From: https://ruhrmuseum.de/ [accessed 20th Feb 2015] Fig 17.5: Ruhr Museum Interior 2, Online Image, Available From: https://ruhrmuseum.de/ [accessed 20th Feb 2015] Fig 17.6: Ruhr Museum Display, Online Image, Available From: https://ruhrmuseum.de/ [accessed 20th Feb 2015] Fig 17.7: Ruhr Museum Display 2, Online Image, Available From: https://ruhrmuseum.de/ [accessed 20th Feb 2015] Fig 17.8: Ruhr Museum Interior Display, Online Image, Available From: https://ruhrmuseum.de/ [accessed 20th Feb 2015] Fig 18.1: Cambridge Blue Diagram, Online Image, Available From: www.britmodeller.com [accessed 20th Feb 2015] Fig 18.2: Cambridge Rowing Team, Online Image, Available From: Cambridge.tab.co.uk [accessed 20th Feb 2015] Fig 19.1: Concrete Texture, Online Image, Available From: www.texturezine.com [accessed 20th Feb 2015] Fig 19.2: Charcoal, Own Image, [23rd Feb 2015] Fig 19.3: Cambridge Blue, Own Image, [23rd Feb 2015] Fig 20.1: RSG Cambridge Comments, Online Content, Available From: www.subbrit.org.uk/rsg/sites/c/cambridge-forum [accessed 21st feb 2015] Fig 20.2: RSG Cambridge Comments 2, Online Content, Available From: www.subbrit.org.uk/rsg/sites/c/cambridge-forum [accessed 21st feb 2015]
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Fig 20.3: RSG Cambridge Comments 3, Online Content, Available From: www.subbrit.org.uk/rsg/sites/c/cambridge-forum [accessed 21st feb 2015] Fig 20.4: Pet Shop Boys & Turing, Online Image, Available from: http://i.ytimg.com/vi/knXWMjIA59c/maxresdefault.jpg [accessed 10 Feb 2015] Fig 21.1: James Turrell Skylight, Online Image, Available from: rodencrater.com/james [accessed 10 Feb 2015] Fig 21.2: James Turrell Guggenheim, Online Image, Available from: rodencrater.com/james [accessed 10 Feb 2015] Fig 21.3: James Turrell Hayward Gallery, Online Image, Available from: rodencrater.com/james [accessed 10 Feb 2015] Fig 21.4: Doug Aitken, Online Image, Available From: www.dougaitkenworkshop.com [accessed 20th Feb 2015] Fig 21.5: Doug Aitken 2, Online Image, Available From: www.dougaitkenworkshop.com [accessed 20th Feb 2015] Fig 21.6: Casrten Holler Double Carousel, Available From: www.gagosian.com/artists/carsten-holler [accessed 21st feb 2015] Fig 21.7: Casrten Holler Upside Down Mushroom Room, Available From: www.gagosian.com/artists/carsten-holler [accessed 21st Feb 2015] Fig 21.8: Casrten Holler Sliding Doors, Available From: www.gagosian.com/artists/carsten-holler [accessed 21st Feb 2015] Fig 22: Conceptual Site Response exploring the juxtaposition of site and surroundings Fig 22.1: New Building, Sketch at Site, Own Image, [23rd Feb 2015] Fig 22.2: Old Building, Concept Sketch, Own Image, [23rd Feb 2015] Fig 22.3: Old Building, Concept Sketch 2, Own Image, [23rd Feb 2015] Fig 22.4 Old Building, Concept Sketch 3, Own Image, [23rd Feb 2015] Fig 22.5: Rough Sketches, Own Image [24th Feb 2015] Fig 22.6: Frozen In Time, Watch Components set in Concrete, Own Image [1st Dec 2015] Fig 22.7: Concept Hat Piece, Collection of materials and processes, Own Image [1st Dec 2015] Fig 22.8: Concept Hat Piece, Collection of materials and processes, Own Image [1st Dec 2015] Fig 22.9: Site Combine, Card, Paint & LED Lighting, Own Image [12th Dec 2015] Fig 22.10 Site Combine 4, Card, Paint & LED Lighting, Own Image [12th Dec 2015] Fig 22.11: Site Combine 5, Card, Paint & LED Lighting, Own Image [12th Dec 2015] Fig 22.12: Site Combine 6, Computer components & LED Lighting, Own Image [12th Dec 2015] Fig 23.1: Yeovil RSG before Conversion, Online Image, Available From: http://www.dailymail.co.uk/news/article-2876325/Last-Cold-War-relics-Britain-s-secret-nuclear-bunkers-turned-houses-vetssurgeries-recording-studio-laser-tag-arena-half-demolished.html Fig 23.2: Yeovil RSG after conversion, Online Image, Available From: http://www.dailymail.co.uk/news/article-2876325/Last-Cold-War-relics-Britain-s-secret-nuclear-bunkers-turned-houses-vetssurgeries-recording-studio-laser-tag-arena-half-demolished.html Fig 23.3: Laser Tag, Online Image, Available From: http://www.dailymail.co.uk/news/article-2876325/Last-Cold-War-relics-Britain-s-secret-nuclear-bunkers-turned-houses-vets-surgeries-recordingstudio-laser-tag-arena-half-demolished.html Fig 23.4: Recording Studio, Online Image, Available From: http://www.dailymail.co.uk/news/article-2876325/Last-Cold-War-relics-Britain-s-secret-nuclear-bunkers-turned-houses-vets-surgeriesrecording-studio-laser-tag-arena-half-demolished.html Fig 23.5: Map of converted bunkers, Online Image, Available From: http://www.dailymail.co.uk/news/article-2876325/Last-Cold-War-relics-Britain-s-secret-nuclear-bunkers-turned-houses-vetssurgeries-recording-studio-laser-tag-arena-half-demolished.html
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