academic portfolio 1012/13

MODEL PHOTO

THEORY_p.

YEAR RE-PORT

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CONCRETE IDEAGORAIn Concrete Ideagora I was challenged to create a unique brief to design a facility that solved a certain civic issue in Newcastle. The design was required to show some sort of civic presence and most importantly respond in a certain way to a use of concrete throughout the design. I chose to address the industrial decline and raising deprivation in Newcastle by designing a collaborative sustainable cotton growing and teaching facility, that would rejuvinate Newcastle economy and infrastructure through a unique industry of smart material production. The factory will provide teaching and skills to locals with a view of providing employment in the future. To mirror the program i based my concrete philosophy on fabric casting

1 . A flat rectangular sheet of geotextile fabric ishung from a steel frame

2 . A uniform thickness of Glass Fiber ReinforcedConcrete (GFRC) is applied to the hanging fabric, in this case as a spray application.

3 .The resulting funicular shell is inverted to makea mold for precast production.

4 .A hanging sheet of fabric can be used as a mold to produce thin-shell wall panels. The panels showhere are made from fiber-reinforced spray concrete applied to a hangingsheet of polyethylene fabric. These panels are less than 5 cm thick.

5 .A hanging flat sheet of fabric will naturally form itself into double curvature shapes that provide stiffnessand strength to a thin concrete shell panel, while random fiber reinforcing gives the concrete significantflexural strength and ductility. Various fibers and concrete mix designs can be used for this kind of application.

C.A.S.T. [CENTRE FOR ARCHITECTURAL STRUCTURES AND TECHNOLOGY]

ARC3001 ARCHITECTURAL DESIGN

CONCRETE IDEAGORA_COTTON FACTORY_DEVELOPMENT JOURNAL

To begin I was tasked with producing a cast touchstone. This piece was to be a sculptural representation of my initial concepts, studies and design interests in concrete as a material. I was initially interested in the capabilities of liquid concrete to take on the shape of it’s formwork, and set into organic and dynamic shapes. I felt this was interesting as a contrast to the structural and tactile properties of concrete, as a hard, cold, rigid material. I looked at the use of fabric casting in concrete architecture. This involved work analysing existing precedent techniques. I was able to produce a number of production models, which tested the capabilities and possibilities of fabric casting. These fabric casts were incredibly useful both in their success and their failures and this approach gave me vauable skills in casting the craft of cast models.

My final set of studies looked at the possibility of using fabric as the single material of the mould rather than an addition to a rigid timber mould. This method of production gave much freer and dynamic forms of solid mass, as well as allowing for composite surfaces of plaster and fabric. the main problems that occured with this technique was that I could not produce flat forms, as the fabric had to be tied whilst the plaster set.This series of models gave me an understanding of the limitations of concrete as a structural material, as well as the optimum casting technique to produce my desired form.

Secondly I looked at lining a series of moulds with fabric, in order to gain a patterned finish on the plaster block. This achieved two results. When the mould was lined with the fabric and the plaster poured into a mould, a creased effect occured. This was due to the weight of the plaster pushing down on the mould. The model had a certain beauty and intrigue about it and could have been used to create a series of blockwork facades or floors, but did not fulfil my ambition to have a flowing dynamic form. Using this experience I experimented further in order to achieve the desired result.

Next I placed fabric on top of already poured plaster and fastened the fabric into a ridgid creased form inside the wet cast. This worked far better as the fabric was dictating the form of the plaster and not vice versa as in the previous attempt. using these series of models I began to build up an understanding of how to create a solid mass that showed properties of flowing fabric, this moved me closer to my overall ambition of a natural flowing tectonic coming out of solid cold concrete.

Using techniques learnt from analysis of the precedent studies above, i produced a series of working models aimed at experimenting first hand with fabric cast forms. Firstly i looked at dipping the fabric into plaster, a technique taken from C.A.S.T, and allowing the model to set in a curved an folded form. This worked to a degree, as it set solid and in shape, but unfortunatley the plaster actd as a shell around the fabric, rather than penetrating it. This was due to the stich of the fabric being very close, therefore not giving the space for the plaster to penetrate the fabric. This is an issue i took into account when producing the larger touchstone piece.

EARLY FABRIC STUDIES

The Touchstone proved to be the culmination of all the knowledge and casting techniques learnt from the precedent studies and early casting studies. I used this opportunity to produce a small piece of what i envisioned the wall structure in my upcoming design to be. I continued to develop the concept of flowing and dynamic fabric cast concrete by producing a cast curtain wall.

As the touchstone was required to represent the site, I firstly treated it with bleach and paint in order to get a rough site plan which would be exaggerated by the topography of the concrete surface. Next, using the casting process from the C.A.S.T. development, I hung the fabric on a timber frame and sprayed it with an application of concrete. This allowed the fabric to naturally form into a curtain like form that encapsulated the concept of my material development.

Next I used the solid fabric as a the formwork for the touchstone by laying the frame flat and filling with concrete. This is the same proccess I have taken from the research studies on how to produce large scale industrial pieces, This proccess provided me with many challenges to address, the most important of these was the concrete consistency which had to be liquid enough to apply but solid enough to set rigidly. Through my casting tests I was successful in achieving a rigid fabric formwork that remained in the dynamic shape I intended,

I thought about the capabilities of concrete in the use of thermal mass and central heating, this spawned from research on the geothermal spring in Newcastle. To carry out the thermal mass test I cast an underfloor heating cable into the touchstone. this gave me the ability to apply constant heat to the concrete and record the thermal mass properties. This application gave me a big advantage when designing the Cotton Factory, as I had already tested concrete as a central heating system,and so my design could start to become resolved technically from an early stage. I also believe that this addition made the touchstone a more sophisticated as a concrete casting study, as I have demonstated both fabric casting and composite heating technology.

I feel the finished touchstone was a definate success. The formwork had successfully created a wall panel that gave the effect of a fabric curtain, this definately achieved my ambition of an oxymoronic approach to concrete casting with a dynamic and light form cast in a solid and rigid mass. The success of the touchstone came from the detailed research and casting production that allowed me to trail the capabilities of this type of casting and how best to achieve the desired results. The heating cable was successful and gave the touchstone a technical aspect that proved useful when designing an accurate environmental strategy.

TOUCHSTONE

This model allowed me to derive a design and programatical attitude to my facility. In terms of design I became incredibly interested in the elegent and simplistic cast form, as well as the sense of height and scale that is achieved when imagining the machine base to be a factory floor. I then began to link the model to my attitide to design of fabric casting, which brought me to develop a cotton industry program. I believe this choice of program allows me to utilise my fabric [cotton] casting and the need for economic rejuvination through new industrial developments. This conceptual study acts as a triagular linkage point that has allowed me to develop my attitude to the points above

1. industrial design, simplicity, elegance and casting

2. Concrete fabric casting, dynamic forms and fabric materiality

3. Rejuvinated industry through cotton growing and textile manufacturing industry

I studied industrial items that i believed in some way resembled an attitude to concrete. This lead me to the process of iron casting, which holds many paralells with concrete casting in terms of; use of formwork, ability to mimic formwork, and liquid and solid characteristics. The use of iron casting has been vital in the growth of the industrial heart of Newcaslte. This led me to find an iron cast form that I could link with my attitude to concrete casting. I began to work with the iron cast sewing machine, as i believe this holds obvious links to both cast form and fabric work. In order to solidify this link i cast a concrete base. I have taken the industrial cast forms of height and elegence into my attitude to concrete design.

I became interested in the rapid economical decline of Newcastle due to the decline in Industry throughout the city over the last 50 years. This led me to derive a concept of a program that could rejuvinate the economy and infrastructure of Newcastle through a new Industrial heart in the city. This programatical concept for my facility led me to study old and new Industrial architecture throughout Newcastle, in particular I studied the Toffee Factory in the Ouseburn area. The Toffee Factory inspired me by its use of celebrating the industrial form and space, through the large chimney, overscaled windows and large mass, masonry shell. As well as this i looked at the repeated elements of factories, including the portal frame and other iconic industrial forms.

CONCEPT STUDY

LEARNING

Rainwater is used as sustainable fuel to grow organic cotton

Production

Research

Underground spring water is used as heating system in fabric cast walls, providing sustainable and cheap heat for cotton growth

Spring water is reused as fuel for cotton growth in addition to rainwater.

Water is recycled and used in drainage facilities

Con

tinuo

us c

ycle

Smart Material industry rejuvinates Newcastle

Provides jobs and infrastructure

Gives a unique, growing and sustainable industrial future for Newcastle

CurrentGlobal Cotton Production

Cotton is the World’s most used fibre, creating high levels of industry and employment. Modern developments have given rise to smart cotton products, providing sensors, lighting, and electrical conductance to fabric. The increase of chain production and global corporations has spread the production of cotton throughout the world. This in addition to the use of pesticides and highwater wastage has led to an increased awareness of the benefits of sustainable cotton production. How our products are made and consumed is becoming increasingly more important.

1_Cotton Growing USA-Mechanical Input-Large Water Waste-Waste Fibres Burnt

2_Fabric Finished India-Chemical Bleaching-Chemical Dye-Waste Water Contamination

3_Product Manufacture China-Mechanical Input

5_Global Transportaion-High Carbon Cost

4_Goods Consumption UK

Newcastle DeprivationUK Deprivation

The North East is amongst the most deprived areas of modern Britain. Newcastle gained prominance through a large and successful industry of shipbuilding and coal mining, creating economy and infrastructure. The last half century has seen a major decline in the economy of Newcastle, with no new industry to provide the same amount of employment . This has caused a large level of unemployment with much of the population living in deprivation.

The Cotton Factory intends to address the growing problem of unemployment and deprivation in Newcastle by rejuvinating the city through a new industry of sustainable cotton growing and smart material production. I developed a brief, through my casting development and programatical research listed above, to allow collaboration with other cotton producing factories throughout Newcastle and the North East. The wide scale brief would allow teaching and learning of textile production skills to the unemployed population. giving the possibility of employment within the wider industry. The industry of smart material production will give a new modern purpose for this industrial rejuvination, giving a unique industry to the North East, with the intention that will grown and spread throughtout the UK. The Cotton Factory will act as the public facade of this new industry development, housing the teaching and research facilities, and a demonstration of sustainable growing and production to the public through the use of the existing vault and pedestrian route

CASTING STUDY

After resolving my design and programatic intentions I began casting a series of models that focused on industrial form and repetition. I cast a series of intentions that began to work witin the site constraints, paying particular attention the the road barriers surrounding the site and the bank of england vault that inhabited the central area of the site. My models intended to address cirulation around and through the vault as well as create a boundry to sheild the public centre of my facility to the busy traffic. For these models i worked entirely in plaster, as i felt it was important to keep the integrity of the main construction material in the development proccess, as well as to give the definition between solid repeated elements and lighter transition spaces and atriums.

The first model dealt with the concept of repeated elements mimicing the section of an industrial portal frame that I had taken from my conceptual and precedent studies. I felt the this form gave me both the elegence and simplicity required, as well as the freedom to change the element size and position to create a very clear boundry wall on the site. Setting up the dimensional rules of the pitched elements and the atrium spaces inbetween gave me a rigid design tectonic that i could manipulate elegently to shape the public area of the facility. This design tectonic allowed me to site the design effectivley and elegently to create a boundry between the noisy and busy roadside of the site and the interior bank vault.

After setting up the tectonic approach and rules to my design, i began to think about the spatial differences between the large repeated elements and the atrium spaces in between. This model helped me to explore the possibility of raising these elements above the floorfloor allowing full circulation undeneath, but limited circulation within the upper reaches of the elements. I became intrigued with the idea that from an exterior viewpoint each element looked as if it held its own seperate space, but from inside it the facility was one open space. I also began developing the tectonic approach that the circulation and servicing occured in the in between atrium spaces, leaving the portal frame elements as free, open space. This was very much derived from my research of large open plan factory spaces.

Next I began to formulate a system where my repeated tectonic form would span over the bank vault creating spaces on either side for public habitation, that had visual connections to the vault floor where the industrial process of cotton manufacture could happen. The repeated elements would span over the vault but be raised above it, leaving a large free circulation space around the vault and underneath the pitches. This system used the same rules i had previously set in place, and allowed for shielding of the public space from the roads, and expansion or contraction of the public space by changing the lengths of the elements. This allowed a very free design, with a core concept of free circulation under the repeated elements.

Site plan 1:1000

This tectonic approach allowed a design of repeated concrete elements spanning the existing bank vault, allowing public circulation and interaction with the cotton production on the vault floor. These elements have then been counterpointed ninety degrees to give the cotton growing greenhouses. By counterpointing these elements a public route has been created linking Pilgrim street, the public pedway and Swan House rounderbout. By altering the lengths of the elements I have created a boundry that mirrors the line of the road. The orientation of the elements creates a beacon-like facade, visible from the Tyne Bridge, showing Newcastle as a beacon of new industry .

The siting of The Cotton Factory is an integral point of my design strategy. In order to relate to the roads surrounding the site, the portal frame section elements are counterpointed ninety degrees at different heights. This gave entrances and access to each area of the facility, the public realm circulating the vault, and the private realm of greenhouses and production. The materiality of the elements also change with the ninety degree change, the public realm consisting of fabric cast concrete beams spanning the vault, whilst the private realm utilises the industrial portal frame to create ghreenhouses for cotton growing. The public route uses the existing geometry of the site in its design. In order to avoid an awkward meeting of geometries the public route also counterpoints itself ninety degrees, but from the diagonal road line that influences the facility boundry. This gives two counterpointed design systems that use the site geometry to merge together seamlessly

The Cotton Factory has two distinct geometries, one being the heavy concrete elements creating the public realm, and the other being a lightweight steel portal frame greenhouse. Each geometry retains the same tectonic form and creates a public route and market square between. This public square is skewed against the ninety degree counterpoint, along existing site lines.

Basement 1:500 First Floor 1:500

Ground Floor

0m 5m 10m 20m

In plan it is clear to see the relationship between to two tectonics of repeated elements and the public route that connects Pilgrim Stree, Swan House and the pedestrian Pedway.The facility boundry floows the diagonal line of the road, which in turn influences the outdoor public space as wella s the interior exhibition spaces. This diagonal that moves through the site is the line used to counterpoint the public route ninety degrees. This public route is skewed against the tectonics of the two sets of repeated elements and moves intot he greenhouse at points creating sheltered outdoor spaces. The public route is heavily influenced by the site lines, hence giving a sophisticated attitude to the site that emphasises the design tectonic of The Cotton Factory.

Roof Detail 1:20Greenhouse Detail 1:20Greenhouse Structure 1:100 Classroom Structure 1:100

Structural Axonometric 1:500

GutterDetail 1:20

20mm Zinc Seam Roofing

20mm Zinc Seam RoofingWaterproof membrane

Waterproof membrane

Vapour Barrier

Vapour Barrier20mm Zin Seam Inside Roofing

20mm Zin Seam Inside Roofing

40mm Rigid Insulation Board

50mm Rigid Insulation Board

20mm Plywood Decking

20mm Plywood Decking

I beam 203x133

I beam 203x133

20mm Glazing Curtain Wall

Rainwater Silo

Spider Fitting

Lighting

Rain Sensor Controlled Window

I beam 203x133

Roof Water Gutter

Zinc Roofing Cap

300mm Concrete Top Cap

300mm In Situ Fabric Cast Concrete

Geothermal Heating Pipes

Steel deck

Castellated Steel Beam 203x133

Screed

Stack Effect Ventilation-Air in from Basement Courtyard-Ventilation through Vault space-Extracted through automated glazing in roofing-On a rain sensor

Geothermal Water-Piped from natural spring, through concrete walls-Provides heat to facility through thermal mass

Rainwater Recycling-Water drained and stored from roof into silo-Water used in cotton growing-Water useage controlled automatically

The Cotton Factory employs a number of sophisticated environmental strategies in order to be successful in growing sustainable cotton. The most significant of these is the recycling of rainwater from the facility roof to use in the greenhouse. As well as this geothermal water from the Newcastle natural spring is pumped through the concrete walls . This heat is used as thermal mass and used as a natural source of central heating. Also the facility encorporates stack effect ventilation, air is drawn in from the basement courtyard and ventilated through the vault . The air exits through sensor operated automatic windows in the pitched roof. These strategies come together to provide an environmentally concious buildig to mirror the sustainable programme.Environmental Strategy Plan

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ECOLOGIESOur scheme streches beyond the requirments of the brief; we propose a structure that is partly temporary, partly permanent. The integrated meeting space can be removed, leaving behind a walkway and seated observation area; a ‘natural sculpture’. Even after the festival both human activity and nature are allowed to flourish. The form focuses learning and research into two main areas of the surrounding ecosystem; birds and water life. The structure wraps around a tree on the site, platforms integrated into the facade allow ledges for bird nesting, and small openings permit observation of the nests from the walkway below. A seated teaching area looks out over the pool, allowing observation of water creatures and insects, leading down to a platform which extends out over the water, providing the perfect area for a bioblitz.

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Our scheme streches beyond the requirments of the brief; we pro-pose a structure that is partly temporary, partly permanent. The integrated meeting space can be removed, leaving behind a walkway and seated observation area; a ‘natural‘natural sculpture’. Even after the festival both human activity and nature are allowed to flour-ish. The form focuses learning and research into two main areas of the surrounding ecosystem; birds and water life. The structure wraps around a tree on the site, platforms integrated into the facade allow ledges for bird nesting, and small openings permit observation of the nests from the walkway below. A seated teaching area looks out over the pool,pool, allowing observation of water creatures and insects, leading down to a platform which extends out over the water, pro-viding the perfect area for a bioblitz.

EcologiesA semi-permanent structure for the 2013 British Science Fair

Site Plan 1:1000

Section 1:100

Plan 1:100

Richard Everett Theodora KyrtataClaire Peerless

SECTION 1:100



Site Plan 1:1000

Section 1:100

Plan 1:100


The structure’s materiality is fully timber, comprising of two seperate structural systems. The walkway of the structure will be a simple timber frame deck supported on timber columns that connect to the earth through concrete piles. The arching roof will be one repeated self supporting glu-lam piece connected to the deck. This construction will allow easy removal of the research pod after the bioblitz, leaving the walk way untouched. In the years that follow the bioblitz it is our intention that natural activity will continue to overgrow the structure creating a lasting “natural sculpture”. PLAN 1:50

ARC3001 ARCHITECTURAL DESIGN

ECOLOGIES

1 YEAR 5 YEARS 10 YEARS

SITE PLAN 1:500

Model during Science Fair

CONSTRUCTIONAL DIAGRAMS Model after Science Fair



Site Plan 1:1000

Section 1:100

Plan 1:100




Site Plan 1:1000

Section 1:100

Plan 1:100




Site Plan 1:1000

Section 1:100

Plan 1:100




Site Plan 1:1000

Section 1:100

Plan 1:100


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NEWCASTLE CHARETTE 2013

Mid-year practical experience during Part 1 studies

Name: B106001015

General Information

Dates of Experience 01/02/2013 – 15/03/2013Category of Experience iExperience Level Stage 1Location Newcastle upon TyneSchool of Architecture/Monitoring Institution

Newcastle University School of Architecture, Planning and Landscape

Professional Studies Advisor

John Kamara

PSA’s Email [email protected]’s Phone No 0191 2228619Placement Provider Newcastle University

School of Architecture, Planning and Landscape

Placement Address School of Architecture, Planning and LandscapeNewcastle UniversityNewcastle upon TyneNE1 7RUUnited Kingdom

Placement Phone No +44 (0) 191 222 5831Placement Website http://www.ncl.ac.uk/apl/Student’s Phone No n/aStudent’s Email n/aBrief Description of Placement Provider Newcastle University School of Architecture, Planning

and Landscape is one of the largest and most dynamic schools of its kind in Europe. It is one of the few academic schools in the UK focusing exclusively on the built environment.

The broad emphasis of the School is on making and sustaining places which enhance the quality of life for present and future generations. This includes analytical work on understanding contemporary places and place-making to wide-ranging teaching in planning and design. The School forges new approaches to creating exciting synergies between education, practice and policy-making in the promotion of social cohesion, environmental sustainability and economic development.

At present the school employs 81 members of staff. These include John Pendlebury as the head of school, Graham Farmer as the Director of Architecture and Tim Tonshend as the Director of Planning and Urban Desin. As well as this the school employs 10 Professors, 43 Academic Staff, 6 Research Associates and 19 Support Staff.

Employment Mentor Graham FarmerMentor’s Profession Director of ArchitectureMembership of Professional Bodies

ARB, RIBA

Registration Number 046759F Mentor’s Email [email protected]

Project Name Concrete IdeagoraProject Description Private Client

5000sqm on the site of the old Bank of England, Newcastle City Centre, NE1 6BG

The project aims to create a social innovation exchange for Newcastle. This will be in the form of large scale, mixed use, organic cotton producing facility for the research and development of environmentally friendly smart fabrics such as sensory clothing, and electrically conducting cotton fabrics. There will be public and private elements to the design. The main project aim is to provide a new industrial centre for Newcastle, in collaboration with other factories in the area to provide new employment opportunities and economical growth to the region, thereby increasing employment opportunities for the locality. As well as this the facility will provide a teaching and learning environment to give young people the necessary qualifications to work in the textile industry. The project will also act as a demonstration facility to educate members of the public to the harmful nature of overseas cotton production, and the benefits of organic, Newcastle produced cotton fabrics.

The project is aimed at the use of concrete in Newcastle, and as such the facility will be constructed almost entirely out of concrete.

The project aims to deal with the issue of sustainability by utilising the underground hot water spring located in Newcastle City Centre. This will be used to provide under floor and in wall heating to give free green energy to the building.

Privately the facility will provide:Greenhouses to grow cotton, research labs, cotton producing factory floor, teaching classrooms and private outdoor gardens.

Publically the facility will provide:Cotton fabric observation areas, cafe, public outdoor gardens

Design Team is myself and Graham Farmer

Currently completing the design proposal

Current work stage C-EProject Tasks Multiple site visits with design team as well as other students using

the same site for their projects. The purpose of the visits was to take accurate measurements of the site, as well as to complete relevant site analysis to provide a detailed understanding of the site and surrounding area.

Visit to the Ouseburn area of Newcastle including The Toffee Factory, Lower Steenbergs Yard, Quayside, Newcastle upon Tyne NE1 2DF. This was to provide me with relevant precedent research on the industrial architectural heritage of Newcastle, including building scale, form, material use and practical use.

Modelling of a concrete “touchstone” for exhibition purposes. The model was made at dimensions of 1600mmx1600mm. This modelling exercise was used to force an understanding of concrete as a constructional material and as a source of design inspiration. CAD/CAM software was used to laser cut an MDF frame, which was used as the cast for the concrete model. The model forced an understanding of the material properties of concrete and their uses in the built environment.

I created and established a brief for the building project. With a completed list of accommodation and accurate room sizes.

I have completed a weekly list of drawings showing my design development. These include floor plans at 1:200 and sections at 1:200. As well as this detailed constructional details at 1:50 are also required. I have completed a large scale section of Newcastle city centre at 1:2500 in order to understand the context of the site in relation to its surroundings. The drawings are done using CAD software. This is a weekly ongoing process.

As well as drawings I have completed a weekly list of modelling. This includes both computer rendering modelling using CAD/CAM software as well as handcrafted material studies, describing form, lighting a material use. This is an ongoing weekly process

Work Stages – summary of hours from all projects

Hours as Participant

Hours as Observer

Total

A-B Preparation 30 10 40Appraisal 10 2 12Design Brief 20 8 28C-E Design 140 12 152Concept 60 5 65Design Development 60 5 65Technical Design 20 2 22F-H Pre-ConstructionProduction Information

Tender DocumentationTender ActionK ConstructionMobilisation Construction to practical completion L Use

Post Practical Completion Totals

Activities – non-project related

Task Hours completed

Description

Office Management 0

General 59Design lectures ARC3001 12 The lectures for the Architectural

Design module of the BA Hons Architectural Studies Degree at Newcastle University

Technology Coursework ARC3013

10 The coursework for the Architectural Technology module of the BA Hons Architectural Studies Degree at Newcastle University

Professional Practice and Management Lectures ARC3014

32 The lectures for the Professional Practice and Management module of the BA Hons Architectural Studies Degree at Newcastle University

David Jablonowski: Tools and Orientations exhibition at Baltic Newcastle

5 An exhibition held at the Baltic art museum in Newcastle. An investigation into the history and potential of communication in visual culture

Totals 59

Task performance and learning during this period of experienceThe tasks I have undertaking in this timeframe have all been focused on two main aspects. Firstly, material studies in concrete and secondly, a development in professional architectural communication through drawing, modelling and rendering.

Through the material studies I have learnt a great deal about the uses of concrete in architectural practice. I have learnt physical skills of how to mix, cast and construct concrete models and structures. This has given me useful knowledge and information into the constructional properties and architectural limits of concrete as a building material. I have also learnt through handcraft modelling the different forms and finishes available with concrete. Through personal experience of fabric casting, and creating intricate formwork, I have gained valuable know how into the aesthetic limits of concrete as an architectural fabric.

On a wider scale I have learnt about the use of concrete in architectural practice, for example the procedure of how to procure and use concrete on site both pre cast and insitu. This has included gaining an understanding into the environmental effects of large scale concrete use, including carbon emissions and trapped embodied energy. This has helped inform the design strategy of the project, and focused my attention on the negative environmental effects on concrete use.

I have also gained valuable experience and development in methods of architectural communication. I have used many types of CAD software as well as hand drawings to communicate my ideas. This has solidified my understanding and use of professional architectural drawing standards and communication techniques.

Through conversations with my design team, as well as guest speakers and lecturers, I have gained a valuable insight into life in architectural practice. I have been given advice on effective design techniques and architectural standards that has enhanced my architectural education.

Personal development & role performance evaluationIn relation to the tasks outlined above I feel my performance has been of a high level. I feel I have learnt huge amounts and developed excellently in my architectural education.

In terms of the concrete model making and material studies I feel I have performed at a high level, specifically through self management. Due to the nature of concrete casting time management was critical. This forced me to manage myself very strictly, in terms of achieving each stage of the model construction in a set time to a good standard. Good self and time management allowed me to produce a number of useful pieces in time for team meetings.

Modelling in this way also forced me to become self critical, both about the procedures of how I worked as well as the level of production I achieved. I have developed personally a critical approach to my own work, which has allowed me to reflect upon the work produced in order to improve upon it. This is a vital skill to be able to call upon in a professional environment.

Using these developed skills in a project has also helped create positive working relationships within my design team. By producing consistent work of a high standard weekly, the relationship between me and my design team has been able to flourish, in terms of further development of ideas and level of production.

I have also developed in my personal leadership of tasks. In order to achieve the set amount of work each week it has been important to take a leadership role within the design team to ensure everything is produced for the next deadline. My development of this role will be of great benefit to me in a orking architectural practice, as well as any professional environment.

Aims for next period of experienceIn the next period of my architectural experience I am aiming to firstly achieve success within the project I am currently working on. This will include gaining the necessary technical knowledge of structural and constructional systems in order to fully finalise my project to the necessary professional architectural standards. I will also aim to develop my skills in structural architectural detail drawings, this will be vital in order to complete the current project to a high standard. I will aim to finish the project to the highest standard possible and have the project approved by my employment mentor, Graham Farmer.

In terms of my own personal development I will strive to develop further positive relationships not only with my design team, but other design teams that may have useful knowledge and insight into the next stage of the project.

Further skills needed and actions to take to achieve aimsIn order to achieve this further knowledge in architectural technology of structural and constructional systems more academic learning and knowledge will be vital. I will have to improve my academic understanding of structural systems in order to fully complete the design project to the necessary standards. Using this academic knowledge I will have to understand how to apply this theory into the practical situation of the design project. This will involve developing my skills in problem solving. It will be vital that I can work out complex structural problems, using newly gained knowledge and make informed important decisions, to successfully finish my project.

In order for this to be a success the professional relationship with my design tutor will need to be developed. This will allow me to have access to the necessary advice that will influence my application of newly learnt theory into the project practical situation. As well as advice from my design team, it will be necessary for me to meet with a structural expert. This meeting will confirm and approve the structural system I will use and allow me to gain the necessary knowledge and skills to achieve success in the project.

Additional student comments, support required from placement providerMy wider architectural experience will also be vital to my continued personal development. It would be extremely useful I believe to attend more building visits relating to the theme of my present project. For example, visits to good examples of concrete or industrial architecture. In order to have a thorough and full grasp on all aspects of my continued architectural education, constant reading of newly published books and journals outlining forward advances in the profession of architecture, will be vitally important.

I confirm that I have worked in the above office between the dates stated and that the description of project details, tasks undertaken and learning achieved is accurate.

Signature:Date:13/03/2013

Legal Framework and Processes The Local Economy Issues to Address in a Local Development Framework

The planning framework of a building plays a key role in supporting the government’s wider social, economic and environmental objectives for sustainable communities, and deals with the spatial issues of the proposed building on site. Planning policies in the UK follow a strict hierarchy; from a wide scale European Spatial Directive Perspective to a smaller scale Local Development Framework (LDF). My Cotton Factory project will be subject to the LDF plan laid out by Newcastle City Council, in 2004, which are also the planning authority. The LDF will help essential city wide development whilst protecting the environment. To achieve this three key themes are identified; accessibility, sustainability and quality.1 Each of these themes are woven into each key issue the LDF outlines; population and housing, the local economy, transportation, shopping, tourism leisure and culture, design for quality, open space and recreation and green belt. As The Cotton Factory has been designed as a centre for economic growth the main issue I will address is the local economy section of the LDF.

Firstly the LDF outlines the need to link the development of buildings creating jobs; to housing, training and transportation. This maximises the number of people who have the opportunity to live in Newcastle and minimises their need to travel. A requirement in the planning framework is a high quality, integrated, reliable transport system that is inclusive and affordable which also allows equal access and opportunity to its residents, workers and visitors.2 In my design for The Cotton Factory access is a key consideration, as the building use is that of city central facility of industrial employment and educational learning. To conform to the LDF The Cotton Factory will have to provide easily accessible routes to both Monument and Manors metro stations as well as providing access towards Central train station. This can be easily achieved due to the siting of the building in a central location. Moreover with the refurbishment of the existing pedestrian 1 Newcastle City Council, 2004. Planning Newcastle Local Development Framework Key Issues Report, Newcastle: Newcastle City Council p.82 ibid, p.24

walkway to provide access across the motorway to both metro stations, the building will be situated within easy walking distances of all main council run public transport links. This would allow easy and affordable access, both on foot from homes either the city centre or by public transport from suburban areas. This will increase economic growth due to the maximised employment opportunities for all Newcastle residents, regardless of area, ensuring progression across all levels of the labour market.1

The implications of these criteria are some major design choices. Firstly, in order for the building to have suitable access for the large number of people using the facility, a large car park will need to be constructed on site. This will be to maintain the local authority’s policy of maintaining a ceiling of 10,000 spaces in the city centre.2 This car park will need to have access from Swan House roundabout, therefore significant construction to the existing road network would be needed, which could cause some disruption. The building siting would cause the car park to be underground, therefore significant excavation and construction would need to be completed. Road disruption would also occur due to the refurbishment of the overhead public walkway connecting manors metro station. As well as this, to provide easy public transport access, new bus routes and stops would need to be constructed next to the facility.

The next economical issue to address is that of sustainable economic growth. The LDF Key issue LE3 focuses on training for employment. It asks developers to assist financially with employment training in association with major planning applications. This policy will help residents to access new jobs, as well as help develop local labour agreements in association with the operation of new development.3 This policy is only triggered by a development of a certain size; The Cotton Factory would be of that size. As The Cotton Factory acts as a teaching facility to train young people with skills to gain employment into the textile industry, it would conform to the LDF guidance. The LDF also links in with a council run scheme called Newcastle Plan. In this scheme there is the objective to deliver 1000 industry specific training places: validated by skills needs of employers. My project should directly address this, whilst not delivering 1000 training places it should contribute significantly to the training for employment scheme. This will deliver sustainable economic growth to the entire city of Newcastle, with young people being constantly trained and placed in employment. The implications of these required issues would be a benefit to my design, and only strengthen the concept of a centre for economic growth through learning and industry. In order to achieve the large number of training places, more space in the building will need to be given to the learning facilities. This could lead to the construction of separate larger learning facilities away from the public realm, but still within easy access of the central transport links. There is also access and accommodation factors that would need to be addressed, such as spaces for green transportation links i.e. bicycles, separate entrances for public and private as well as accommodation for changing, eating and recreation.

Finally the LDF calls for the growth of small and medium businesses. This should be addressed by the availability of affordable business accommodation in the planning of large scale developments in the city centre. Again the LDF links to the Newcastle Plan scheme in the development and increase of start-up businesses. The Cotton Factory design plan is that of a new industrial business for the centre of Newcastle, which will link to many different businesses and retailers, therefore expanding the local economy. To further adhere to the LDF of such a large scale building it would be appropriate to create affordable business accommodation in the floor space of the building. This could be a modular construction that provides uniform room sizes and facilities for a start-up business. When coupled with the ease of access to the building this will facilitate the supply of suitable sites and premises to meet the needs and aspirations of businesses seeking to set up and grow in the city.4

1 ibid, p.232 ibid, p.313 ibid, p.274 ibid, p.23

ARC3014 PROFESSIONAL PRACTICE AND MANAGEMENT

This academic year has provided me with many obstacles, problems and challanges i have had to overcome.

The first project, was placed/displaced, which asked me to design the interior of a small terrace house of which the dimensions had already been determined. The project was all about space manage-ment and clever planning. I chose to base my design on the prarie houses of frank lloyd wright, con-taining a central staircase with all the rooms circulating around it. I believe the house worked well to a degree, but unfortunately the staircase took up too much space making wasted circulation spac-es around it. I had put too much emphasis on my concept rather than the practicalities of the design. In my further development i changed the staircase to allow for the previously wasted space to be-come useful, as well as this i made the facade and general aesthetics of the house much more striking.

The final project of the calender year challenged me to design a foyer, or youth centre, incorporating a timber workshop for underprivalaged youths. I chose to split the foyer into four distinguished areas, living, workshop, shop front, and green space. As well as making an exhibition space where students could present their work to potential buyers. I really wanted to integrate the public in this building and i believe i achieved this through the positioning of the green spaces and shop fronts. In development i further seperated the four areas of my design, and thought more about the materiality of the build-ing, as in my critique it was deemed slightly juvenile to have brushed over it as much as i had. I be-lieve i have improved this design tenfold, and it now flows and ties together as a piece of architecture.

After christmas we started to design a building for the community of tynemouth. I chose to design a liter-ary co-op, a building very much like a library but with a more social feel, where books would be shared amongst the community. I chose to defvelop my building on the old swimming pool site in tynemouth which provided me with lots of topographical challenges regarding the steep slope. My building became a metaphor for a book, with a clear begginning/end, story, and conclusion. It was deemed in my critique that the geomatory of the social hub area did not work with the clear linearality of the rest of the building, so in further development i rectified this. The social hub is now a clean box like form, with an opening side to the pool, as well as a partial glass floor. I fully believe these changes improve my design making it work much better with the concept i had put forth. I worked very closely with the reflections in the pool, something that did not quite have the effedct i would have liked in my review. So again i improved and developed these through my design, so now the reflections given in the social hub become an integral part of my design. I believe this was my most successful project of the year, and one i am very proud with.

The final design project of the year was a group one, that asked us to design an exhibition pres-entation. The exhibition would focus around a music festival happenning in newcastle, and we would be designing a temporary timber stage for one of the performers in a small chare or alley-way on the newcastle quayside. As a group we worked quickly and efficiently and i believe creat-ed a strong design concept, focusing on discovary through following our timber ribbon up the cha-re to the final destination point were the performance would take place. Inevitably this group work was an extreme challange, but one i believe i handled through compromise and good leadership.

In conclusion, i believe i have developed and progressed a huge amountas a designer and stu-dent this year. Although my initial marks were not quite at the level i was hoping for, i still be-leive i am achieving good grades, and with the effort i have put into development of my designs i hope to improve on these. Going forward into next year, i beleive i have aquired many new and im-proved skills that will become vital to success in my final year. Overall this year has been a suc-cess , i have produced work i am very proud of, and improved massivly as an architectural designer.

Richard Everett


Top Floor1:200

ARC2001 STAGE 2 ARCHITECTURAL DESIGN

CIVIC CENTERED_ORIGINAL WORK

Second Floor 1:200 First Floor 1:200

Civic Centered required me to design a small literary co-op, or communal library. I created a design that embodied Tynemouth, and took influences from the sea, beach and cliff. My building is a metaphor for a book, with a start and end, a story that passes through many different chapters, and a twist at the end.The design emphasises the slope of the site. Concrete fingers move down the slope creating a story through a pedestrian journey. Each finger embodies a unique purpose and distinctive facilities in the literary co-op and provides views over the recycled bathing pool which acts as a ha-ha onto the sea. I have created a social hub at the pool level, with connections to each finger, giving a use past that of a library. The design gives views over the pool and sea providing a visual and tactile connection to the site

Ground Floor1:100Top Floor1:100

Section A-A’ 1:200

Section B-B’ 1:200

Route Model Ground Floor First Floor SecondFloor

Second Floor

Top Floor

Ground Floor1:100


CIVIC CENTERED_REDEVELOPMENT WORK

The social Hub of my literary Co-Op provided me with some interesting structural possibilities. The design allows for the corner panes of glazing to slide away to reveal a large open expanse of space connecting to the pool. To achieve this the “Social Hub” needed to be constructed out of a steel frame, which has large panels of glazing intergrated to it. The corner panels of glazing would slide on rollers, much like a sliding door, moving infront of the next panel of glazing therefore not obstructing the view

Library Block Structure

The library blocks are also based with a steel frame, in a triangular form to give the strongest structure. On top of this the timber shutterred concrete panel cladding is placed. Where the cladding has gaps to allow light through, they are placed so as not to be obstructed by the steel frame.These blocks need to be constructed from steel frame to provide enough strength to give the desired cantilever.

Ground Floor1:200 FirstFloor1:200


SIMPLICITY ECONOMY HOME_ORIGINAL WORK

Bedroom Plan 1:50

Bedroom Section1:50

Sections 1:200Sections 1:200

This project was about creating a Foyer. A foyer is very similar to a youth centre in that it caters for underprivalaged youths, but in this case it also has a timber workshop for the youths to earn qualifications in. Because of thisi though it was very important to include exhibition spaces to show off their work. My design concept revolved around creating four seperate spaces inside the foyer, Living, Working, Shopr Front, and Green Space, as well as the design idea of intersecting planes running through the design. I feel these concepts had mixed success and in the areas I felt weaker I have rectified and developed in my further development.


SIMPLICITY ECONOMY HOME_REDEVELOPMENT WORK

The advice I recieved in my crit helped me to further develop my foyer design. I extended and made more clear the intersecting planes on my design, as well as further seperating the four main areas of my design

Ground Floor 1:200

Workshop

Living

Shop front

Green Space

Ground Floor 1:200

Workshop

Living

Shop front

Green Space

Section 1:50Facade Study


SPACE TO LIVE_ORIGINAL WORK

First Floor 1:50 Ground floor 1:50Model

Space to live challenged me to design the interior of an already existing small house. The project was all about space management and creating exciting spaces with what was already present. My concept was to create a striking facade and exciting interior capturing different qualities of light in an open planned hierarchial home.

First Floor 1:50 Ground floor 1:50


SPACE TO LIVE_REDEVELOPMENT WORK

I took forward the advice from my critique into further development of my house design. The main are of improvement was being more intelligent in the use of circulation. I have changed the staircase to increase internal space, as well as the arrangement of the kitchen. I have also made my facade more visually striking and interesting

Section alley was a group project that challenged me to think only in section, plans were not allowed. We designed a temporary timber structure in a chare or alley way in Newcastle, to be used for a folk music festival. We designed a ribbon like structure that ran up and around the entire alley guiding people to our performance area. As a group i believe we worked well and presented a very clear, well thought out design. To improve the project we could have worked on the presentation by creating better images and models. Credit for this project also goes to, Claire Peerless, Rebecca Miller, Ewan Thomson, and Catherine Soloman


SECTION ALLEY

Installation 1:200


SECTION ALLEY_LEARNING JOURNALAs a group i felt that week two was a struggle. Motivation was down and there was a general feeling that we were not going to do very well. I believe this in itself was a huge learning curve. This project was the first time that we as architects had really been put into a group working environment like one we would work in during practice. I feel that through this week i really learnt how to work as part of a team even in the instances when nobody seemed entirely comfortable. During the begginning of the design proccess there was a lot of ideas being put forward, and as a team we had to sit down and eventually compromise on the best design for the good of the group. Working in this fashion has taught me how to conduct myself in this kind of setting, as well as giving me a real taster as to how life as a practicing architect would be.The work i produced personally for this week focused on two areas, advertising and conceptual design models.

Starting with advertising, i developed a conceptual treasure map for visitors to the exhibition to follow in order to find our presentation. This followed on from the overall design concept of discovery that as a group we had all agreed on beforehand. These treasure maps were placed along the route outlined on the map, with a “you are here” marker to help the visitors find there way along the route. I used the base design from the project poster that had been developed prior by another group member, to create the design. From this i developed my photoshop skills further, as well as again pushing myself to think conceptually and creativly.The advertising campaign helped show me the different ways one can emphasise their concept in order to make it interesting and desireable for someone to look at, I will certainly take this knowledge forward with me. The treasure map was a great success and i believe really helped sell the overall concept of our presentation.

At the start of the Section Alley project we began developing a site analysis strategy. For myself personally this centered entirely on manufacturing a site model. Through disscussions with my group we decided that in order to fit in with the brief of only using sections for presentational drawings we would construct the site models entirely out of sections, that would be interactive and removeable in order for the user to delve deeper into the area of newcastle we had chosen for our design.

During this week i developed a number of new key skil ls that i can take forward into my architectural career. Firstly i delved into new territory by using the departmental laser cutter. I drew each section individually on autocad, then exported them as a PDF fi le into the laser cutter. I then cut al l the sections on both red plywood, and acryl ic, so as to distinguish between the important site sections and those giving context. I then used the laser cutter again to make a frame for the sections to sit in and sl ide out of. This was a new experience that i feel wil l be vital to progressing on the course, as it wil l al low me to design and build even more complex and detailed design models.

The model was presented in the interim crit to much positive peer appraisal. I feel that during this week, as a designer, i had begun to think in a more artistic and creative manner. I believe that creativly i have grown a huge amount from the start of the year, and this model epitomised this new way of thinking i hope to be employing. As well as this, this model has taught me to be more careful in the presentation of work. Up until then i had been rather untidy, whereas with the creation of this model i learnt the importance of neat and concise presentation

Unfortunatley, the model recieved mostly negative feedback from reviewers. Most praised the workmanship, and presentation of it which was a huge positive for me as it showed that my effort in improving the neatness of my work had not been in vain.The main negative point was that the model did not communicate clearly the topography of the site. Unfortunately i had sacrificed the integrity of the models communication for artistic flair. In future i hope to effectivley combine the new skills and creativeness i had developed during the week

The second area of work i developed during the week was creating the overall design concept for the instalation. As a group we decided we wanted to create an organic ribbon that could be moulded to the site, wrap around the high level bridge and finally create the stage for the musical performance. Taking this brief i manufactured some quick concept models . I wanted to try to create the curved, flowing formed we had decided on with straight, linear pieces of timber. As well as this i felt that daylight could be utilised in an interesting way, by filtering through the gaps in the ribbon to give the effect of something happenning beyond the material. All these design ideas came together in a number of quite interesting models, that really influenced the final design proccess. From this i learnt how to quickly and effectively communicate concepts and ideas through models, something that until then had previously been difficult for me. This new skill will definatley come in useful in future architectural projects, to help me show my ideas in 3D quickly.The final week of the Section Alley project was by far our most productive one as a group.My personel work was mostly model making, as well as drawing the large sections on autocad. I took my newly found skill for model making into the final week, by constructing a 1:1 detail of our timber instalation. Previously i had worked out the structural possibilities to create our ribbon like design. I worked out that the best construction method would be to split the ribbon into sections that could be put together and taken apart. Each section would have a train track of glu lam plywood, moulded into the specific shape needed for that part of the site, onto which the timber battens will be attached to create the ribbon stage. Based on this design i manufactured an accurate model of it to show how it would work in real life.

This proccess taught me huge amounts about timber construction methods. I had to do a lot of research into timber joint construction, as well as the structural limits of timber as a material. I had to learn about the different ways timber could be manufactured into a curved shape, and how then to attach it in sections. I now feel comfortable takling any type of timber design in terms of assessing the structural methods used, which will become very useful later in my architectural carreer.

During this week i also created a new site model to show the route the ribbon takes through the castle chare and under the high level bridge. We decided to make this as the original sectional site model did not have the desired communicative effect. This model was far more successful in terms of communicating exactly what the instalation did on the site, and in relation to the buildings and bridge on the site. Putting this model side by side with the original taught how i had put creativity before usefulness in terms of the model

The f inal piece of personal work i completed for the Section Alley group project was this 1:100 design model, showing the f inal design of our t imber instalation.I combined everything i learnt throughout the project, model making, creativity and neatness in presentation, to create the f inal presentation model of our t imber instalation. I modelled a small section of the high level bridge and the area around it , and into it placed our f inal r ibbon design, including the main performance stage that had been designed to be situated underneath the second arch of the bridge.I paid extra detail to the neatness of the t imber r ibbon as this is the most important part of the presentation. This model represented everything i had learnt during the section alley projet. I feel that i contributed massivly to the overall effectivness of our design and presentation, as well as being a vital part of the group.

Richard Everett B106001015 Arc2009 Technology

Newcastle Foyer Site C Full Wall Section 1:20

19/1/12 Masonry Cavity Wall with Window and Roof Junction 1:20

ARC2009 ARCHITECTURAL TECHNOLOGY

The technology module required me to think about the primary, secondary and tertiary structures of my Foyer design. As well as this i was required to draw a technical section of a main loadbearing wall inside my foyer showing materials and construction methods


Newcastle Foyer Site C Primary Structure isometric 1:100

19/1/12

Structural Diagram - Primary

Aircrete Blockwork inner leaf

Brickwork outer leaf

Steel Frame beams

The primary structure for my Newcastle Foyer consists of Masonry Cavity load bearing walls for the majority. A steel frame supplements it in the parts that require a more sophisticated structure to deal with cantilevers, unsupported floors, and large spans of glazing. The masonry cavity walls provide the structural support to the floor and roof. The primary load bearing structure acts around the two rectangles, (as shown) which allow the rest of the building to be supported from all sides. Although a slightly unconventional structural construction, this was necessary due to the overall design aesthetic of my building which required masonry, steel frame and cladded panels to be on show.


Newcastle Foyer Site C Secondary Structure isometric

1:100 19/1/12

Structural Diagram - Secondary

Timber frame floor structure

Timber frame roof structure

Secondary Steel Frame

The secondary structure for my design combines both timber framed roof and floor elements, and steel framed panel walls. The majority of the design uses timber framed floors and roofs between two load bearing masonry walls. Because of the design of my building there are loads that timber beams would not be able to hold. For example half of the self contained flat, the floor of the overhanging lounge, and the roof of the workshop. In these instances a supporting steel frame has been incorporated around the timber roof/floor to allow it to support the load.

Secondary Steel Frame


Newcastle Foyer Site C Tertiary Structure isometric 1:100

19/1/12

Structural Diagram - Tertiary

Section A

Section A’

Richard Everett B106001015

Arc2009 Technology Newcastle Foyer Site C

Secondary Structure isometric 1:100

19/1/12

Structural Diagram - Secondary


Newcastle Foyer Site C Tertiary Structure isometric 1:100

19/1/12

Structural Diagram - Tertiary

Double-Glazed Steel Reinforced PVC-U Windows

Plywood Roof Decking

The Tertiary structure incorporates the roof and floor plywood decking, the large scale glazing, as well as the doors and stairs. The roof and flooring is very simply a plywood deck on top of the timber joists and insulation, on top of this decking would be the waterproof layers and solar panels. The walls that are made up of steel frame have a cement bonded particle board inbetween the steel beams with vapour controlled layers on top of them.

Steel Frame Cement Bonded Particle Board Sheathing


Newcastle Foyer Site C Primary Structure isometric 1:100

19/1/12

Structural Diagram - Primary

Primary

Secondary

Tertiary

SAP Calculation and Energy report for the Self Contained flat in Newcastle Foyer

Self Contained Flat BEFORE ImprovementsSAP Rating: 84Dwelling CO2 Emission Rate kg CO2/m2 (DER): 21.45Target CO2 Emission Rate kg CO2/m2 (TER): 25.8Improvement of DER over TER %: 21Credits achieved: 4

At the moment the flat is not it is not performing well only achieving 4 credits out of 15, making the flat a bad performer. This gives it an improvement of 21%, unfortunately making it only a 2 star performer with a minimum of 36 points. In this SAP report I will outline the energy strategy before and after improvements have been made, so as to show how I can achieve a good number of credits for my flat making it at least a 3 star dwelling.

Use of Daylight and Glazing Data:Daylight has an important use lighting the flat, most notably the open plan living room and kitchen. The living room/kitchen is situated on the east half of my building, therefore taking in sunlight on a morning and during the afternoon when it would mostly be in use, whilst the bedrooms are on the west, taking in the sunlight on an evening. This should give suitable light and heat to live comfortably. On the east side I have 14.8m2 of glazing with a gain of 248.1W. To the south there is 12m2 with a gain of 301.7W. Finally to the west there is 4m2 with a gain of 67W, giving me total useful gains of 1017W. There is double glazing with two low emissivity coatings which is performing fairly well.

Evaluation:Not enough sunlight will be gained from the large glazing areas, as in Newcastle the weather rather prohibits it from having full effect. Also this sunlight at the moment is not being used with any kind of renewable energy technology, which could improve the net CO2 emission. Finally the glazing is only double glazed, which would lose lots of energy; this is a major factor to be improved upon by fitting the flat with higher quality windows lowering its energy losses.

U Value Calculations:The DER ratings have been calculated based on the u values of the elements of my flat (all thermal conductivity values have come from (http://new-learn.info/learn/packages/clear/thermal/buildings/building_fabric/properties/conductivity.html):

Wall:My flat is built using a masonry wall construction with concrete inner leaf, on the south and east, and a steel frame panel wall on the north and west. FOR THE PURPOSES OF THIS REPORT THE U VALUE THROUGH THE MASONRY WALL HAS BEEN

SHOWN.

elementthermal conductivity

thermal resistance total

u value

plasterboard 0.9 0.02

light concrete inner leaf 0.7 0.1

insulation 0.04 0.17 4.25

air cavity 0.023 0.05

masonry outer leaf 0.6 0.1

cladding 0.17 0.013

total= 0.14Roof:The roof is a simple cold flat roof construction with timber beams at 630mm centres meaning there are ten beams in total across the roof, and insulation inbetween the beams and a layer below. FOR THE PURPOSES OF THIS REPORT THE U VALUE

THROUGH ONLY THE INSULATION OF THE ROOF HAS BEEN USED

elementthermal conductivity thickness (m) thermal resistance total resistance u value

plasterboard 0.9 0.02 0.022222222

air cavity 0.023 0.05 2.173913043

insulation full 0.04 0.1 2.5

insulation inbetween battens 0.04 0.1 2.5

air cavity 0.023 0.05 2.173913043

timber deck 0.17 0.03 0.176470588

total= 9.546518897 0.10

ARC2010 ENVIRONMENTAL DESIGN AND SERVICES

Floor:As the floor is the first storey floor it also acts as a roof, therefore has been designed in the same way as the roof, without the waterproof membranes on the cold side. Therefore it gives the same U values as the roof. FOR THE PURPOSES OF THIS REPORT THE U VALUE THROUGH ONLY THE INSULATION OF THE ROOF HAS BEEN USED.

Evaluation:Currently my U values are very low through all the elements of my building, limiting heat loss through the wall, roof or floor. The values are lower than or equal to the AECB Gold Standard values, showing my house should be a good retainer of energy. The only conclusion is that the excessive glazing and air permeability is the problem I have to address. Thickening the layers of insulation, or using higher quality insulation, would decrease the energy flow out even further, but all this comes at an expensive price so it is important to find a good compromise.

Energy Sources:The energy requirement in my flat is quite high, as at the moment there are no renewable technologies present in the design to help gain this energy. All the services; water, gas, electricity come straight from the mains supplier into my flat, as in most domesticated buildings. It uses a condensing boiler with automatic ignition to heat the water the 3462.619KWHr/year that is needed, and the 3974.59KWHr/year needed to heat the space. The electricity comes straight from the mains grid into my flat at 230V and uses 130KWHr/year.

Evaluation:The flat can improve its net carbon emissions by adding renewable sources of energy to the building as well as more efficient methods of heat production. This would give a lower overall DER.

Self Contained Flat AFTER Improvements SAP Rating: 87DER: 18.3TER: 25.9Improvement of DER over TER %: 41Credits Achieved: 8

I have improved my flats efficiency (outlined below) to lower the DER and help it achieve more credits. Thankfully I have managed to achieve 8 credits out of 15 meaning the minimum point score for CO2 emissions is 68, with my flat now becoming a 4 star dwelling. Whilst this is still not an excellent emission score, it may be the best I can achieve without compromising the design of the building which incorporates lots of glazing. There are many other improvements I have made which would reduce the DER and overall carbon emissions that I could not add onto the spread sheet; I will outline these

improvements below.

Use of Daylight and Glazing Data:

I have reduced the amount of glazing on both the east and south sides. This helps my flat retain more heat and energy whilst not compromising the lighting and aesthetic design of the building. I now have 7.7m2 on the east side giving me gains of 129W, and 8m2 on the south side giving me gains of 201W. The overall area of glazing is now 19.7m2, giving me a total useful gain of 790W which is lower than before, but the system is not losing as much heat as before. The glazing is now triple rather than double, giving me a U value of 0.7. I have also added photovoltaic cells to the roof of the flat as well as a solar air heating system, both using the daylight to produce energy, I will explain these in more detail later on.

U Value Calculations:

Roof and Floor:For the roof I have changed the construction to a warm deck method and I have increased the thickness of the insulation. The warm deck provides a better overall U value for the roof, as well as being more manageable for large developments. They are easier to maintain and easier to manufacture. FOR THE PURPOSES OF THIS REPORT THE U VALUE THROUGH ONLY THE

INSULATION OF THE ROOF HAS BEEN USED

U value through insulation (value used)

elementthermal conductivity

thickness (m)

thermal resistance

total resistance u value

plasterboard 0.9 0.02 0.02222222

air cavity 0.023 0.25 10.8695652

insulation 0.04 0.15 3.75

timber deck 0.17 0.03 0.17647058

total= 14.8182 0.06Wall:I have kept the masonry cavity wall and panelled steel frame constructions; the only improvement I made was to increases the insulation thickness to make the total wall thickness 500mm. Again although a substantial wall I believe the advantage in a lower U value is worth the larger size. FOR THE PURPOSES OF THIS REPORT THE U VALUE THROUGH THE MASONRY

WALL HAS BEEN SHOWN.

element thermal conductivity thickness (m) thermal resistance total resistance u value

plasterboard 0.9 0.02 0.022222222

light concrete inner leaf 0.7 0.1 0.142857143

insulation 0.04 0.217 5.425

air cavity 0.023 0.05 2.173913043

masonry outer leaf 0.6 0.1 0.166666667

cladding 0.17 0.013 0.076470588

total= 8.007129663 0.12Evaluation:The increased insulation thicknesses give my elements U values that are lower than the standards of the AECB Gold standard. This would cost more money but I believe the extra cost would be worth it in the long run as it would retain more energy throughout the year.

Energy Sources:My space heating requirement has been improved to 2828.93KWHr/year, the energy for water heating is 3072.865KWHr/year, and the electricity for is 130KWHr/year. Renewable energy systems have been added to reduce the overall DER and net CO2 losses. This cannot be shown on the spreadsheet but will reduce the DER even further than it is shown.

Photovoltics:

Photovoltaic cells have been added to the roof of the self contained flat to help capture solar energy and turn it into useful electricity. PV modules convert sunlight directly into DC electricity, through the separation of positive and negative charges of ionised silicon atoms charged by the sunlight’s wavelength. My system uses monocyrstalline silicon cells which have the greatest efficiency (15-18%). This extra electricity will reduce costs of electricity in my flat over the long term. By placing them

on the roof of the flat they will not disrupt the aesthetics of the design.

Solar Air Heating:To help with heating the space inside the flat a solar air heating system has been introduced, this will reduce the amount of energy needed to heat the flat to a specific temperature. Solar air systems collect solar energy to heat air. It can then be used to pre heat ventilated air, heat air inside a building, or heat water. A basic system comprises of a solar collector and a hot air distribution system. With heating of ventilated air, outside air intended for ventilation purposes is passed through a collector. The air is heated and applied to the occupied space. The efficiency of this system is relitavely high. The other system I have incorporated is the heating of recirculated air, where air from inside the building is collected, heated and recirculated either by natural means or by use of a fan. These systems will reduce the cost in heating the flat, and reduce the need for more

conventional heating energy, reducing my CO2 emissions.

ARC2023 PLACE OF HOUSES

academic portfolio 1012/13

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