Project 3.3 Art Appreciation Experience Station

AAE STATION SARAH WONG | ATELIER QED MANCHESTER SCHOOL OF ARCHITECTURE

STUDIO 3.3 PORTFOLIO TRAN STATION x GALLERY

TABLE OF CONTENT Theoretical Analysis

04

Programme Explanation

08

Location Plan

12

Renderings

14

Physical Model

26

Environmental Stragegy

30

Construction Drawings

34

Drawing Pack

42

Bibliography

50

Timeline Summery

51

04

Programme Analysis

EXP ERIE NCE

The answer is to foster cultures inside the railway station with a rich sense of humanity is the best way to curate the experience of visitors to Manchester. Based on the idea that a station could offer people a chance to experience arts and cultures, rather than merely serving as a transportation hub. Therefore, I propose to design a gallery for the travelers. “Art is always both autonomous and ‘social fact’.

It is the continued search for a productive form of this duality that has driven art beyond the literal physical space of gallery into other social spaces.” Therefore, not only can the gallery draw people from the main travel routes into a more humanities world, but can also allow people to drift through the train station as an experiential journey.

People Space Physical boundaries

Physical

Mental

Emotional

Travel through

Engaging

Movement Discovery

Functional History Functional Meaning

Senses

SPACIAL EXPERIENCE

Sterile Non-personal Standard Emotions

Scale Materiality Light and shadow

Layering Unfolding journey

06 Narrative

I

III

The Journey start once you step out of the train

The train station canopy merged into the interior of building

II

Through the c can directly ac

clear circulation design, people ccess the assigned route

IV

Build up a connection between the infranstructure andcelebration of art

V

People can see what is happening in the gallery through the glazing tunnel

VI

The building programmes allow community to get closer to art

09

Experiential Tunnel

Programme

Gallery Exhibition

My concept of the building is to have a clear and fluidity circulation between the traveler and the gallery visitor, so that people in a rush would not intersect with the slow gallery visitors. However the traveler can also overview and have a clear vision of what is happening inside the gallery space as it is part of the experiential journey.

Irregular Site with 2 Programmes Train Station + Gallery

Enclosed Gallery Within Train Station

Alter the Location of the Gallery to the Edge according to the need of Sunlight and Circulation

There are different programme requirements inside the building. Since the building is a combination of two different programmes, it is importance to strike a balance between the two. To achieve the best circulation result, a glass gallery is enclosed by the train station, people can therefore acknowledge what is happening inside the gallery.

10

DESIGN GENERATORS

The design development of the project primarily utilises physical models, with content consideration of tectonics and potential dualities. The design decisions were fuelled by investigations from the different aspects in order to explore and refine my intention, and eventually, come up with the finally building form. I went through several designs before coming up my clear vision for the building.

There are different programme requirements inside the building. Since the building is a combination of two different programmes, it is important to strike a balance between the two. I tried not to separate the Manchester Airport Train Station programme and the Art Gallery programme. I would like to merge them together by enclosing one within another.

My building concept is to have a clear and fluidity circulation between the travellers and the gallery visitors so that people in a rush would not intersect with the slow moving gallery visitors. However, the travellers can also have an overview as well as a clear vision of what is happening inside the gallery space as it is part of the experiential journey. A transparent boundary is set between the two programmes.

TRAVELER GALLERY VISITOR

12

Contextual Analysis

To suit the flight schedules of international airlines, the Manchester Airport operates 24 hours a day and 7 days a week and therefore the Manchester Airport consumes a large amount of energy. The technique of passive solar building design is used for arranging heating and lighting in the Manchester Airport and a sunroom is positioned on the rear south end of the building. To help draw the maximum amount of sunlight into the building, the south face wall is inclined. Natural ventilation is another attempt to save energy and reduce the construction cost and operation cost.

Noise restriction is a major concern of the airport architecture, especially the noise comes from the airframe and engine of a plane. A special landscape strategy is used to help entrap and absorb sound vibrations. Apart from greeneries, a zig zag landscape seating idea also helps deflect noise.

To accommodate the heavy traffic flow of private cars going into and out of the airport site, most of the area surrounding the Manchester Airport is marked as parking spaces (labeled light blue in the diagram). Therefore not much approachable green area is on the airport site. Since there is no outdoor area surrounding the Manchester Airport Train Station and only roads, car parks and buildings can be seen from the site, people can hardly have visual enjoyment. Nevertheless, the top view of the station platform canopy is a visual enjoyment when people looks through the building opening.

The Manchester Airport has gradually been transformed in the past years into a small scale city, including individual infrastructures and its 3 terminals. These terminals are surrounded by numerous office buildings. There are also hotels and commercial buildings in the vicinity. The Manchester Airport is connected to a railway network. A bus station is also integrated into the complex and there are massive parking facilities within the area.

17

STATEMENT OF INTENTIONS

The key points to consider in the beginning of design were: sense of materiality, density of space and materialised light. (Pallasma J., 2005) After acknowledging the programme and space organisations, I have looked into different precedents and figured out the method to assemble the building.

My structure approach is simple, which is a basic steel structure with a tessellation system roof and a timber structure canopy.

By using a variation of tectonic identities, the relationships between programmes will be illustrated as “to give intellectual access to its occupants, access to their affections and their skills, access to their sensibilities� (Smithson) The usage of materials must have certain formal characteristics in order to form layers of meaning to the space.

The building is located in the Manchester Airport, which is a modern region of the city. Most of the building is made by steel and glazing, while a small amount is formed by bricks. I have therefore selected steel as the major material, not only because of context coherent but the fact that it is the most commonly recycled building material. It can be used as a resource in creating a new product because it can be easily separated from construction debris.

The form of the building is driven by the environmental strategy. The west-facing double skin wall of the station concourse presents nice usability of that space. Users can enjoy the natural lighting and ventilation while the double skin wall helps prevent noise enter the building.

18 Section

20

TRAIN CONCOURSE

Internal Rendering

IN BETWEEN THE GALLERY SPACE AND THE TRAIN STATION

22 Internal Rendering

24

External Rendering

25

Contextual Analysis

My idea of this porject is to enhance the experience of travellers towards the hidden culture and arts of Manchester rather than merely creating a transportation hub.

I concerned with the buildings over time and rethinking about the ecology of building regarding materials, construction and environmental system. Since the building is heavily used twenty-four by seven, I need to think about maintenance and therefore create the best programme which suits the visitors from all time. The original building site provides a very confused circulation and wastes a lot of space. My scheme provides not only a clear direction for visitors but also an all-rounded experience.

The contemporary architecture trend mainly leads on sustainability and ecology uses. Thanks to the creation of new form materials and digital fabrication, I have a lot of chances to explore and happy to adopt new technology since “Architecture is the will of an epoch translated into space (Ludwig Mies Van der Rohe)�.

I went through a lot of failures and rejections this year, but I learnt from them. At the beginning of the year, I came with a set of overwhelming ideas which I wanted to project into my design. This is the first time for me to design my own brief; it was a hard time when I totally lost directions and brought up failure designs. Luckily, my tutor suggested me to think fundamentally and start from research and theoretical readings instead of just creating a funky form that I was interested in. The processes of data gathering, condensation and evaluation have allowed me to improve my ability to reflect iterate irreverent points.

QED Atelier approach helps me to design an environmental friendly building. The group work and workshop have opened my mind to creative materiality and contextual study of the territory from different aspects. QED have a good theoretical interest and intention to discuss a theory from different view points after spending time on academic text and discussion.

I am happy to create a very stylistic set of drawings by the end of year and really enjoy the time experimenting with new digital technology such as rhino, grasshopper, tspline, revit, illustrator and after effect. I am pleased with the knowledge I learnt and the outcome this year. Hope I can continue to develop knowledge of a multi-disciplinary approach to sustainability architecture.

External Wall Cladding: - Steel work structural frame - Stainless-steel panel with lasercut vertical abutments bolted to supporting structure in rigid joints - Stainless steel pressed section subframe for stiffening pre-drilled for fixing back to mild steel frame with isolation spacers to prevent bi-metallic corrosion - Pre-drill midpoint noggins - Puddle welded pressed stainless still - Plywood backing

ROOF: - Gauge zinc-alloy standing seam roof finish - acoustic underlay and breather membrane - Plywood deck - UB roof beams - Softwood joists - Mineral wool insulation between joists, vapour barrier - Two layers of plasterboard with skim coat - Zinc-coated aluminium coping gutter

Materiality

STRUCTURE DEVELOPMENT The building is formed by a steel frame structure on a concrete base foundation. The reason that I use a steel frame structure rather than a concrete structure is mainly the long span provided by a steel frame.

The roof of the gallery part is constructed by the tessellation of four steel one-way-frame base units that vary in the opening height. The tessellation of four varying base units creates openings that transmitting effects of bifurcation and lightness.

The parametric roof of the train station part is made of a timber structure, and timber is desirable for use in more complex projects. I shift from “mass production to mass customization, from design of individual structures to the design of structural systems (Nordstorm L., 2014)� by using a parametric method.

Gravity load is transferred to floor slab Gravity Load Lateral Wind Load Roundation Resisting force Bracing Tension

Load is transferred to the supporting beams

x

Load is transferred to the girders Load is transferred from the girders to the columns x

4 x x

ENVIRONMENT DEVELOPMENT

In terms of the general serves in the building, plant room, mechanical room and control room are all located on the ground floor because the floor height is 5.8 m.

There is one vertical riser at the other end of the building, and I stack the toilet up above another so that I can minimise the horizontal water pipe travel distance.

The west-facing wall of the train concourse presented challenges to the usability of space. I determined that the double-skin wall was the best solution to let natural light in and create a cosy environment. The west glazing facade does not only exploit solar power; it provides natural ventilation and better acoustic insulation performance as well as reducing heating and cooling energy requirement.

Plant Room Control Room Mechanical Room Lift Core

SERVICES

A rainwater harvesting system is advanced by the pitched roof form, which helps capture and store rain that falls on-site. It is generally used for irrigation and toilet ushing or other greywater uses. The gutter on the roof directs the water from the catchment area to the storage tank located underground.

Fresh incoming air Stale air Filtered fresh air Heat exhanger unit

Tank

MECEHANICAL VENTILATION Electricity cable Control Room Mechanical Room Primary vertical riser

Storage Tank

Besides, light need to be controlled inside the gallery. Innovative use of Ferro cement louvres directs diffuse natural light onto the artwork displayed in the gallery and minimises ultraviolet exposure.

Pump

Control Panel

Filter

ELECTRICAL

ENVIRONMENTAL CONSIDERATION Pollution can be defined in many ways: that arising from the built environment like sewage waste; pollution caused during the manufacture of materials and products; pollution and hazards from the handling and use of materials or from the site itself. (Dixon W., 2010) Cladding and structure are often pre-fabricated before the structure is installed on site and the cladding is attached to the structural frame of the building. The construction process is done in a factory, which tends to be less waste and independence from bad weather. However, transportation is the sole disadvantage (Langdon D., 2002) The social space is all naturally ventilated. A large amount of polycarbonate glazing is installed providing natural light, high solar gain and views while keeping out ultraviolet rays. Rainwater is collected and stored, which can be filtered and pumped around the building for the use as greywater.

Steel is the most commonly recycled building material, in large part because it can be easily separated from construction debris by magnets. However, polycarbonate panels are ideal for use in any kind of harsh environment, as it has longer lifespan than other standard construction materials.

STEEL

CONCRETE

TIMBER

LEGISLATION

4800mm

Document A : The compartment wall in the building has minimum thickness of 190mm while the external wall has thickness of minimum 300 mm walls.

1600mm

Document E: The sound absorption coefficient for glass facade of the building should not be lower than 0.05 in octave 1000 Hz octave frequency.

Document M: The stairs are of less than 12 risers per flight with the minimum going of 250mm and the effective width of more than 1100mm (Part 3.5). To approach another level of the building may create difficulties to wheelchair users. The main strategy for disabled access is to provide lift services so that the main space can be experienced by disabled visitors without taking the stairs.

800mm 1600mm

2

Document B: Basement is less than 10 m below ground so the only floor of ground level needs to be compartmented. (Part B) The approved Document regarding fire safety states that the way to reduce the risk for the fire spread depends on materiality and the possibility of the spread of fire. The emergency staircases and exits are therefore located at the rear end of the building so that evacuation can happen quickly. Rooms with high potential of getting fire, like the kitchen, must be enclosed with fire compartment.

1. Section Showing wall thinkness and compartment 2. Entrance and route of the building 3. Disable access 4. Fire Stragegy

LIFT DISABLE TOILET

3

1

GLASS WITH HIGH SOUND ABSORPTION COEFFICIENT

COMPARTMENT

WALL THINKNESS

34

Exploded Isometric

The axonometric illustrates the simplicity of the compositional elements that produce a sophisticated spatial dynamism and complexity of effect. Exploded isometric illustrations add a kinetic aspect to what is typically very stagnate fixed objects.

It emphasizes the relationship between the different elements and the role each element plays to the larger whole. It shows the audience that the techtonics of the design have been thought through.

35

Construction Sequence

1 Columns

2 Beams

3 Slab

4 Roof Bracing

5 Roof Finish

External 6 Cladding

7 Internal Partition

8 Window Framework

9 Staircases

36

Building Sectional Perspective

1:50 @ A1

Detailed Section Intergrated detail section | 1:20 @ A1 Sarah Wong (Atelier QED)

Detailed Section Intergrated detail section | 1:20 @ A1 Sarah Wong (Atelier QED)

38

Detail Drawings

FACADE DETAILS

STAIR DETAILS

1 Bottom : Facade Detail Drawing 1:5 Top : Aluminium Panel Installation

2

1. Isometric

3

2. Detail Drawing

3. Section

40

Detail Section

1:20 @ A1

42

Long Section

1:200 @ A2

44

1:200 @ A1Roof Plan

1:500 @ A2

45

Gronud Floor Plan

1:200 @ A2

1. Tran Station 2. Concourse

3. Museum Lobby

3

4. Visitor Center

5. Tran Ticket Office

4

6. Museum Shop / Cafe

7. Maintenance and Operations

7

8. Collections Storage

8

9. Exhibition Hall

6 9

1.

2

5

46

First Floor Plan

1:200 @ A2

9.

Exhibition Hall

10. Meeting Room

11. Main Circulation

9

11

10

47

Second Floor Plan

1:200 @ A2

9. Exhibition Hall

9

48 Elevation

1:200 @ A3

WEST ELEVATION

SOUTH ELEVATION

49 Elevations

EAST ELEVATION

NORTH ELEVATION

50

Bibliography

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Non-Places: Introduction to an Anthropology of Supermodernity, Verso Press, pp.75-115

Baez, Manuel, (2008) ‘Phenomeno-logical Garden: A Work in Morpho-logical Process’, in Beesley, Philip, Bonnemaison, Sarah, eds., On Growth and Form: Organic Architecture and Beyond, (Halifax, Nova Scotia: Tuns Press), pp. 140-153

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362-380 Beesley, Philip, (2010) ‘Liminal Responsive Architecture’, in Beesley, Philip, ed., Hylozoic Ground: Liminal Responsive Architecture, (Toronto: Riverside Architectural Press), pp. 12-39 Berman, Ila, (2010) ‘Amphibious Territories’, in Gissen, David, ed., Territory: Architecture beyond Environment, Architectural Design, (London: John Wiley and Sons), pp. 66-73 Budashevskaya O. (2015), Architecture’s New Relationship with Nature, New York: Princeton Architectural Press Dixon W. (2010) The impacts of Construction the Built environment, WD Re-Thinking Ltd

Havasi B. & Negrisanu D. (2013) The socio-cultural function of architecture - education through space and the space of education, SGEM GeoConference on Nano, Bio And Green, p. 777-784

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Hughes P. (2015), Exhibition Design , London: Laurence King Publishing Hensel, Michael, Menges, Achim, (2009) ‘The Heterogeneous Space of Morpho-Ecologies’, in Hensel, Michael, Menges, Achim, Height, Christopher, eds., Space Reader: Hetrogeneous Space in Architecture, (Chichester: John Wiley and Sons), pp. 195-215 Height, Christopher, (2014) ‘Designing Ecologies’, in Reed, Chris, Lister, Nina-Marie, eds., Projective Ecologies, Harvard University Graduate School of Design, (New York: Actar Publishers), pp. 84-105 Kim J. (1996), Sustainable Architecture Module: Qualities, Use, and Examples of Sustainable Building Materials, National Pollution Prevention Center for Higher Education, pp. 22-29 Langdon D. & Everest (2002), Building Cost model: Prefabrication and preassembly, issue 06 Lally, Sean, (2014) ‘The Shape of Energy’, in Reed, Chris, Lister, Nina-Marie, eds., Projective Ecologies, Harvard University Graduate School of Design, (New York: Actar Publishers, 2014), pp. 312-335

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Fryderyk Chopin Institute (2012), Warsaw: The new permanent exhibition - from competition to opening, Warsaw: Fryderyk Chopin Institute Van der Ryn S., & Cowan S. (1996), “Ecological Design”, Island Press, p.18

3.1 Analysis and Investigation MINI PROJECTS

THEORETICAL SITE ANALYSIS ANALYSIS

PROGRAMME ANALYSIS

3.2 DEVELOPMENT DETAIL DRAWINGS

ENVIRONMENT STRAGEGY

3.2 RESOLUTION FINAL DRAWINGS

SARAH WONG RIBA PART 1 ARCHITECTURE STUDENT

(UK) +44 7445233555 (HK) +852 90111437 wongsarah1995@gmail.com http://wongsarah1995.wix.com/portfolio