part 1 undergraduate portfolio

PORTFOLIOSTEPHEN RINGROSE

ARCHITECTUREB.A. ARCHITECTURAL STUDIES 101064602

Contents

Stage 3 1-62 Stage 2 63-111

Design Projects

ARC3001 Ecologies ARC3001 Barcelona: Can RIcart ARC3001: Graduation Project: The Finnish Institute

Non-Design Projects

ARC3013 Architectural Technology

ARC3014 Professional Practice & Management

ARC3015 Principles & Theories of Archtecture

ARC3060 Dissertation in Architectural Studies

Contents

3-8

9-16

17-31

32-41

42-45

46-47

48-61

ARC3001 Ecologies: Tesselating Nature

LÇJVSÇVÇN`°°

Noun 1. The branch of biology that deals with the relations of organisms to one another and to their physical surroundings. 2. The study of the interaction of people with their environment.

Site Plan - 1:1000

Envisaged as a contribution from the School of Archi-tecture to the 2013 Science Festival in Newcastle upon Tyne, the task was to design a temporary pavilion type structure for handling BioBlitz’s (an intense period of biological surveying in an attempt to record all the liv-ing species within a designated area), capable of fos-tering a diverse range of species alongside humans, with the possibility of longer term usage afterwards.

;OL�WYVQLJ[�HKKYLZZLK�WYPTHYPS`�OV^�[OL�HY[PÄJPHS�JHU�WHY-ticipate with the natural environment and develop eco-logical relationships, exploring how design can provide for human activities and promote biodiversity simultaneously.

The site for the project is within one of the wildlife cor-ridors in Newcastle upon Tyne - a disused concrete paddling pool and immediate surroundings in Hea-ton park, host to overgrown vegetation and a range of wildlife, trees, birds, animals and mini beasts. Within the context of the Science Festival, the project is in-tended as a base for activities for natural science spe-cialists to record, support and disseminate the excep-

ARC3001 Ecologies: Tesselating Nature

tional wealth and diversity present along this corridor.

Wildlife corridors in Newcastle (The site is highlighted) Development models

An old Beech tree on site is decayed at the roots and needs to be removed prior to the festival, how-ever instead of removing this entirely from the lo-cal ecology, it is purposefully reused as cladding for the modules. Over time, this cladding will silver and blend in with the surroundings. (RIght) The site.

�(�ZPTWSL�HUK�LMÄJPLU[�TVK\SHY�KLZPNU�VM�[LZZLSSH[PUN�OL_-agons was proposed with a variety of perforated panel ‘living’ wall designs. to accommodate a wide range of ecology of all sizes and types. These panels include inte-gration of bird boxes, green walls, insect houses etc, or a combination of these, and also lookout spots allowing one to sit and engage with nature from within. Hexago-nal modules are used for the structure; a shape found PU�UH[\YL�[O\Z�Ä[[PUN�MVY� [OL�JVU[L_[��I\[�HSZV�HU�LMÄJPLU[�one that naturally tessellates, and a fun shape that ap-WLHSZ�[V�[OL�JOPSKYLU��;OPZ�OL_HNVUHS�MVYT�^HZ�YLÅLJ[LK�in the design of the perforated walls, where the Aichi Expo Spanish pavilion was used as a precedent. The modu-SHY� Z[Y\J[\YL�WYV]PKLZ�H�JOLHW��X\PJR�HUK�LMÄJPLU[�I\PSK�solution, ideal for a temporary structure. Off-site assem-bly is possible minimising disruption to local wildlife also.

0 1 2 4

Key:

1) Small Meetings Room2) Large Room for School/ Public3) BioBlitz Materials Store4) Bird Watching Area5) Dry Toilet6) Lookout Point

Plans - 1:200

Section AA

A

A

Exploded structural assemblage axonometric

Interior view of room for school/ public

1

6

2 5

3

4

Pannel Pallet

(Right) Inspiration from nature and precedent.

FOA, Aichi Expo Spanish Pavilion. The pavilion is

recognizable by its facade, which is made up of

over 16,000 tesselating colored ceramic hex-

agons, which symbolize the uniting of cultures

between Spain and Japan. The extruded form

here was inspiration for the perforated panels.

;OL�YHUNL�VM�WHULSZ�KLZPNULK�[V�Ä[�[OL�TVK\SHY�KLZPNU�PU�VYKLY�[V�HJJVTTVKH[L�H�]HYPL[`�VM�LJVSVNPLZ

Layered site mapping

:LJ[PVUHS�ÄUHS�TVKLS

:LJ[PVUHS�ÄUHS�TVKLS

Perspective view of design on site. ;OL�KPZ\ZLK�WHKKSPUN�WVVS�^PSS�IL�ÄSSLK�^P[O�ZVPS�[OLU�^PSK�NYHZZLZ�[V�JYLH[L�H�THYZOSHUK�habitat.

�;OL�WYVWVZHS�WYV]PKLZ�H� SHYNL�KLNYLL�VM�ÅL_-ibility - if removed, gabion walls used as re-

taining walls leave seating and habitats for

wildlife. Conversely, the structure can remain

after the festival to provide a visitors centre with

hides for wildlife observation and teaching fa-

cilities. If required modules can be added or

removed, and the panel walls interchanged.

ARC3001 Barcelona: Can RicartShifting Perspectives: (Re)Generation

Designing for a new generation, the aim of this master-planning project was to change the way we perceived the site within the Poblenou district in Barcelona, shifting the perspective one had of an abandoned and derelict area by rehabilitating the urban fabric and injecting a series of bold visual compositions, creating a new image for Can Ricart, symbolising a new generation and revived industrialism.

Located within the Poblenou district of Barcelona, the ZP[L�VM�*HU�9PJHY[�PZ�VUL�J\YYLU[S`�\UKLYNVPUN�NLU[YPÄJH-tion as part of the 22@ project in Barcelona, to cre-ate a new innovative productive region, aimed at de-veloping knowledge intensive activities. An area with a strong background in industry, the importance of this heritage was evident during the site visit, and the need to generate a new image for Can Ricart became the heart of the driving forces behind this project, in order to renew the area. The project presented the oppor-tunity to explore multi scalar design strategies as well as re-establishing synergies and relationships with the social, productive, cultural and artistic fabrics of the area.

ARC3001 Barcelona: Can RicartShifting Perspectives: (Re)Generation

The 22@ Barcelona project, approved by the Barcelona City Council in 2000, involves the transformation of 200 hectares of industrial land in the centre of Barcelona into an innovative productive district, aimed at concentrating and developing knowledge intensive activities. As an ur-ban refurbishment plan, it answers to the need to recy-cle the obsolete industrial fabric of the Poblenou Quar-ter, creating a diverse and balanced environment. As an economic revitalisation plan, it offers a unique opportunity [V� [\YU� [OL�7VISLUV\�+PZ[YPJ[� PU[V�HU� PTWVY[HU[�ZJPLU[PÄJ��technological and cultural platform, making Barcelona one of the most dynamic and innovative cities in the world.

,_PZ[PUN�NYHMÄ[P� MV\UK�K\YPUN� [OL�ZP[L� ]PZP[�^HZ�WHY[PJ\SHYS`�enthralling – seemingly breaking through the façades, re-vealing a new and prosperous generation beneath. Fitting with the principles of the 22@ project, this idea grounded another concept of designing for the new generation. This new design is realised as a series of bold visual insertions

that break through and interrupt the exist-ing architecture, leaving a strong imprint on the site of the new generation. The location of these insertions was governed by the simple form a triangle overlaid on the site, whereby overlaps with the existing buildings formed the new architectural interventions. The triangular form factor was derived from H�JOVZLU�WPLJL�VM�NYHMÄ[P�MV\UK�VU�[OL�ZP[L��

22@ project in relation to city

Figure Ground Plan - 1:10000

Site Master Plan - Scale 1:1000

Film & Drama School, RehearsalsClock Tower & Observation DeckLarge Scale Bakery & Shop

Community GardensStartup Business (Design Based & Adver-tising/ Marketing)

WorkshopsCafé

Markets & Film ExhibitionWorkshopCinema, Exhibition, Museum, Labs

Public Square, Performances, Screenings

Sound Stage & Theatre‘El Hangar’Outdoor StudiosArtist Studios & Dwellings, BarArt Exhibition

Aerial Master Plan (not to scale)

Key G:

1) Entrance Lobby2) Museum3) Gallery Space��)V_�6MÄJL5) Film Exhibition6) Cinema/ Auditorium7) Film Archive8) Shop9) Bakery10) Café11) Workshop

Key 1:

��6MÄJLZ2) Film Terrace3) Equipment Store4) Studio5) Sound Studio6) Anechoic Chamber7) Computer Labs8) Dark Room9) Printing Room10) Special Effects11) Bakery

Key 3:

1) Observation Deck

Plans of Developed Area - Scale 1:500

Concept diagram

G

A

C

C

1A

2

3

34

5

6

7

8

9

8

10

11

12

1

2

3

B

B

A

A

1

3

4

2

5

6

7

7

8

9

10

11

12

13

Corten Steel sculpture in main public square represents fragments of the scheme and the new imabe for Can Ricart

Section AA - 1:100

The area surrounding the site plays host to a wide range

of creative, productive and cultural uses, thus it was de-

JPKLK� [OH[� [OLZL� [`WLZ� VM� HJ[P]P[PLZ� ZOV\SK� IL� YLÅLJ[LK�within the core development of Can Ricart, particularly as

the development included an extension to the existing ‘El

/HUNHY»�VU�ZP[L��^OPJO�ZWLJPHSPZLZ�PU�ÄST��]PZ\HS�HUK�WLY-forming arts. The scheme of activities on site are split into

three programmes: creative, productive, social and edu-

cational. These programmes are spread across the site,

where ‘fragments’ of each program are created from the

architectural interventions in place. The fragments of each

programme come together to create completed ‘shards’

of what becomes the new image for Can Ricart. The new

architecture is largely Steel framed structures clad with

Corten Steel. This was chosen as it is raw and industrial,

thus appropriate to the site and its heritage, yet modern;

a new material employed by our generation, creating a

dramatic contrast to the existing facades. Working with

fragments, the strategy injects new life into the old ruin,

creating a dialogue and harmony between new and old.

The existing heritage remains, being used as a shell to

house new activities, whilst the new intervention is visu-

ally exciting and dramatic making a bold visual statement,

whilst not detracting too much from the site. A new Steel

MYHTL�Z[Y\J[\YL�̂ P[OPU�[OL�L_PZ[PUN�Y\PU�Z\WWVY[Z�UL^�ÅVVYZ��with blockwork used to create an inner leaf cavity wall.

Similarly in design to Daniel Libeskinds’ Dresden Mili-

tary Museum, the new architecture breaks through

the existing facades, creating bold interferences.

It’s about the juxtaposition of tradition and innova-

tion, forming a distinction between the new and the

old, helping to create a new image for Can Ricart.

Models

Section BB - 1:200

Section CC - 1:200 Exploded axonometric detailing typical structure

Precdents

Scheme reconnects site with

Eixample city grid

Harmony between old and new

Perspectives

ARC3001:

;OL� -PUUPZO� PUZ[P[\[L�� PUÅ\LUJLK� I`� [OL� HY[� VM� NSHZZ�and layered print creation. The aim was to design a new premises for the Finnish Institute in a hy-pothetical move to Newcastle, based around the concepts of social interactions and layers, appre-ciated through the process of print creation, pro-jected colour and changing compositions of light. This relatively large scale building, functioning as a multipurpose headquarters for the Institution, work-ing as a link between cultures, creating opportuni-ties for encounters between Great Britain and Fin-land, in the spirit of a new cultural era taking shape.

The site is a prominent location on the Quayside in Newcastle upon Tyne, opposite famous cultural land-marks including the Baltic and the Sage, and is open to panoramic views between the Millennium and Tyne )YPKNLZ��0UÅ\LUJLK�I`�JVU[L_[�HUK�[OL�JVSSHIVYH[VYZ»�process, the building is largely enveloped with glass curtain walls to take advantage ofthese views and make the most of the natural lighting to the south.

ARC3001

7HUVYHTPJ�]PL^Z�HUK�SVJHS�J\S[\YHS�JVU[L_[

“[The] mission [of the Finnish Institute of London] is to identify emerging issues relevant to contemporary society and to act as catalyst for positive social change through partnerships.”

An open plan solution is used to allow light to pen-etrate horizontally into the spaces, and create a socially driven institute replicating the transparen-cy found in the Finnish design principles of equal-ity. Surrounded by four storey buildings on three sides, the lighting strategy was to introduce a cen-tral atrium to deliver light deep within the plan, in HKKP[PVU�[V�[OL�WSH`M\S�\ZL�VM�]VPKZ�IL[^LLU�ÅVVYZ��This also forms part of the environmental strategy.

¸(YJOP[LJ[\YL�PZ�[OL�THZ[LYS �̀�JVYYLJ[�HUK�THNUPÄJLU[�WSH`�VM�THZZLZ�IYV\NO[�[VNL[OLY�PU�SPNO[�¹� - Le Corbusier

Site section looking East (not to scale)

The concept of layers informs the buildings orienta-[PVU� VU� ZP[L� HUK� ZWH[PHS� VYNHUPZH[PVU"� 0UÅ\LUJLK� I`�an analytical study of shadows and changing these compositions of light on site. Inspired by nature, the facade is also the result of a l ayered print process. This provides the building with a dramatic urban presence on the Quayside. The main feature inside is a full height coloured glass wall within the lobby and L_OPIP[PVU� ZWHJL��^OPJO�IYPUNZ� [OL� SH`LYLK� JVUJLW[�[VNL[OLY��3PNO[�WHZZLZ�[OYV\NO�[OL�ÅH[�Z\YMHJL�VM�[OL�facade projecting shadows making it effectively be-come three dimensional, and this is enhanced further by the addition of a layer of projected colour from the feature wall. At night, this becomes illuminated from within, hinting at the institutes entrance from afar and increasing its visual presence on the quayside.

Final model in site

Figure Ground Plan - 1:7500

Bridget Jones is an artist working mainly in architectural glass to commission. Her designs weave together im-age, pattern, and colour, and often evolve from prints of nature. She has a keen interest in nature, colour, the composition of light, and also Finnish Design, all of which are considered in the design of the incubator. .

Located on the Quayside in Newcastle upon Tyne by the Millennium bridge, the site provides a panoramic vista open to nature and excellent lighting for inspiration and print de-sign. Separated from the main pathway, the incubator site JYLH[LZ�H�WLYZVUHS� ZWHJL� MVY� YLÅLJ[PVU�^OLYL�T`�JSPLU[�can sit and appreciate the colours and composition of light in a tranquil ‘getaway’. Moreover, the space is exploited as a studio for the drawing and composition of prints; one of [OL�TVZ[�PTWVY[HU[��HUK�PUKLLK��[OL�ÄYZ[�Z[HNL�PU�OLY�̂ VYR�

The incubator becomes her studio or idea hub, where the ideas originate, before reaching out to society. The public and exhibition areas create chances for social en-counters, with the radiating glass walls reaching out to connect with society. The constantly changing light con-ditions mean the composition of the intervention is for-ever changing, where the seating creates spaces for [OL� W\ISPJ� [V� ZP[� HUK� YLÅLJ[�� LUQV`PUN� [OL� ^VYR� VU� KPZ-play. The innovation attempts to be effective by making people stop in a space considered a thoroughfare and UV[�Z[H[PJ�� 0[�IYLHRZ�HUK�KPZY\W[Z� [OL� ÅV^�JH\ZPUN� PU[LY-est in the glass and individual thinking of the spaces.

The Incubator

“Creating a private oasis amidst the busy city life for )YPKNL[� 1VULZ�� HJ[PUN� HZ� H� ZLSM� YLÅLJ[PVU� ZWHJL� HUK�creative studio, with exhibition spaces and seat-ing for the public to experience the forms of her work through layered compositions of light and colour. Or-ganisation of incubator encourages social encounters.”

Site for the incubator(Below) Projjected colour of light experi-ments, and glass balustrade in the Sage, Gateshead.

2 A1

3

A

2

Incubator Plans - 1:100

Key:

1) Client’s studio space2) Exhibition space3) Outdoor seating -__ Circulation encourages social interactions

Layered print designs inspired by nature cover the walls, and increase privacy, whilst replicating the style of my cli-ent’s work. Additional layers of colour help to stimulate creativity when light shines through rendering the space in colour. The underlying concepts for the design of the Finnish Institute

The glass ribs of the incubator structure was an op-portunities to visualise the layered process in my clients work by deconstructing the individual layers.

Perspective view of sheltered exhbition space. Glass ribs allow layered thought process to be visualised

Perspective views of incubator in site. (Below) Glass walls encourage social interactions

+ +

1) Volumetric ste massing2) Offset orrientation, informed by site shadow analysis and layered print3) Introduction of main atrium voids to deliver light and work HZ�THPU�ZWH[PHS�VYNHUPZLYZ��PUÅ\LUJLK�I`�JVU[L_[�HUK�PUULY�courtyards in area4) Entrances and public garden spaces informed by context5) Service cores added containing protected escapes and lift shafts, relative to building access6) Layered concept introduced through external louvre screens and feature colour glass wall

1

2

3

4

5

6

Conceptual model identifying the individual elements of the layered design approach, and the effect when combined. My clients print creation thinking was deconstructed to iden-tify these elements. Individu-ally, they are planar objects that transform and become three dimensional devices when light projects through them. Light brings it all together.

Layered axonometric showing site strategy. Vehicular and pedestrian access routes, ori-entation on site informed by layered shad-V^Z� HUK� JLU[YHS� H[YP\T� ZWHJL� PUÅ\LUJLK�by inner courtyards in surrounding area. .

Atmospheric models looking at projected colour and layers in building

Exploded model of building

Process diagram detailing key stages of design development and strategy

Site photographsNature Inspired Layer Print for Brise Soleil louvre system

Layering of shadows at different times of day on site taking inspiration from processes of the incubator to create a diagram that informs building form

0U[LYUHSS`� VWLUPUN� ^PUKV^Z� H[� ÅVVY� SL]LS� HSSV^� JYVZZ�ventilation and cooling via the stack effect in cen-tral atrium. Air transfer grills at ceiling level in stud walls also enable air to travel through to atrium space, and the administrative core has a similar setup with-in the glazed central core stair area. Openable win-dows also allow for cleaning maintenance of the glass.

Natural daylighting from above creates spatious areas for circulation and social interactions, and reduces reliance on HY[PÄJPHS� SPNO[PUN��4LHU^OPSL�� [OL� SV\]YL�Z`Z[LT�^VYRZ�HZ�H�shading device. In summer, the louvres effectively block the suns rays and thus reduce heat gain through direct radia-tion whilst still providing external views and extensive natural daylighting. In winter, the lower angle of the sun means that the rays penetrate into the construction and heat the inter-nal elements through useful radiation. They have been put in places in order to reduce the long term environmental impact of the structure by using the natural environment as far as possible to create a comfortable internal environment.

Precedents and Material Palette: (Top) Des Moines public library - Technical precedent for glass wall(Middle) Bradford University - Western Red Cedar Louvres at Bradford University(Bottom) Zinc Cladding - Engineering department at the Univer-sity of Iowa

Winter Summer

1

5

10 11

8

96

7

5

A

A

CC

B

B

12

2

3

4

1

12

6

-1 - 1:200

Key:

1) Plant Room

2) Disabled Access WC

3) Female WC’s

4) Male WC’s

5) Cleaner Store

6) Multipurpose Auditorium/ Cinema

7) Projector Room

8) Mechanical Ventilation Plant Room

2

6

2

22 43

1

78

5

A

A

B

B

CC

G - 1:100

Key:

1) Exhibition Space

2) Reception

3) Cloakroom

4) Incubator Shop

5) Disabled Access WC

6) Storage

7) Function Room

8) Artist Studio

9) Open Plan Living Room,

Dining and Kitchen

10) Bedroom

11) Bathroom

12) Public Gardens

6

2

13

435

7 8

9

9

10

11

12

1

A

A

B

B

CC

5

-1 - 1:200

Key:

1) Plant Room2) Disabled Access WC3) Female WC’s4) Male WC’s5) Cleaner Store6) Multipurpose Auditorium/ Cinema7) Projector Room8) Mechanical Ventilation Plant Room

1 - 1:200

Key:

1) Cafe2) Disabled Access WC3) Kitchen4) Catering Store5) Outdoor Terrace6) Social Area for Personnel7) Sauna8) Changing Room and Showers9) WC10) Small Conference Room��+PYLJ[VYZ�6MÄJL��(KTPUPZ[YH[P]L�6MÄJL13) Cleaner Store

2 - 1:200

Key:

1) Observation Deck2) Library3) IT Research Room��3PIYHYPHU�6MÄJL5) Disabled Access WC6) Reading Terrace7) Seminar Room8) Conference Room ��6WLU�WSHU�0U[LYU�6MÄJLZ��(Y[Z�9LZLHYJO�6MÄJL11) Cleaner Store

3

4

5

5

11

10

10

10

8

7

6

9

1

2

A

A

B

B

CC

Section AA - 1:200

0U[LYUHS�ZWHJLZ�HYL�KLÄULK�I`�access to daylight, circulation and social factors, and are lo-cated around the atrium to ini-tiate human activities. Internal planning creates strong visual connections through the atri-um space and fosters social in-teraction. Spatial overlapping and open plan circulation pro-duces more connection be-tween spaces for encounters.The organisation of spaces JHU�IL�ZPTWSPÄLK� PU[V�KPZ[PUJ[�

Section CC - 1:200Section BB - 1:200

layers, often segregated I`� [OL� H[YP\T�� MVY� L_HT-ple public private spaces, cultural and performance etc. Lateral planning plac-es most public functions at street end and most private at upper levels and to the rear of the site.

A lightly skinned building fabrication utilising a 254mm x 254mm SHS Steel frame wrapped with glass curtain walls and external brise soleil shading louvre system de-]LSVWLK�MYVT�SH`LYLK�PKLH�PKLU[PÄLK�K\YPUN�PUJ\IH[VY��5V-tional grid system of 6000mm x 6000mm is used with glass panes 1.5m x 2m hung from mullion system at-tached to primary structure. Lateral cross bracing across one ‘bay’ at each end of the building transfers horizon-tal loads to the ground. Louvre system projects 500mm beyond glazing, and is supported by intermediate verti-cal SHS Steel mullions, tied to building facade via paired (S\TPUP\T� ÅH[Z�� ;OL� IHZLTLU[� SL]LS� PZ� [HURLK� K\L� [V�proximity to the river Tyne, with a ground slab of 750mm used in this instance, and 450mm thick concrete walls.

:SPTKLR�JVUJYL[L�ÅVVYPUN�\ZLK�MVY�ÄYZ[�HUK�ZLJVUK�ÅVVYZ�on structural deck, with 100mm raised access void on top for service distribution. Concrete is used for the ‘service cores’ where the protected escapes are to in-JYLHZL�ÄYL�YLZPZ[HUJL�HUK�OVSK�SPM[�ZOHM[Z�HZ�^LSS�HZ�]LY[P-cal service distribution risers. Where glazing isn’t utilised, ^HSSZ�HYL�THZVUY`�PUÄSS�IL[^LLU�[OL�:[LLS�MYHTL�JSHK�^P[O�APUJ�ZOLL[PUN��KLNYLL�ÅH[�YVVM�\ZLK�ÄUPZOLK�^P[O�APUJ�sheeting and a standing seam. Roof glazing over atrium spaces and library terrace is high performance with g value of around 0.4, supported with an Aluminium frame.

Exploded axonometricConstruction Section Through Front Facade 0 1 2

The coloured glass wall in the atrium space is constructed from panels (alternating laminated and toughened for acoustic srat-LN`��LHJO��_��T��Z\ZWLUKLK�VU�Z[LLS�IYHJRL[Z�MYVT�[OL�ÄYZ[�ÅVVY�ZSHI��)YHJRL[Z�H[�NYV\UK�ÅVVY�HUK�YVVM�SL]LS�WYV]PKL�SH[LYHS�restrain. This method was used in the Des Moines public library.

Perimeter heating and cooling loads for winter are han-dled by fan coil units that supply air to a continuous stain-SLZZ�Z[LLS� ÅVVY� NYPSSL�� *LPSPUN� ZLY]PJLZ�� PUJS\KPUN� SPNO[-ing and sprinklers, are carefully coordinated beneath an L_WVZLK� JVUJYL[L� ZVMÄ[��^OPJO� WYV]PKLZ� [OLYTHS�THZZ� [V� YL-duce the cooling load and minimise temperature swings.

Acoustically, social and public spaces married together. The auditorium is underground where sound absorption from sur-rounding mass keeps it suitable. Other spaces are positioned to the rear of the building e.g. function room and adminis-trative areas away from the busy facade road and river. Au-ditorium rear wall is lined with red cedar, and motorised cur-tains are installed that can be deployed to cover up to 90% of wall area to reduce reverberance to accommodate dif-ferent performance conditions, as in the Sage Gateshead. Isometric section through zinc clad wall - 1:20

Isometric section through front facade - 1:20

Interior Visualisation - Key concepts of scheme - Light brings everything together through visual links, open circulation and layers.

Night visualisation - when illuminated the external louvre system has the reverse effect from day time, projecting shadows out onto the street encouraging interactions. The coloured glass wall hints at where the entrance is, and acts to divide the building into night and daytime functions. The institute as a whole appears lights up like a beacon.

Perspective of interior stairs in administrative core

Perspective of exhibition space

Perspective of library reading terrace

��

��!�� !� !�� !�� !�� !��#�"��"�� #�

�� !� !��

�!�� !� !��

��"�� "��!�� !�� !��!��"��µ6OLPÀRU¶�,�EHDPV��&RQFUHWH�JURXQG�ÀRRU�VODE��

��"��

� �� PP�[��PP�[��PP�DV\PPHWULFDO�µ6OLPÀRU¶�,�EHDPV��

�

� ��

� �� PP�[��PP�[��PP�DV\PPHWULFDO�µ6OLPÀRU¶�,�EHDPV��

�

� ��

�� &RPSRVLWH�µ6OLPGHN¶�ÀRRU�FRQVWUXFWLRQ��

��

+ Non Structural- Corten Steel cladding panels

��5RR¿QJ- Internal stud walls

- Insulation

- Building services

��,QWHUQDO�¿QLVKHV

Building in context - Scale 1:500

Roof Construction Detail - Scale 1:15

1 Roof Construction- 10mm Corten Steel cladding

��µ+LGGHQ¶KRUL]RQWDO�GUDLQDJH�JXWWHU�FRQQHFWHG�WR�YHUWLFDO�drainage

- Bed mullion

��6KHDWKLQJ�ERDUG��6WHHO�VKHHWLQJ�UDLO- Waterproof layer

- 150mm Kingspan rigid insulation

��9DSRXU�PHPEUDQH- Composite ‘Slimdek’ aluminium deep decking

��PP�[��PP�[��PP�DV\PPHWULF�µ6OLPÀRU¶�,�EHDP- Service ducts/ sprinkler system at intervals in composite

decking

��PP�26%�KDQJLQJ�FHLOLQJ��3ODVWHUERDUG��,QWHUQDO�¿QLVK

External Wall to Intermediate Floor Detail - Scale 1:15

2 External Wall Construction- 10mm Corten Steel cladding

- Vertical mullion

��6KHDWKLQJ�ERDUG��6WHHO�VKHHWLQJ�UDLO��9DSRXU�PHPEUDQH��PP�.LQJVSDQ�LQVXODWLRQ�EHWZHHQ�6WHHO�ZDOO�VWXGV�120mm x 120mm

- 15mm OSB Board

- Vapour control layer

��3ODVWHUERDUG��,QWHUQDO�¿QLVK��6NLUWLQJ�ERDUG

3 Intermediate Floor Construction- Floor covering

��PP�WRQJXH�DQG�JURRYH�ÀRRULQJ��PP�UDLVHG�DFFHVV�ÀRRU�IRU�GLVWULEXWLRQ�RI�EXLOGLQJ�VHU-vices

��*\SVXP�ERDUG- 100 mm Kingspan rigid insulation

��5HLQIRUFHG�FRQFUHWH�ZLWK�VWHHO�PHVK�DQG�UHLQIRUFHPHQW�EDUV- Composite ‘Slimdek’ aluminium deep decking

- Service ducts/ sprinkler system at intervals in composite

decking

��PP�26%�KDQJLQJ�FHLOLQJ��3ODVWHUERDUG��,QWHUQDO�¿QLVK

�-)�'$�"��""�)%��'%*$��"%%'� %$()'*�) %$��"��

��-)�'$�"��""� %$()'*�) %$��)��'%*$��([WHUQDO�ÀRRU�OHYHO�GUDLQDJH�JXWWHU��##� %')�$��)��"��"�� $��') ��"�#*"" %$��$(��)�#�(��)� $��%�'��([WHUQDO�GULS�ÀDVKLQJ�ZLWK�VHDOHG�MRLQWV�� '�(��"��)��"�(��) $��'� "��&%*'�#�#�'�$��##�� $�(&�$� $(*"�) %$��),��$��)��"�,�""�()*�(��##�-��##��##�-��##��)��"��(��) %$�(%"��&"�)��##��%�'��&%*'��%$)'%"�"�.�'��"�()�'�%�'��,QWHUQDO�¿QLVK��! ') $��%�'�

��'%*$��"%%'� %$()'*�) %$��"%%'��%+�' $��PP�WRQJXH�DQG�JURRYH�ÀRRULQJ��PP�UDLVHG�DFFHVV�ÀRRU�IRU�GLVWULEXWLRQ�RI�EXLOGLQJ�VHU�+ ��(��.&(*#��%�'��##�� $�(&�$�' � �� $(*"�) %$��&%*'�#�#�'�$��$��(�'��&RQFUHWH�ÀRRU�VODE�� %$�'�)��&��%*$��) %$(

Exploded axonometric - Scale 1:20

Cladding Detail - Scale 1:5

� 7KH�DUFKLWHFWXUDO�FRQFHSWV�UHO\�KHDYLO\�RQ�YLVXDO�FRQ-

QHFWLRQV��WKXV�WKH�FRORXUV��PDWHULDOV�DQG�EXLOGLQJ�IRUPV�XVHG�UXQ�DFURVV�WKH�ZKROH�VFDOH�RI�P\�GHVLJQ�WKLQNLQJ��7KH�VDPH�SULQFLSOHV�DQG�FRQFHSW�DSSO\�WR�WKH�VLWH�DV�D�ZKROH��7KH�NH\�GHWDLO�FKRVHQ�WKHUHIRUH�LV�WKH�FODGGLQJ�V\VWHP�VHHQ�DFURVV�WKH�VLWH��ZKLFK�KHOSV�WR�JLYH�WKH�VFKHPH�LWV�LGHQWLW\��

Corten Steel Cladding Detail - Corten Steel cladding

- Vertical mullion

��6KHDWKLQJ�ERDUG��6WHHO�VKHHWLQJ�UDLO��9DSRXU�PHPEUDQH��PP�.LQJVSDQ�LQVXODWLRQ�EHWZHHQ�6WHHO�ZDOO�VWXGV�120mm x 120mm

- ��PP�[��PP�[��PP�DV\PPHWULF�µ6OLPÀRU¶�,�EHDP- 15mm OSB Board

ARC3

014:

ARC3014: Professional Practice and Management

Profe

ssion

al Pr

actic

ean

d M

anag

emen

t


Mid-year practical experience during Part 1 studies Name: 101064602 General Information Dates of Experience 01/02/2013 – 15/03/2013 Category of Experience 1

Experience Level Stage 1 Location Newcastle upon Tyne, UK School of Architecture/Monitoring Institution

School of Architecture, Planning & Landscape, Newcastle University

Professional Studies Advisor John Kamara PSA's Email [email protected] PSA's Phone No 0191 2228619 Placement Provider School of Architecture, Planning and Landscape,

Newcastle University Placement Address School of Architecture, Planning and Landscape

Newcastle University Newcastle upon Tyne NE1 7RU UK

Placement Phone No +44 (0) 191 222 5831 Placement Website http://www.ncl.ac.uk.apl/ Student's Phone No +44 (0) 7889951295 Student's Email [email protected] Brief Description of Placement Provider

Stage 3 of the K100 B.A. Architectural Studies undergraduate course at Newcastle University within the School of Architecture, Planning and Landscape

Employment Mentor Katriina Blom Mentor's Profession Lecturer in Architecture Membership of Professional Bodies

SAFA, ARCHITECTA, Rakennustalteen seura

Registration Number - Mentor's Email [email protected] Mentor's Phone No +44 (0) 191 222 6003

ARC3014: Professional Practice and Management Name: 101064602 Project Details (repeat boxes as necessary if recording more than one project) Project Name The Finnish Institute In Newcastle Project Description Client: The Finnish Institute

Project Scope: 2000m 2, £n/a. Consultant/design team: 101064602 Current work stage: C-E Design

The objective is to design new premises for the Finnish Institute, which is currently situated in London. By this hypothetical move to Newcastle the Institution is seeking new perspectives in reaching the British audience. The project asks for a building, which works as a link between cultures. Encounters will increase not only between Great Britain and Finland, but also among countries around the Nordic Sea, in the spirit of new cultural era taking shape in the Quayside. The Institute is not like an embassy with a specific representative role, but rather an operator or a sensitive mediator to enable the emergency of the fertile interchange. “[The] mission [of the Finnish Institute of London] is to identify emerging issues relevant to contemporary society and to act as catalyst for positive social change through partnerships.”

Project Tasks The project can be introduced as a competition to seduce the Finnish Institute in London to move to Newcastle. Students have to produce a convincing�strategy, which exemplifies certain prospects of Finnish culture in a specific way. One objective of the project is to investigate how culture gives shape to architecture, and how architecture shapes our future and us. Without students being forced to interpret Finnish culture in isolation the project starts with an assumption that we can enter to the world of the Finnish Institute by designing for local cultural institutions and events. The project will address these rather abstract goals by introducing a real client, first found locally in an ‘incubator’ or prototype phase, and secondly interpreting the ethos of the Finnish Institute in London. Individual designs during the first stage of the project will evolve around the theme of catalyst and innovation. This project is focusing on the spatial implications of catering for various cultural agents, which are either representing or claiming to represent innovations, and can together with the Finnish Institute work for a positive change in society. The core themes of which are translated through to the development of the Finnish Institute.

ARC3014: Professional Practice and Management Work Stages Hours as participant Hours as observer A-B Preparation

Appraisal 3 -

Design Brief 15 0.5 C-E Design Concept 20 0.5 Design Development 70 0.5 Technical Design 2 - F-H Pre-Construction Production Information - - Tender Documentation - - Tender Action - - K Construction Mobilisation - - Construction to practical completion

- -

L Use Post Practical Completion

- -

Totals 110 1.5 Name: 101064602 Work Stages – summary of hours from all projects

Hours as Participant

Hours as Observer Total

A-B Preparation

Appraisal 8 - 8

Design Brief 30 2 32

C-E Design

Concept 35 2 37

Design Development 150 2 152

Technical Design 12 0.5 12.5

F-H Pre-Construction

Production Information - - -

ARC3014: Professional Practice and Management Tender Documentation - - -

Tender Action - - -

K Construction

Mobilisation - - -

Construction to practical completion

- - -

L Use -

Post Practical Completion - - -

Totals 235 6.5 241.5 Activities – non-project related

Task Hours completed Description

Office Management - -

General

18 Professional Practice and Management Lectures

6 Principle and Theories Lectures

4 Architectural Technology Lectures

7 Design/ Portfolio Lectures

Totals 35 Name: 101064602 Reflective Experience Summary Task performance and learning during this period of experience The tasks set during the initial weeks of the project challenged my ability in thinking conceptually. I found this challenging at first as there were no defined requirements. It took me a little while to engage with free experimentation, but once I decided upon an idea I thoroughly enjoyed the exploration in designing the incubator. It allowed me to develop my understanding of light and qualities of space within architecture, as well as the properties of glass and ideas of layers. The weekly tutor meetings and bi-weekly interim crits meant I was encouraged to work at a steady rate; something I often find difficult to do. It has also become clear during this experience that model making is a very beneficial tool for experimentation and quickly representing new ideas in a clear way, showcasing development, a skill I will continue to develop and refine. The project has enhanced my ability to look beyond conventional drawing and both hand and CAD modelling methods, where I have experimented with new

ARC3014: Professional Practice and Management techniques (for example, casting the site model from concrete). The design is still currently only in relatively early stages. Future lectures and continued tutor meetings will help this to develop and to learn more. Personal development & role performance evaluation The heavy workload of the project combined with pressures from other modules and activities has forced me to become better at organizing my time and working at a more constant rate, coordinating my focus and efforts. Due to the nature of the project, I have also become accustomed to thinking more independently and presentational skills are improving, thus allowing me to gain confidence as I look ahead towards a professional placement. I found that when distracted or struggling with various aspects it was really useful speaking to other designers around me for advice. Also taking a step back from a problem or design can enable you to then re-approach it with a clearer perspective. Aims for next period of experience I want to continue developing my way of working and visual representation of my ideas and models to better my work and peoples engagement with my, mainly by improving the clarity of my presentation and the quality of my designs. I would like to produce designs I feel entirely confident with discussing and developing whilst also becoming less self-critical. Within the next few months I aim to land a professional placement real firm whom I am currently in talks with. I hope to feel confident working in a professional environment and I will endeavour to develop my inter-personal skills and prepare myself for the strains of the workplace, whilst also like to developing my knowledge of various software packages in order to increase my employability and awareness of practice based design from new perspectives. Further skills needed and actions to take to achieve aims I believe that the freedom within the current project will allow me to develop and experiment with my graphical and oral representation and presentation. Work experience will test me and enable me to develop my decision-making skills, confidence and time management further, as well as improving my ability in software. The experience will more importantly allow me to put my skills and my professionalism to the test, hopefully allowing me to apply the theory I have learnt to real world projects. Additional student comments, support required from placement provider Outside of the project I intend to develop my understanding and proficiency in AutoCAD, Revit and perhaps Rhino Grasshopper (if possible), to help ease my transition into the professional working environment. I also intend to start visiting and reading more widely about ongoing architecture projects, to advance my creativity and knowledge, with a particular regards to technical details. 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: 101064602 Date: 13/03/13


This assignment focuses on the legal framework and processes within which an architect must operate; with spe-JPÄJ�YLMLYLUJL�[V�[OL�,U]PYVUTLU[HS�0TWHJ[�(ZZLZZTLU[��,0(��HUK�P[Z�WV[LU[PHS�HMMLJ[�VU�WSHUUPUN�HWWSPJH[PVU�HUK�[OL�design decisions and outcomes for the Finnish Institute in Newcastle upon Tyne.

Environmental assessment is a formal procedure that ensures that the environmental implications of decisions are taken into account before the decisions themselves are made, and as a formal procedure it ensures that the en-vironmental implications it will often be required to accompany most applications for planning to gain permission. In HJJVYKHUJL�^P[O�[OPZ�PZZ\L��PKLU[PÄLK�I`�*OHWWLSS��[OL�WYVK\J[PVU�VM�HU�,U]PYVUTLU[HS�:[H[LTLU[��,:��I`�KL]LSVWLYZ�(assembled from their Environmental Impact Assessment statement following submission to Local Planning Authori-ties, LPA), has become a fundamental part of the planning procedure. During the initial development stages for the new premises of the Finnish Institute, developer consultation with the 5L^JHZ[SL�37(�^V\SK�ÄYZ[S`�KL[LYTPUL�^OL[OLY�HU�,0(�PZ�ULJLZZHY �̀�,0(�PZ�VUS`�YLX\PYLK�MVY�ZVTL�[`WLZ�VM�KL]LSVW-ment and not others. Deciding on whether an EIA is required can be the source of major dispute between develop-ers, communities and local authorities, causing delays with the development of a building. ;OL�WYVQLJ[Z�SHYNL�MVV[WYPU[��MHPYS`�ZPNUPÄJHU[�L_JH]H[PVU��MVY�\UKLYNYV\UK�H\KP[VYP\T�HUK�ZLTPUHY�YVVTZ��HSVUNZPKL�P[Z�potential constructional requirements, would probably qualify the project for EIA under the current system. However, community involvement through drop-in exhibitions and feedback forms, as well as contact with statutory consultees interested in environmental concerns (for example The Environment Agency, Natural England, and English Heritage) JV\SK�OLSW�M\Y[OLY�PUMVYT�[OL�KLZPNU�ILMVYL�WSHUUPUN�HWWSPJH[PVU��^P[O�YLZWLJ[�[V�ZWLJPÄJ�ZP[L�JVUZPKLYH[PVUZ��;OL�views of non-statutory consultees may be sought by the LPA in order to tailor the assessment, such as local interest NYV\WZ��[OL�WVSPJL�HUK�ÄYL�ZLY]PJLZ��HUK�LU]PYVUTLU[HS�OLHS[O�L[J��HZ�H�ZJVWPUN�VWPUPVU��;OV\NO�[OL�WO`ZPJHS�ZJHSL�VM�[OL�-PUUPZO�0UZ[P[\[L�WYVQLJ[�JSHZZPÄLZ�P[�HZ�H�:JOLK\SL��[`WL�KL]LSVWTLU[��LHYS`�LU-]PYVUTLU[HS�JVUZPKLYH[PVUZ�HUK�LUNHNLTLU[�^V\SK�ILULÄ[�L]LY`VUL�PU]VS]LK�PU�[OL�WSHUUPUN�WYVJLZZ��>OLU�[OL�developer and LPA agree upon a set of criteria, the developer may proceed to prepare the Environmental Statement (ES). However if a disagreement occurs, a statutory consultee can require the Secretary of State (SoS) to call in an application to declare direction if it believes that the LPA is ignoring its views, who will declare which direction the planning process goes. The implications of such considerations and procedures could initially slow and delay the submission of the statement and planning application due to the reliance on outside consulters’ time managements. However, early consultation and consideration of environment concerns should enable authorities to make swifter decisions.Contact with the public at an early stage could also relieve any concerns they may have regarding the planning, ulti-mately resulting in an easier passage for the development and result in a better environmental outcome, saving time, money and productive relationships. In accordance with the ‘NewcastleGateshead One Core Strategy 2030’, the required mitigation of greenhouse gas emissions would encourage the project’s use of locally, or recycled sourced construction materials. Subsequently this could limit choices of materials used for construction, where in Finnish cul-ture material palette for construction is of great importance, thus hindering the design clarity. However, carbon and pollutant emissions from transport, extraction and production would be reduced. The design of the building could also be altered to accommodate the provision of and maintenance of renewable energy technologies, such as solar and geothermal heat sources, or storage facilities for biomass boilers and grey ^H[LY�OHY]LZ[PUN��,Z[PTH[PVUZ�JVSSLJ[LK�MYVT�HYJOP[LJ[\YHS�TVKLSZ�YLNHYKPUN�ÅVVY�ZWHJL��YLX\PYLK�OLH[PUN�ZWHJL��VJJ\WHUJ`�SL]LSZ�HUK�Z[Y\J[\YHS�<�]HS\LZ��^V\SK�HSSV^�LMMLJ[P]L�LTWSV`TLU[�HUK�LMÄJPLUJ`�VM�[LJOUVSVNPLZ��[OV\NO�calculations are time consuming, the process would reduce future operational costs and energy). Such calculations JV\SK�[OLU�PUMVYT�HS[LYH[PVUZ��MVY�L_HTWSL�[V�ÅVVY�ZWHJL��I\PSKPUN�VYPLU[H[PVU��VYNHUPaH[PVU�VM�ZWHJLZ�L[J��;V�YLK\JL�JHYIVU�LTPZZPVUZ�K\YPUN�JVUZ[Y\J[PVU��H�ZWLJPÄJ�ZJOLK\SL�VM�JVUZ[Y\J[PVU�Z[HNLZ��^V\SK�TPUPTPZL�SVZZ�VM�[PTL�HUK�emissions from machinery and transport. An effective post construction management plan to retain low carbon emissions could also be suggested.

Shifting Perspectives: (Re)Generation

Designing for a new generation, the aim of this master-planning project was to change the way we perceived the area, shifting the perspective one had of an abandoned and derelict site by rehabilitating the urban fabric and inject-ing a series of bold visual compositions, creating a new image for Can Ricart, symbolising a new generation and revived industrialism.

Apologia

3VJH[LK�^P[OPU�[OL�7VISLUV\�KPZ[YPJ[�VM�)HYJLSVUH��[OL�ZP[L�VM�*HU�9PJHY[�PZ�VUL�J\YYLU[S`�\UKLYNVPUN�NLU[YPÄJH[PVU�HZ�part of the 22@ project in Barcelona, to create a new innovative productive region, aimed at developing knowledge intensive activities. An area with a strong background in industry, the importance of this heritage was evident during the site visit, and the need to generate a new image for Can Ricart became the heart of the driving forces behind this project, in order to renew the area. ,_PZ[PUN�NYHMÄ[P�MV\UK�K\YPUN�[OL�ZP[L�]PZP[�^HZ�WHY[PJ\SHYS`�LU[OYHSSPUN�¶�ZLLTPUNS`�IYLHRPUN�[OYV\NO�[OL�MHsHKLZ��YL]LHS-ing a new and prosperous generation beneath. Fitting with the principles of the 22@ project, this idea grounded an-other concept of designing for the new generation. This new design was realised as a series of bold visual insertions that break through and interrupt the existing architecture, leaving a strong imprint on the site of the new generation. The location of these insertions was governed by the simple form a triangle overlaid on the site, whereby overlaps with the existing buildings formed the new architectural interventions. The triangular form factor was derived from a JOVZLU�WPLJL�VM�NYHMÄ[P�MV\UK�VU�[OL�ZP[L��Similarly in design to Daniel Libeskinds’ Dresden Military Museum, the new architecture breaks through the exist-ing facades, creating bold interferences. It’s about the juxtaposition of tradition and innovation, forming a distinction between the new and the old, helping to create a new image for Can Ricart.The area surrounding the site plays host to a wide range of creative, productive and cultural uses, thus it was de-JPKLK�[OH[�[OLZL�[`WLZ�VM�HJ[P]P[PLZ�ZOV\SK�IL�YLÅLJ[LK�^P[OPU�[OL�JVYL�KL]LSVWTLU[�VM�*HU�9PJHY[��WHY[PJ\SHYS`�HZ�[OL�KL]LSVWTLU[�PUJS\KLK�HU�L_[LUZPVU�[V�[OL�L_PZ[PUN�º,S�/HUNHY»�VU�ZP[L��^OPJO�ZWLJPHSPZLZ�PU�ÄST��]PZ\HS�HUK�WLYMVYTPUN�arts. The scheme of activities on site are split into three programmes: creative, productive, social and educational. These programmes are spread across the site, where 'fragments' of each program are created from the architec-tural interventions in place. The fragments of each programme come together to create completed 'shards' of what becomes the new image for Can Ricart. The new architecture is largely Steel framed structures clad with Corten Steel. This was chosen as it is raw and industrial, thus appropriate to the site and its heritage, yet modern; a new material employed by our generation, creating a dramatic contrast to the existing facades. For the exhibition piece, the aim was to succinctly demonstrate the underlying concepts of the project in one single image. These are realised through the use of an anaglyph 3D image. Demonstrated, the image attempts to make it appear as if the new architecture is literally breaking through the existing façade, and indeed the page itself, whilst simultaneously displaying the concept of fragments and the new image of Can Ricart. The effect is achieved by duplicating the base image used, changing the perspectives and color channels, and offsetting the two images slightly. With the addition of anaglyph glasses, the image gains depth, drama and a third dimension of realism, as the visual cortex of the brain fuses what we see into the perception of a three dimensional scene. Furthermore, the visual representation technique used here is particularly relevant to the project, as it begins to replicate the specialist areas of activities from within the new scheme introduced on site, through visual effects, and is a method representing our modern time and the future – the current and new genera-tions.

Word count: 648

ARC3015 Principles and Theories of ArchitectureThe brief asked for an exhibition illustration to be produced based on/ to summarise the ARC3001 design project Can Ricart Barcelona, with an accompanying written apologia.

YLKV�KL]LSVWTLU[�TVKLSZ�WOV[V�^P[OV\[�H�YLÅLJ[PVU�VM�^HSSWHWLY

Image to be viewed with anaglyph glasses

ARC3

060

Diss

ertat

ionARC3060: Dissertation in Architectural Studies

Interactive Architecture: Engineering the Polyvalent Wall How realistic is this concept, and are the technologies involved feasible?

Interactive Architecture: Engineering the Polyvalent Wall How realistic is this concept, and are the technologies involved feasible?

Dissertation submitted in partial fulfilment for the degree of

B.A. Architectural Studies in January 2013

Stephen Ringrose

B.A. Architectural Studies Stage 3

Student No: 101064602

ARC3060

i

Abstract

With a rising population and ever increasing demand on technology, environmental issues with regards to

global warming and energy consumption are becoming a progressive concern. The idea that buildings should be

designed to minimise the impact of our comfort and technological demands on the environment is becoming more

popularised, and since the energy crises of the 1970’s there’s been a growing focus on sustainable architecture,

engineering a ‘greener’ future. The prevalent all glazed façade has fallen under criticism and needs refining. Ad-

vances in materials, markedly innovative ‘smart’ glass technologies, can enable us to reconsider the function and

performance capabilities of the façade, leading to more efficient building designs with lower energy consumption.

The polyvalent wall, proposed in 1981 by architect Mike Davies, was acknowledged as a possible answer

to the denunciation of the glass building skin, and the future of façade design. The ideas of this concept were

ahead of its time, thus we approach it with vivacity and wonder, as thirty-two years on the potential has still to be

fully realised, so its credibility is questionable.

Is the polyvalent wall realistic, and are the technologies involved feasible, or is it simply a theoretical con-

cept? The foundation of this dissertation is to address the principles behind the concept, attempting to identify if

there’s a recognised need for such a system, and observe the performance and viability of emerging technologies

to conclude whether the it is is practicable.

ii

Contents

Abstract ................................................................................................................................................. i Contents ............................................................................................................................................... ii List of Figures ...................................................................................................................................... iii 1 Introduction ..................................................................................................................................... 1

1.1 Problem Definition .................................................................................................................. 1 1.2 Brief History of the Contemporary Glass Façade ................................................................... 1

1.2.1 1970s Energy Crisis - An Imperative for Change ............................................................. 2 1.3 A Wall for All Seasons ............................................................................................................ 3

2 Interactive Architecture ................................................................................................................... 4 2.1 Background & Aims ............................................................................................................... 4 2.2 Engineering the Polyvalent Wall ............................................................................................ 5 2.3 Smart Materials – A Technical Overview ............................................................................... 6

2.3.1 Photochromic Glass ......................................................................................................... 7 2.3.2 Thermochromic Glass ...................................................................................................... 7 2.3.3 Electrochromic Glass ........................................................................................................ 8

2.4 Application Paradigms and the Potential in Architecture ..................................................... 10 2.4.1 Photochromic Glass ....................................................................................................... 11 2.4.2 Thermochromic Glass .................................................................................................... 11 2.4.3 Electrochromic Glass ...................................................................................................... 13

2.5 Integrated Photovoltaics ...................................................................................................... 13 3 Another Perspective ..................................................................................................................... 15

3.1 Double Skin Façades ........................................................................................................... 15 3.2 Integrated & Kinetic Façades ............................................................................................... 16 3.3 Discussion ............................................................................................................................ 18

4 Conclusion .................................................................................................................................... 19 Bibliography ....................................................................................................................................... 20 Illustration Acknowledgements ........................................................................................................... 22

iii

List of Figures

Figure 1: Mies van der Rohe’s glass skyscraper design……………..………………………………………..……….. Figure 2: The layers of the polyvalent wall.……………………………..……………………………………………….. Figure 3: Table of existing smart materials……………………………………………………….…………….……….. Figure 4: Diagram illustrating molecular change causing the photochromic effect…………....………….….…….. Figure 5: Diagram illustrating the change in tint of an electrochromic window.………………….………….….…... Figure 6: Basic design of electrochromic layers.…………………………………………………………….…....….... Figure 7: Diagram illustrating the change in tint of an SPD window………………………………….….…………... Figure 8: Diagram illustrating the effect of an applied voltage in a liquid crystal window……………..…………... Figure 9: Use of thermochromic materials in furniture design….………………………………………..…………… Figure 10: Thermochromic glazing....…………………………………………………………………..….…….……… Figure 11: Electrochromic windows.……………………………………………………………….……………….....… Figure 12: Liquid crystals glazing in use.………………………………….…………………..………….…….….…… Figure 13:Integrated photovoltaics.……………………………………………………………………………...….…… Figure 14: Diagram illustrating the energy saving potential of the double skin façade.……………………….…… Figure 15: The Swiss Re building.…………………………………………………………………………………..…… Figure 16: Photograph of the integrated 'i-modul façade' used in the Capricorn House.………..…………....…… Figure 17: Close-up of the mechanically adaptive facade used in the Arab World Institute..………..……..…..…

2 5 7 7 8 9

10 10 11 12 13 14 15 15 16 17 17

1

1 Introduction

1.1 Problem Definition With a rising population and ever increasing

demand on technology, environmental issues with regards

to global warming and energy consumption are becoming a

progressive concern. The idea that buildings should be

designed to minimise the impact of our comfort and

technological demands on the environment is becoming

more popularised, and since the energy crises of the

1970’s there’s been a growing focus on sustainable

architecture, engineering a ‘greener’ future. The prevalent

all glazed façade has fallen under criticism and needs

refining. Advances in materials, markedly innovative ‘smart’

glass technologies, can enable us to reconsider the

function and performance capabilities of the façade, leading

to more efficient building designs with lower energy

consumption.

The polyvalent wall, proposed in 1981 by

architect Mike Davies, was acknowledged as a possible

answer to the denunciation of the glass building skin, and

the future of façade design. The ideas of this concept were

ahead of its time, thus we approach it with vivacity and

wonder, as thirty-two years on the potential has still to be

fully realised, so its credibility is questionable.

Is the polyvalent wall realistic, and are the

technologies involved feasible, or is it simply a theoretical

concept? The foundation of this dissertation is to address

the principles behind the concept, attempting to identify if

there’s a recognised need for such a system, and observe

the performance and viability of emerging technologies to

conclude whether it is practicable.

1.2 A Brief History of the Contemporary Glass Façade

As a principal element of architecture, technology

has allowed for the wall to become an increasingly dynamic

component of the built environment. The façade has

progressed from a mass of solid walls, penetrated by small

openings to diaphanous skins of minimal material,

encompassing structural frames.

The role of materials changed dramatically with

the advent of the Industrial Revolution of the 19th century,

with the widespread introduction of steel and advances in

the production of glass. Development of buildings and

evolution of the skeleton frame opened up the possibility in

what could be achieved with the use of glass and design of

the building façade,1 leading to the emergence of long-span

and high-rise building forms. The idea of an all glass

building became a desirable phenomenon that would reflect

the technological and cultural conditions of the time, whilst

allowing improved daylighting and connection to the

exterior. This idea dates back as early as 1851 with the

Crystal Palace for example, however had previously been

restricted to the use of small panes in 19th century

greenhouse design.2 The broad proliferation of curtain wall

systems allowed the disconnection of the façade material

from the buildings structure, in which the outer skin no

longer required any load-bearing function, freeing the

material choice from practical functions so the façade could

become a purely formal element with the possibility of

being entirely glazed.3 The Hallidie building, built in 1917 by

1 Oesterle, E. et al., Double-Skin Façades: Integrated Planning. Munich: Prestel, 2001, p.12. 2 Wheeler, K., The history of glass in Architecture, 2011. Available at: http://www.articledashboard.com/Article/The-History-of-Glass-in-Architecture/608542. Accessed December 2012. 3 Addington, A., and Schodek, D., Smart Materials and Technologies in Architecture. Oxford: Architectural Press, 2005, p.3.

2

Willis Polk in San Francisco, is one of the first buildings to

demonstrate the use of an all glazed façade.

In 1921 Mies van der Rohe revealed his glass

skyscraper design for the Friedrichstrasse in Berlin. This

became the precursor of the curtain wall building of today.

Walls became vistas as opposed to obstructions to views,

and it was arguably the first vision of the fully-glazed tall

building (see Figure 1), despite never being built.4 After the

Second World

War, technological innovations gave rise to the realisation

of such proposals however. Burgeoning developments in

the size and strength of glass since the 1950s, notably the

revolutionary float process and the toughening of glass,

resulted in its complete integration as a major element in

modern construction. Architects use of glass during the 20th

century evolved and flourished with the dominant idea of

transparency and dematerialisation, to create ‘honest’

buildings that accentuated the quality of light and space,

with buildings beginning to use glazing over as much as

72% of the façade, as seen in the Lake Shore Drive

Apartments, Chicago in 1951.5 Buildings as rectilinear glass

boxes spread around the world, regardless of site or

climate. The popularity of the glazed façade was prevalent

4 Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.55. 5 Oldfield, P. et al., Five energy generations of tall buildings: a historical analysis of energy consumption in high-rise buildings, The Journal of Architecture, 2009, 14(5), p.596.

until the energy crises of 1973 and 1979, where it began to

fall under criticism, and the associated problems inherent

with glass were highlighted.

1.2.1 1970s Energy Crisis - An Imperative for Change

In the early 21st century the issue of sustainability

increasingly pervades our culture. Façade systems pose an

intractable problem for architects with regards to energy

consumption. The curtain wall has a specific role to play in

this. 6 The paradigm shift from a traditional solid

configuration to the transparent glazed curtain wall had a

significant impact on the energy consumption of buildings.

Whilst in winter, large quantities of glazing can benefit from

solar heat gains and use of daylighting reduces loads on

artificial lights, the poor thermoregulatory performance of

glass means unwanted heat gains in summer, and losses

in winter are often a problem.7 It can also lead to the issue

of glare in the internal environment, thus use of blinds and

external shading devices may be required, which almost

contradicts the fundamental principle of utilising a glazed

façade in the first place. Architect Mike Davies established,

“Mies’ wonderwall was recognized as an energy problem.

We were caught admiring the concept but with our

technological panties round our knees.” 8 The inherent

problems with glazing meant buildings became sealed

glass boxes, reliant on energy intensive heating, ventilation,

and air conditioning (HVAC) systems to compensate for the

problems caused from excessive glazing and maintain

comfortable internal environments.

With the ever increasing use of glass, criticism

was growing of the profligacy associated with a fully glazed

building skin, and the problems were widely recognised.

6 Murray, S., Contemporary Curtain Wall Architecture, New York: Princeton Architectural Press, 2009, p.60. 7 Oldfield, op. cit., p.598. 8 Davies, op. cit., p.55.

Figure 1: Mies van der Rohe's glass skyscraper design.

3

Mies van der Rohe wrote that "(we) never came to grips

with the problem of how to heat or cool a glass building.”9 In

1969, in "The Architecture of the Well-Tempered

Environment" Reyner Banham spoke out against the high

energy requirements of these artificial air conditioning

systems. However, it was not really until the energy crises

of 1973 and 1979 that architects and users began to look at

the performance of their buildings, which resulted in

changes to façade design. There was widespread

development of more effective insulating and solar-control

glasses, and many nations brought in building energy

performance codes, imposing a widespread switch to

double-glazing.10

Despite these changes, currently more than 40%

of the overall energy consumption, and 36% of CO2

emissions in Europe are produced by buildings, with a large

percentage wasted to maintain comfortable internal

environments.11 These figures illustrate the imperative for

change. More recently, concern grows over the problems

concomitant with global warming, or the ‘greenhouse’ effect.

This was formally recognised as a problem in 1988 by the

establishment of the Intergovernmental Panel on Climate

Change (IPCC). 12 These concerns have maintained

environmental awareness into the high energy waste of

HVAC systems, and the energy saving potential of building

physics is on the increase of political agenda and

engineering development for the future.

A recent report from the International Energy Agency established that electrical lighting accounts for around 19%

of global energy consumption, contributing to carbon

dioxide emissions equivalent to 70% of that caused by

9 Bramante, G., Willis Faber & Dumas Building – Foster Associates, Phaidon Press Ltd., 1993, p.4. 10 Oldfield, op. cit., p.600. 11 Djalili, M., and Treberspurg, M., New technical solutions for energy efficient buildings, PowerPoint presentation at BOKU: University of Natural Resources and Life Sciences, October 2010. 12 Wigginton, M., and Harris, J., Intelligent Skins, Oxford: Butterworth-Heinemann, 2002, p.8.

passenger vehicle emissions.13 Daylighting in buildings is

therefore not only desirable, but also a key to good energy

performance. Contact with natural light is also physiologically, psychologically and architecturally

important,14 and so continued usage of glazing is essential.

It is claimed however, that more than 30% of a building’s

energy goes out the window.15 If we are to maintain the use of glass, the thermal transfer and solar radiation

performance of the glazed façade needs to be improved.

A move back to a more solid façade could lead to

improved performance, yet it’s undesirable, and would not

address energy issues in the existing glazed building stock.

The issues with glazing could be minimised with a refined

and new approach to façade configuration.

1.3 A Wall for All Seasons Following the rise in public awareness of ecology

as a science in the 1960s, the energy crises of the 1970s,

and more recently the concern over global warming, it’s

important that architects recognise the inherent

environmental problems with their buildings. The glass

façade had fallen under scrutiny, and needed to develop.

Advances in glazing coatings, such as low-emissivity and

spectrally selective, and the use of external shading

devices is a step in the right direction, but are generally not

ideal for all seasons. They offer fixed performances despite

the ever changing external environment, and thus are

unable to respond to specific fluctuations in temperature

and lighting conditions. Likewise, the majority of existing

building shells, which act as fairly static systems. This limits

the possibilities for potentially improved energy

performance and indoor comfort throughout the year.

13 Kwok, A., and Grondzik, W., The Green Studio Handbook: Environmental Strategies for Schematic Design, Oxford: Architectural Press, 2007, p.99. 14 Thomas, R., and Fordham, M., Environmental Design: An Introduction for Architects and Engineers, 3rd Edition. New York: Taylor and Francis, 2006, p.96. 15 SAGE Electrochromics, Improved energy performance, 2012. Available at: http://sageglass.com/story/improved-energy-performance. Accessed December 2012.

4

The idea of a wall that could adapt with varying

thermophysical and optical properties could reduce loads

on HVAC systems to help deliver ideal conditions during all

seasons or climates. If the façade could act like a

chameleon, adapting itself to provide the best possible

interior conditions for the building’s occupants whilst

minimising the waste of energy, it would possess almost

ideal characteristics, suited to any season or climate.

Building stock is only replaced globally at a rate of around

2% per year. 16 A universal façade system with these

qualities available as a film for example, could be applied or

fitted to the existing building stock and could a big impact

on improving building efficiencies globally.

Architect Mike Davies developed a theoretical but

potentially applicable ‘wall for all seasons’ in 1981, which

would adapt to control the flow of energy from the exterior

to the interior, thus reducing loads on building HVAC

systems. Entitled the ‘polyvalent wall’, it would have the

ability to absorb, reflect, filter, and transfer energies from

the environment, whilst allowing the continued use of glass

façades. This idea led to the idea of adaptive and

responsive façades through the field of interactive

architecture. In the polyvalent wall, multiple performances

are integrated in one single element. It would operate as a

progressive thermal and spectral switching device; a

dynamic interactive processor acting as a building skin.17

American engineer Eric Drexler once said: “As we look

forward to see where the technology race leads, we should

ask three questions. What is possible, what is achievable,

and what is desirable?”18 In doing so, we can establish that

the qualities of the polyvalent wall would be desirable, and

the aim is to assess if it’s achievable or even possible.

16 Edwards, B., Rough Guide to Sustainability, London: RIBA Companies Ltd., 2001, p.21. 17 Davies, op. cit., p.55. 18 Drexler, E., Engines of Creation: The Coming Era of Nanotechnology, Anchor, 1987, p.51.

The arguments formed herein aim to focus on the

possibility, and importance of building adaptability to

achieve the polyvalent wall and reduced energy

consumption in buildings. We will attempt to substantiate

the viability of developing technologies to determine how

realistic Davies’ concept is.

2 Interactive Architecture

2.1 Background & Aims

The idea of the façade has undergone a variety

of paradigm shifts, influenced by regulatory changes,

developments in technology and materials, as well as

changes in architectural thinking and political agenda.

Based on the obligation for more sustainable buildings, a

developing field of research and architectural practice has

emerged. Interactive or responsive architecture aims to

refine and convalesce the energy performance of buildings,

based around the idea of a façade with ostensibly ‘ideal’

adaptive behaviour, that can respond autonomously to its

surroundings, offering more enviable occupant comfort

levels in daylighting and thermal comfort for example, whilst

helping to reduce loads on building services and thus

energy consumption.19

The terms ‘intelligent’, ‘adaptive’, ‘smart’ etc., are

all used interchangeably when referring to this area, and

have been used to describe buildings since the beginning

of the 1980s.20 Early versions of interactive buildings were

generally concerned with changes achieved manually. The

idea of manual change to the otherwise inert nature of the

building has been around for centuries, reflected for

example by the shutter, the blind and the cascade window.

The ability for manual change has now advanced into the

19Anonymous, Buildings with minds of their own, 2006. Available at: http://www.carlomagnoli.com/MP/Anno_2006_files/Buildings_with_minds.pdf. Accessed December 2012. 20 Wigginton, op. cit., p.20.

5

capacity for automatic, mechanical and motorised change,

and even more ‘instinctive’ autonomic adjustments, deriving

from the idea of creating a perfect ‘wall for all seasons’; the

apocryphal polyvalent wall.21

A leading area of interactive architecture is the

development of chromogenic switchable glazing, also

known as ‘smart’ glasses. These are fundamental to the

polyvalent wall becoming a reality, and have the ability to

modulate optical and thermal properties, adapting to

prevent undesired energy flow through a glass façade and

reduce energy consumption in buildings helping to

moderate the growing concerns of global warming.

2.2 Engineering the Polyvalent Wall

In 1981, architect Mike Davies popularised the

notion of the polyvalent wall, which was widely regarded as

a viable answer to minimise the growing energy concerns

associated with the performance of the all glazed façade.

Smart materials were envisioned as the ideal technology

for providing the functions of the polyvalent wall, and would

do so simply and seamlessly. The conception of Davies’

idea has arguably influenced developments in this area,

with proposals for the use of smart materials in buildings

often based on the demonstration of this ideal.22 A building

façade provides a range of pragmatic functions (thermal

barrier, admission of daylight, ventilation, etc.) as well as

establishing the visual experience of the building. The

polyvalent wall attempts to address all these roles in one

system, offering desirable qualities of a truly adaptive and

intelligent façade, combining layers of electrochromics,

photovoltaics, conductive glass, thermal radiators,

micropore gas-flow sheets and more.23

The idea is rationally based on the physical

properties of glass, but incorporates a greater range of

21 Davies, op. cit., p.55. 22 Addington, op. cit., p.20 23 Ibid., p.18

thermal and visual adaptive performance capabilities in one

product. For example, it would possess the opacity

changes of an electrochromic window, the ability of energy

collection like a photovoltaic cell, be capable of producing

comfortable heat levels and ventilate like a traditional

window.24

In Davies’ words, “the environmental diode, a polyvalent

wall as the envelope of a building will remove the distinction

between solid and transparent, as it will be capable of

replacing both conditions and will dynamically regulate

energy flow in either direction… The polyvalent wall is thus

a chameleon skin adapting itself to provide best possible

interior conditions… It is a dynamic performance element

which responds to continuously changing environmental

conditions.”25

The layers of the polyvalent wall are illustrated in

figure 2:

1. Silica weather skin and deposition substrate

2. Sensor and control logic layer (external)

3. Photoelectric grid

4. Thermal sheet radiator/selective absorber

5. Electro-reflective deposition

6. Micro-pore gas flow layers

24 Davies, op. cit., p.56 25 Ibid., p.56

Figure 2: The layers of the polyvalent wall.

6

7. Electro-reflective deposition

8. Sensor and control logic layer (internal)

9. Silica deposition substrate and inner skin 26

The architect Richard Rogers said: “It is not too

much to ask of a building to incorporate, in its fabric and its

nervous system, the very basics vestiges of an adaptive

capability.” Despite not being fully realised, it is clearly

acknowledged as a sensible proposal that is not unrealistic.

Furthermore, the idea is based on principles already

exploited in other areas of developing technology, such as

automatically darkening photochromic glass used in the

manufacture of glasses. Davies advocated using these

achievements, which could help make the polyvalent wall a

reality.27

2.3 Smart Materials – A Technical Overview

Defined as 'highly engineered materials that

respond intelligently to their environment’, smart materials

have become the 'go-to' answer for the 21st century's

technological needs,28 and have been envisioned as the

ideal technology for providing an improved functionality of

the façade, through the idea ‘smart windows’ or integrated,

responsive façades. Smart materials respond to a change

in the environment by generating a perceivable response,

which is often useful. They enable a more selective and

specialised performance than conventional materials, as

their properties are adaptable and thus responsive to

transient needs.29 Changes are direct and reversible. This

makes them appropriate for use in the polyvalent wall.

Smart materials can be classified by two main

categories. The first group, known as ‘Type I’ smart

materials, are those that undergo changes in one or more

26 Ibid., p.57 27 Compagno, A., Intelligent Glass Façades, Basel: Birkhäuser, 1995, p.8. 28 Addington, op. cit., p.1. 29 Ibid., p.3.

of their properties (electrical or thermal for example) in

response to a change in an external stimuli. This change

often results in a variation of the optical properties of the

material.30 Type I smart materials are often referred to as

the ‘chromics’, or colour-changing materials, and have

great potential for use in the field of architecture.

Fundamentally, the input energy produces an altered

molecular structure on the surface of the material on which

light is incident. These changes affect the material's

absorbance or reflectance characteristics, and thus the

perceived colour.31

The second general class, known as ‘Type II’

smart materials, is comprised of those that transform an

input energy from one form into an output energy of

another, in accordance with the First Law of

Thermodynamics. The material stays the same but the

input energy undergoes a change. 32 The energy

conversion is typically much less than for more

conventional technologies, however the potential utility of

the energy is much greater. Whilst there’s generally less

scope for application of Type II materials in architecture, it’s

important to recognise the potential that does exist, for

example materials that demonstrate the photovoltaic effect.

One must be cognizant with the fundamental

physics and chemistry of smart materials to be able to use

them, and recognise the potential applications in

architecture. The range of smart materials that exist is

diverse. We will focus only on those that seem relevant in

the context of the polyvalent wall, which offer the most

potential to be applied in architecture. Figure 3 highlights

these.

30 Ibid., p.14. 31 Ibid., p.84. 32 Ibid., p.14.

7

2.3.1 Photochromic Glass

Photochromic materials are those which change

their optical properties, and thus the perceived colour, in

response to exposure to ultraviolet light. When exposed to

photons in this region of the spectrum, the absorption of

radiant electromagnetic energy causes an intrinsic property

change where the molecular structure of the material is

altered into an excited state (see figure 4). The material

begins to selectively reflect or transmit at different

wavelengths in the visible spectrum. 33 In photochromic

glass, this results in a change of tint, often between clear

and blue. The intensity of this change in tint depends upon

the directness of exposure. In a tinted state, the

transmission properties of the glass are reduced, thus the

issues of glare coexistent with overuse of glazing can be

reduced. The darkened state also absorbs infrared

33 Ibid., p.85.

radiation, reducing unwanted heat gains.

The responsive properties are achieved through

the embedding of microcrystalline silver halides (usually

silver chloride), or molecules in the glass substrate. It’s

within these silver halides that the reversible transformation

takes place when exposed to the ultraviolet radiation.34 The

molecules appears colourless in their unactivated form, and

the transmission properties are comparable to ordinary

clear glass, capable of ranging from 91% to as low as 25%

dependent on the incident light. Photochromic materials are

environmentally activated, thus neither electrical power nor

a driving unit are required, unlike some of the other

available technologies. The transitions are fairly slow

however, and can take up to several minutes to change

through their tint.35

2.3.2 Thermochromic Glass

Thermochromic materials alter their colour or tint

in response to temperature changes in their surrounding

environment. In glazing, sunlight responsive thermochromic

(SRT) windows enable the regulation of daylight by

autonomously adjusting to the continuously changing solar

energy, and can aid in reducing the energy needs of a

building.36 In brief, when direct sunlight hits the window, it

heats up and darkens. When in a darkened state, the

glazing absorbs heat and reduces the admission of daylight,

thus lowering energy demand on the building services. The

input of thermal energy on the surface of the material leads

to a thermally induced chemical reaction that alters its

molecular structure. Here, the equilibrium spacing between

aligned sheets of molecules alters, changing which

wavelengths of light are diffracted. This results in a different

34 Elkadi, H., Cultures of Glass Architecture, Aldershot: Ashgate Publishing Ltd., 2006, p.76. 35 Compagno, op. cit., p.31. 36 Arutjunjan, R. et al., Thermochromic Glazing for “Zero Net Energy” House, 2005, p.300. Available at: http://www.aisglass.com/swfs_solar_heat/pdf/thermocromic_glazing.pdf. Accessed December 2012.

Figure 3: Table of existing smart materials. The most promising in regards to architecture and the polyvalent wall are highlighted.

Figure 4: Diagram illustrating an example of the molecular structural change due to exposure to the input of radiant energy from light, causing the photochromic effect.

8

spectral reflectivity than the original structure, and thus the

perceived colour of the material changes. 37

Thermochromic materials come in many forms, but often

liquid crystals in films are used. These can be formulated to

change properties over a wide temperature range, and

therefore have potential in a wide range of applications,

possibly including architecture.

Another type of thermochromic glass is in development,

which changes between clear and translucent white,

responding to environmental changes in temperature to

control the infrared emissivity and transmittance of glass.

The input of thermal energy to the material alters its micro-

structure through a phase change. This change is based on

the use of phase change materials. The glazing is better

described as thermotropic however, since there’s a phase

change or change in state of the materials.38 Thermotropic

glazing can enhance the thermoregulatory performance of

the glazed façade, and is designed to be spectrally

selective, affecting only the infrared region of the spectrum.

The basic material consists of two components with

differing refractive indices, for example water and a

polymer (hydrogel). At lower temperatures the mixture is

homogeneous and has a high transmission factor. At higher

temperatures however, the arrangement of the polymers

alters, from stretched chains to clusters, which scatter

light.39

In summer the thermotropic material absorbs excess

solar radiation causing it to change from clear to white and

reflective in response to heat. This reduces the

transmission of unwanted solar heat. However, in doing so,

you can no longer see through the window, and thus has a

derogatory effect on views, which have been established as

an important function conveyed by the glazed façade.

37 Addington, op. cit., p.86. 38 LBNL, Thermochromic Windows, 2011. Available at: http://www.commercialwindows.org/thermochromic.php: Accessed December 2012. 39 Compagno, op. cit., p.51.

2.3.3 Electrochromic Glass

Electrochromic devices are probably the most popular

of the switchable glazing technologies, demonstrating the

property of electrochromism, which is broadly defined as a

reversible colour change of a material caused by

application of an electric current. There are three main

classes of material that change colour when electrically

activiated: electrochromics, suspended particle devices and

liquid crystals.40

The first, electrochromics, change their colour or tint in

response to a small applied voltage. In glazing, this voltage

causes the material to darken, altering the optical

transmission properties, whilst reversing the polarity of this

makes it lighten again returning to a transparent state.

Figure 5 illustrates this. Electrochromic glass is able to

control solar radiation by absorbing the heat in its darkened

state. This is subsequently reradiated from the glass

40 Addington, op. cit., p.87.

Figure 5: Diagram illustrating how the change in direction of applied voltage alters the tint of electrochromic glass.

9

surface to the exterior, and can be effective in

preventing as much as 91% of the solar heat gain.41 The

glazing consists a thin electrochromic film, sandwiched

between two layers of glass. On passing a low voltage (less

than 5V) across the thin coating the electrochromic layer is

activated and changes colour changes. Despite being

electrically activated, only a burst of electricity is required

for changing the glass tint. Once a change has been

initiated, no further electricity is needed to maintain the

particular state that has been reached. 42 This means

electrochromic windows can be supplied with a battery

pack, and don’t require as substantial an infrastructure for

power supply as some of the other electrically responsive

glazing technologies. Darkening occurs from the edges,

moving inward, and can take from many seconds to several

minutes depending on window size. Electrochromic glass

provides visibility even in the darkened state and thus

preserves visible contact with the outside environment. The

electrochromic film is a multi-layer assembly of different

materials working together, illustrated by figure 6.

Fundamentally, the colour change in an electrochromic

material results from a chemically induced molecular

change on the surface of the material through oxidation

reduction. Hydrogen or lithium ions are driven from an ion

storage layer in the glass through an ion conducting layer,

and injected into an electrochromic layer when a voltage is

applied. This causes it to absorb certain visible light

wavelengths, and thus the tint of the glass darkens.

Reversing the voltage drives ions out of the electrochromic

layer in the opposite direction, thus causing the glass to

lighten. 43 The electric current can be either activated

manually or by automatically by photo or thermosensitive

devices that respond to

41 Ibid., p.87. 42 Lamkins, C., The Future of Fenestration, 2010, p.4. Available at: http://cccfcs.com/uploads/Interior%20Design/ID%2011/Future%20of%20Fenestration-Lamkins-Final.pdf. Accessed December 2012. 43 Addington, op. cit., p.88.

external light or temperature variations. The visible light

transmission can be varied from around 62% in the clear

state down to less than 2% in fully tinted, by varying the

applied voltage.44 This makes them particularly flexible, and

advantageous over the other switchable technologies.

Suspended particle devices (SPD) is another

electrically activated, film based technology. A thin film

containing millions of rod-like particles are suspended in a

fluid and placed between two layers of glass. When no

voltage is applied, the suspended particles are arranged in

random orientations that absorb light, so that the glass

panel appears dark blue, with a visible transmission of

around 1%. Despite this low figure, the technology remains

clear and views to the outside are preserved. When voltage

is applied, the particles align and allow daylighting, with a

visible transmission of up to 45%.45 This is significantly less

than the transmission of clear glass, which can be as high

as 91%. This change in tint is instant, and again, can be

achieved manually or automatically with the use of sensors.

Figure 7 illustrates the effect of applying the voltage. The

flow of solar gains and admission of daylight can be

actively modulated to precisely control the amount of light,

glare and heat passing through by varying the applied

voltage. The need for air conditioning during the summer

months and heating during winter can be greatly reduced.46

44 SAGE Electrochromics, Technology FAQs, 2012. Available at: http://sageglass.com/technology/faqs/. Accessed December 2012. 45 Lamkins, op. cit., p.4. 46 Ibid., p.5.

Figure 6: Basic design of electrochromic layers: 1. Glass; 2. Transparent conductor; 3. Ion storage film; 4. Ion conductor (electrolyte); 5. Electrochromic film; 6. Transparent conductor; 7. Glass.

10

The third main class of electronically switchable

glazing is liquid crystals. In glazing, with no applied voltage,

the liquid crystals are randomly arranged in the droplets

sandwiched between two sheets of glass. This results in

the scattering of light as it passes through the window

assembly, giving it a translucent white appearance. When a

voltage is applied the liquid crystals align, allowing light to

pass.47 This can be seen illustrated by figure 8. Again, the

degree of transparency can be controlled by the applied

voltage, however when in an ‘off’ state with no voltage, the

ability to see through the window is gone, thus views are

diminished. In all states, liquid crystal glazing allows

47 Ibid., p.6.

between 75% and 67% of visible light transmission.48 This

is desirable in terms of daylight admission, however does

not reduce unwanted infrared radiation, thus the issues with

excess heat gains associated with overuse of glazing would

not be reduced. Liquid crystals and suspended particle

devices need a continuous power supply to remain

transparent, and as a result, require an electrical

infrastructure to supply the façade.

2.4 Application Paradigms and the Potential in Architecture

Today increasing developments with smart

materials allow them to be used in a diverse range of

applications. Cost and availability have, on the whole,

restricted widespread adoption of smart materials in

buildings. For use in architecture, new materials or

technologies must be fully tested in another industry before

architects can pragmatically use them, but we are

beginning to see an increased use. This is promising with

regards to the feasibility of the polyvalent wall. Smart

materials are generally being implemented into architecture

slowly as they advance, often through highly visible

showpieces and high profile ‘demonstration’ projects, such

as in the Brasserie Restaurant on the ground floor of Mies

van der Rohe’s Seagram Building. Here, thermochromic

chair backs and electrochromic toilet stall doors are used to

show the potential of smart materials.49 It’s also important

that the cost to benefit ratio is realistic and economically

viable for us to consider the use of these materials, and

they must comply with the existing labour and assembly

practices of the building industry for ease of application in

architecture.

48 SmartGlass International, LC SmartGlass, 2010. Available at: http://www.smartglassinternational.com/lc-smartglass/. Accessed December 2012. 49 Addington, op. cit., p.3.

Figure 8: Diagram illustrating the effect of an applied voltage on light transmission in a liquid crystal window.

Figure 7: Diagram illustrating the change in tint of an SPD window.

11

2.4.1 Photochromic Glass

Pilkingtons’s ‘Reactolite’ spectacles are an

excellent example of a photochromic material in

widespread usage,50 and an example of where the material

has been successful. When exposed to ultraviolet light, the

lenses darken to improve the quality of light for the user.

On a slightly larger scale, in the proposed 'Coolhouse' by

Teran and Teman Evans, interior panels are covered with

photochromic cloth that changes from a base colour of

white to blue upon exposure to sunlight.51 This is a typical

example of a showpiece demonstrating the potential of this

smart material.

In the field of architecture, photochromic windows

are becoming available, and have been used in various

window or façade treatments, although with varying

amounts of success, to control solar gain and reduce glare.

They work well to reduce glare from the sun, but don't

control heat gain particularly effectively. In winter for

example, the sun angle is low in the sky, thus its rays may

strike a window more intensely than in the summer, when

the sun is higher. In this case, the photochromic window

would darken more than would be desirable. 52 This

darkened state absorbs a lot of the potentially useful heat,

despite winter being the time when solar heat gains would

be beneficial, helping to reduce strains on heating loads.

This is a problem that didn’t effect the use of photochromic

materials for spectacles, thus the potential of this material

is perhaps limited to the specific context. Furthermore, in

architecture photochromic applications have not proven

50 Davies, op. cit., p.57. 51 Addington, op. cit., p.85. 52 Bonsor, K., How smart windows work, 2013. Available at: http://home.howstuffworks.com/home-improvement/construction/green/smart-window1.htm. Accessed December 2012.

particularly effective because of the slowness of response

to changes in lighting conditions.53

It is therefore no real surprise that the uses in

buildings and the production of this type of glass is at

present rather limited in terms of quantity and size. In an

attempt to keep prices down and improve the potential use,

Corning Glass have developed 1m2 prototypes of 1mm

thickness, which can be used as glass laminates. 54

However, it still seems unfeasible we will see this

technology applied on a grand scale in architecture, or for

use in the polyvalent wall, because of the inherent

problems mentioned. Furthermore, costs for this technology

remain high, making it unviable at this time.

2.4.2 Thermochromic Glass

Thermochromic materials are widely used as

films in applications such as battery testers and

thermometers. In another high profile showpiece,

thermochromic materials have been used in furniture

designed by Juergen Mayer (see figure 9). Sensitive to

body heat, a coloured imprint is left by somebody who has

just sat on the furniture.55

In the field of architecture, thermochromic glass is

more amenable to the aforementioned heat issue, but in

doing so control in the visual part of the spectrum is

sacrified. It is this low transmission (currently ranging from

around 35% and below, when in a tinted state) that

thermochromic glazing must overcome to improve its

53 Addington, op. cit., p.85. 54 Compagno, op. cit., p.31 55 Addington, op. cit., p.87.

Figure 9: Use of thermochromic materials in furniture design.

12

potential application in architecture and the polyvalent wall,

as the primary reason for a window is the provision of

daylight. 56 Despite this, thermochromic glass maintains

transparency even in the tinted state, thus views to the

exterior are preserved. Figure 10 shows a thermochromic

window at different times of day, in both clear and tinted

states.

Energy modelling of the heat-transfer in façades

has shown that thermochromic glazing can provide

decreases of 15-30% in the building energy consumption

during the winter heating time, and a reduction of solar

energy gain of as much as 30-40% during summer.57 In

certain climates, parts of Russia for example, it’s thought

that these reductions can be enough to get rid of air-

conditioning systems all together. This would make the

material particularly desirable for use in architecture and

the polyvalent wall.

In recent years CloudGel® by Suntek has been

developed. As a thermotropic glazing, it consists of a

hydrogel film placed between two glass panes. When

subjected to temperature changes it displays a reduction in

solar energy transmission, changing from clear to diffused

in response to an increase in heat, as well as turning white

and reflective. In its clear state, the material transmits 90%

56 Addington, op. cit., p.169. 57 Arutjunjan, op. cit., p.299.

of sunlight. 58 This is advantageous over thermochromic

glazing, however the view is lost as it becomes increasingly

white. Operating between 25°C and 30°C,59 it’s ideal for

use in architecture as it falls within the human comfort

range, although the diminished views are a drawback.

More recently a promising approach to

thermochromic glazing involves the lamination of the

material in plastic films of polyvinyl butyral (PVB), which is

commonly used in safety glass. Thermochromic PVB

became commercially available late in 2010 from Pleotint

as a roll of film, and has been successfully been used to

make windows larger than before, in sizes up to 5 foot by

10 foot. 60 This glazing can be installed by glazing

contractors, just as they would with conventional windows.

The availability in this form is desirable in itself as.

In spite of new construction, the yearly turnover in the

building stock is quite low. The development of smart

materials as a film that could be applied to existing

windows, or be integrated into the manufacture of new

windows is enviable, and would have a big impact on the

energy performance of the façade. It would also allow the

application to curved glazing, thus have even more

potential for use in existing buildings. Thermochromic glass

is also more affordable than photochromic and

electrochromic glazing. The cost can be estimated at 50

US$/ m2, in comparison for example, to somewhere in the

range of several hundreds US$/ m2 with electrochromic

glazing. 61 If advances can be made regarding

thermochromic materials performance with visible

transmission, it seems feasible that this technology could

be widely used. Despite the higher costs, more

development has been dedicated to the electrochromic

materials, and switchable glazing in particular.

58 Suntek, Overview: Technology Basics. Available at: http://suntekllp.com/info/. Accessed December 2012. 59 Compagno, op. cit., p.51. 60 LBNL, op. cit. 61 Arutjunjan, op. cit., p.299.

Figure 10: Thermochromic glazing. (Left) In a tinted state in response to heat. (Right) In its transparent state. The poor transmission can be seen.

13

2.4.3 Electrochromic Glass

The Gentex Corporation has been producing

actively controllable rear view mirrors for cars for a number

of years now. This represents one of the most commercially

developed electrochromic products to date. The car

industry has become a favourite testing ground for

electrochromic technologies because of the insignificant

required sizes, and because of the low life expectancy.62 In

the field of architecture, the potential and application of

electrochromic glazing is becoming more popular. In 1988

at the Seto bridge Mueseum in Kojima, Japan, Asahi Glass

installed as an experiment 196 electrochromic panes,

measuring 40cm by 40cm in size.63 This was just a hint of

the potential. Since then electrochromic windows have

been installed in hundreds of commercial and residential

buildings, to control solar heat gains and issues with glare.

Today, SageGlass, manufactured by Sage

Electrochromics, is a commercially available electrochromic

glass for use in buildings. It’s claimed use of this tintable

glazing is capable of reducing HVAC requirements by 25%,

and lighting energy costs by up to 60%. In fact, the

National Renewable Energy Laboratory (NREL) estimates

that if all buildings used products like SageGlass, we could

save around 5% of the nation’s total energy consumption

each year.64 There is huge potential for this in the

field of architecture therefore. Figure 11 shows an

installation of electrochromic glazing. French glass

manufacturer Saint-Gobain recently announced an $80

million investment in Sage Electrochromics to make energy

saving glass, focusing on making it affordable for the mass

market, in a new facility in Minnesota. The facility will

enable the production of larger than before sheets of glass

62 Wigginton, M., Glass in Architecture, London: Phaidon Press, 1996, p.227. 63 Compagno, op. cit., p.5.. 64 SAGE, Improved, op. cit.

(5 foot by 10 foot by the end of 2012) at high

volumes, making it suitable and more affordable for use in

buildings. 65 This gives scope to full scale curtain wall

utilisation in the future, and is particularly promising with

regards to the polyvalent wall.

There is also potential for the use of suspended

particle device windows in architecture, with companies

such as SmartGlass International and Hitachi Chemical

Corporation commercialising this technology. Suspended

particle devices glass has been successfully installed in

buildings, to maximise the efficient use of daylighting and

reduce heat gains. The technology allows clear views

through the glass even while fully switched on and in a

state of minimum transmission, which holds a visual

advantage over other glazing technologies that turn the

glass ‘cloudy,’ such as in thermotropic. The current

downsides however are the cost, and the continued

reliance on a power supply to remain in a clear transparent

state.

65 Afion Media Ltd., Saint-Gobain invests $80 million in SAGE to make energy saving glass, 2012. Available at: http://www.energyefficiencynews.com/articles/i/3566/. Accessed December 2012.

Figure 11: Electrochromic windows. The applied voltage has been varied from right to left: (Right) No voltage, thus the glazing remains clear. (Middle) Slight voltage was applied, resulting in some change of tint. (Left) Full state of tint.

14

The use of liquid crystals electronically swithcable

glass came into the architectural market fully tested and

refined from previous usage in big screens. Architects only

had to begin to employ them, yet there are drawbacks.

Whilst they are currently popular for internal architectural

designs, such as privacy screens, there’s less potential for

use in the building façade as there’s less flexibility, with

most of the devices offered today operating in ‘on’ or ‘off’

states only, and size constraints. In addition, despite the

ability to vary the degree of transparency, limitations in the

area of infrared radiation means there is probably no

foreseeable future for application in the polyvalent wall, as

they would inevitably not help reduce the cooling or heating

loads the building. It is likely that any usage will be

restricted to high profile demonstration pieces, such as the

Eureka Skydeck 88 ‘Edge’ experience in Chicago,66 and for

privacy functions such as in hospitals or offices (see figure

12). Again, there are also the issues concomitant with

reliance on a constant power supply to operate, as they

don't reduce unwanted infrared radiation.

Despite the complexity of support infrastructures

such as accompanying sensors and logic control systems,

it seems clear the electrochromic devices offer more

potential in the field of architecture. Whilst there is some

promise, the environmentally responsive glazings are

ultimately less desirable because they cannot be manually

controlled, and thus don’t always offer the optimum

66 See http://eurekaskydeck.com.au/the-edge.html for more information.

conditions. The possible issues that stem from this have be

demonstrated by the photochromic windows response to

direct sunlight in winter, producing undesirable effects that

would arguably increase heating loads, as opposed to

reducing them. Over time they will inevitably develop and

improve however, and it’s likely all the technologies

exemplified will become more economically viable and

closely integrated with architecture as the potential

applications grows, and there’s an increased recognition.

The continued progress towards larger and more

standardised industry available sizes will have a factor in

this also. The advances over the past few decades is

certainly very promising, and the idea of the polyvalent wall

seems more realistic than ever.

2.5 Integrated Photovoltaics

Photovoltaics is a method of generating electrical

power by converting solar radiation into electricity. Modules

or arrays are used, composed of cells containing a

photovoltaic material, commonly silicon based. When solar

radiation strikes a photovoltaic material, the energy is

absorbed by the atoms of the material. As energy must be

conserved, the excess in the atoms forces a move to a

higher energy level. However, becoming unstable and

unable to sustain this level, the atom release a

corresponding amount of energy. With the use of semi-

conductor materials, photovoltaics are able to capture this

release of energy, thereby producing electricity. 67 The

polyvalent wall would generate the required energy to

power any control systems or integrated technologies

required, in order to be self-sufficient. The properties of

these integrated photovoltaic modules would allow this, and

add merit to the practicability of the idea.

67 Addington, op. cit., p.95.

Figure 12: Liquid crystals glazing in use. The technology has potential in architecture, however is more suited to our privacy needs, as opposed to use in windows.

15

Crystalline solar cells are produced as discs in

sizes from 10 x 10 cm to 15 x 15 cm, and can be

assembled to form modules and embedded with resin in

the cavity of a laminated glass unit. According to

composition, the result can be either a transparent,

translucent or non-transparent module. Light transmission

through transparent and translucent modules can be as

high as 30%, according to the choice of module spacing.

(49) These modules can therefore be used as part of the

glazed façade, helping to improve building energy

efficiency, whilst still maintaining the important admission of

daylighting that reduces loads on artificial lighting

requirements.

The Solar office at Doxford international business

park by Studio E is example where a transparent

photovoltaic array has been integrated into the façade.68

Whilst this case study no longer functions, it’s an important

example of how they can seamlessly become part of the

façade. Another example of usage can be seen in

Greenpace Warehouse, Hamburg (see figure 13). Here,

photovoltaic modules are integrated in a wall, which is able

to generate energy whilst providing filtered light through the

spaces between the cells.69 It demonstrates how this could

be used in the polyvalent wall. The use of integrated

photovoltaics does however, remove the views and thus

connection to the exterior, however as the systems

required for the polyvalent wall would inevitably use very

little power, only a few panels would need to be used.

3 Another Perspective

3.1 Double Skin Façades

The use of double skin façades are becoming

increasingly popularised as a recognised technology that

68 Studio E, Solar Office, Doxford International, 2010. Available at: http://www.studioe.co.uk/doxford.html. Accessed December 2012. 69 Wigginton, Glass, op. cit., p.223.

aims to lower the energy consumption in buildings, working

as a responsive façade configuration. This system has

been considered as the closest response to realising the

polyvalent wall, but achieved through the use of common

glass products, which combined together, may offer the

best energy equation.70 Arguably, the double skin façade

demonstrates the fundamental principles of the polyvalent

wall, capable of offering a similar performance and a level

of adaptability, and is perhaps a more realistic answer. The

continued use of a fully glazed façade is enabled (for an

example, see figure 14), and we can even integrate

photovoltaic arrays thus allowing the building skin to

capture energy, similarly to the how the polyvalent wall

would.

70 Andreotti, G., From Single to double-skin Façades, p.72. Available at: http://www.bath.ac.uk/cwct/cladding_org/fdp/paper9.pdf. Accessed December 2012.

Figure 13: Integrated photovoltaics. Whilst generating electricity, the system still maintains some admission of daylight.

Figure 14: The Swiss Re building. Utilising a double skin façade, a fully glazed building skin can still be used.

16

The system is based on the principle of using

multilayers; an external façade, an interstitial cavity space,

and an internal façade. During summer, solar induced

thermal buoyancy in the cavity means natural ventilation

can be achieved. Air in the cavity rises as it’s heated up,

and when windows in the inner façade are opened, used air

is drawn out from the internal environment and replaced

with fresh air (see figure 15).71 This reduces the need for

HVAC systems to maintain a cool environment. The GSW

Headquarters in Berlin utilises a west facing double skin

façade that takes advantage of this strategy, to achieve

natural ventilation 70% of the year,72 significantly reducing

air-conditioning energy needs. In winter, the cavity can be

sealed with the interstitial space becoming a thermal buffer.

This minimises the heat loss problems associated with the

glazed façade, reducing heating loads in the building thus

the required energy consumption. Some researchers

maintain that a double skin façade can reduce energy

consumption by as much as 65% and CO2 emissions by

50%.73

71 Oesterle, op. cit., p.7. 72 Wigginton, Intelligent, op. cit., p.49. 73 Wigginton, M., and McCarthy, B., Environmental Second Skin Systems, 2001. Available at: http://www.battlemccarthy.com/external%20site_double%20skin%20website/index.htm. Accessed December 2012.

However, the double skin façade system is still

relatively new and unproven in performance. The success

is inextricably dependent on integrated design and

collaborative work efforts, and can vary depending on the

project and climate.74 In addition, the cavity results in a

decrease in usable floor space, and depending on the

strategy for ventilating, there could be problems with

condensation and smoke spread in the event of a fire. The

construction of a second skin will likely also present a

significant increase in materials and design costs over

conventional façade systems.

Despite this, for the time being, double skin

façades offer a lower construction cost compared to

solutions that could be offered with the use of ‘smart’

glazing.75 They are able to achieve a quality of variability

through a coordinated combination of components which

are both known and widely available, making them

desirable. Development of the smart technologies

alongside could enhance this system, for example

electrochromic glazing could be used to replace shading

devices often placed within the interstitial cavity, reducing

maintenance etc., and improving reliability.

3.2 Integrated & Kinetic Façades

Despite the many desirable qualities, it could be

argued that the polyvalent wall is not something we will

necessarily see materialise. Recently, there has been focus

on developing façades that use integrated systems to

enhance the performance of the building skin, addressing

energy issues and expanding functionality to include

amalgamation with building services, and into kinetic or

adaptive façades that have changeable properties through

mechanical systems. These systems can achieve a similar

74 Barkkume, A., Innovative Building Skins: Double Glass Wall Ventilated Façade, New Jersey School of Architecture, 2007, p.12. 75 Poirazis, H., Double Skin Façades for Office Buildings :Literature Review, Lund University, 2004, p.63.

Figure 15: Diagram illustrating the energy saving potential of the double skin façade. The interstitial cavity acts as a thermal buffer in winter, and in summer, helps to draw warm air from inside due to thermal buoyancy.

17

performance as the polyvalent wall, addressing the same

energy concerns. However, the ideas behind these

technologies is often derived from the notion of the

polyvalent wall, and we may only be seeing them used as

the technologies involved are ready, whereas those needed

to make the polyvalent wall a reality are not quite there.

Alternatively, it could be argued these ideas represent the

wall in a different form factor, as the fundamental principles

are the same, or even as a progression of the idea as they

can all greater functionality.76

The Capricorn House in Düsseldorf utilises a

façade that provides a definitive model of energy efficient

design through a flexible integrated façade. For the

architects Gatermann and Schossig, it seemed reasonable

to integrate building services elements into the

façade modules.77 The ‘i-modul façade’ cladding system

(see figure 16) used houses building services for heating,

cooling, ventilation and heat recovery, as well the

capabilities for daylighting and energy generation.78 Whilst

not physically responding to external changes like the

polyvalent wall, the integration of building services into the

76 Knaack, U. et al., Façades: Principles of construction, Basel: Birkhäuser, 2007, p.130. 77 Ibid., p.100. 78 Gatermann + Schossig, Capricorn House - Düsseldorf, 2008. Available at: http://www.gatermann-schossig.de/pages/en/projects/office/207.htm?show_pic=1. Accessed December 2012.

façade means loads on the HVAC systems for heating and

cooling are reduced. The condensed use of glazing also

minimises unwanted solar heat gains and losses, and

whilst this means there is more reliance on artificial lighting,

the integration of photovoltaic arrays is able to compensate

this.

The Arab World Institute by Jean Nouvel is an

example of an kinetic or mechanically adaptive façade.

Completed in 1987, the south façade of the building

consists of high-tech photosensitive mechanical devices,

which open and close like the aperture on a camera in

response to changes in external stimuli (see figure 17).79 In

doing so, the façade enables the control the light levels and

transparency, in addition to heat gains, helping to reducing

loads on HVAC systems. Nowadays the building is still

famous, but the façade system no longer works,

highlighting the inherent problems with complex systems

like this.

Integrated and mechanically adaptive façades

can appear to be promising, and are in growing use today.

There are undesirable qualities of complexity, reduced or

impaired views and maintenance etc. Costs related to

investment and higher maintenance can also be

problematic, and moving parts can be an issue as we have

seen. Moreover, these systems are not always as

aesthetically pleasing as an idea like the polyvalent wall.

79 Poucke, V., Arab World Institute by Jean Nouvel, 2001. Available at: http://blog.kineticarchitecture.net/2011/01/arab-world-institute/. Accessed December 2012.

Figure 16: Photograph of the integrated 'i-modul façade' used in the Capricorn House.

Figure 17: Close-up of the mechanically adaptive facade used in the Arab World Institute. The 'aperture-like' devices open and close to vary solar transmission.

18

They do however represent the technological state our of

time, which means their continued adoption is likely, at

least until advancements in other areas that could make the

polyvalent wall a reality.

3.3 Discussion

One of the 20th century's most notable

theoreticians of the architectural environment, James

Marston Fitch, wrote "the ultimate task of architecture is to

act in favour of man: to interpose itself between man and

the natural environment in which he finds himself, in such a

way as to remove the gross environmental load from his

shoulders.'80 Today, this task is almost reversed, or has

been expanded at least: architecture needs to act to

remove the imposed loads from man on the environment to

help reduce the effects of global warming. The glazed

façade remains under scrutiny amidst the growing concern

for sustainability, and there is a clear need for the

continued development of its performance, hence the

conception of ideas like the polyvalent wall. Whether we

see this or not, the idea is very credible, and has had a real

impact on the direction of material development and façade

design over the past few decades, opening up the potential

for the future.

Whilst other systems exist today offering similar capabilities,

integrating smart materials to achieve the polyvalent wall is

arguably more desirable, as they are flexible and there is

greater potential for them to be applied to existing buildings

as films or replace existing glass. This would make a much

greater impact on the contribution buildings play towards

global warming. Furthermore, the all glazed form connotes

a more desirable aesthetically pleasing façade than

integrated systems often offer, maintaining the style we

have grown dedicated to over the past century. It can be

80 Fitch, J., American Building 2: The Environmental Forces That Shape It, New York: Schocken Books, 1972, p.1.

expensive and difficult to install the mechanical systems we

are starting to see, particularly with regards to the existing

building stock, and we have seen how they are not always

effective in the long run.

The almost ideal characteristics and proposed

performance of the polyvalent wall remain important driving

factors that acknowledge its potential in architecture. In this

day and age, mankind has a growing reliance on

technology. Technological advances dictate what we want.

We expect things to be intelligent and will usually opt for

digital over analog. Our desire for advances in technology

alone is a driving factor behind further research of the

polyvalent wall. This idea is supported by leading names in

architecture. Norman Foster for example, believes

technology is a world in itself, and where it reaches its real

fulfillment it transcends into architecture.81 Coupled with our

technological expectations, it seems feasible that Davies’

idea will become a reality in the future, as the technologies

will inevitably transcend in to architecture. Michael

Wigginton and Jude Harris also predict “the intelligent

façade will be one of the principle elements in the building

of the future,”82 adding further credibility to this notion.

81 Bramante, op. cit., p.6. 82 Wigginton, Intelligent, op. cit., p.61.

19

4 Conclusion It seems sensible to conclude that the polyvalent

wall is indeed a very realistic idea, and the use of the

technologies involved are emphatically feasible. The

concept derived from the growing concerns over energy

consumption, stimulated by the 1970s energy crises. There

was a clear need and demand for such a technology to

exist, and thirty-two years on, there still is today, as global

warming becomes an ever increasing concern, and the

performance of the glazed façade is still associated with

high energy consumption, and in need of further refinement.

There is therefore a wide applicable market for the

polyvalent wall, and the potential to have a big impact on

reducing energy consumption globally. This would not be

restricted to new construction, as the technologies required

are becoming available in film form, which means there’s

potential to be applied to the 98% of existing building stock.

Much progress has been made in the right

direction since the ideas conception, with some of the

emerging technologies such as the double skin façade

system undoubtedly offering an improved performance.

These new approaches to façade design are often

influenced by Mike Davies’ idea, highlighting the fact it was

taken serious and is still considered to be realistic today.

The advancements in façade paradigm and the current

state and integration with architecture of smart materials is

just a hint of what could be possible in the future. As the

fundamental core of the polyvalent wall, these smart

materials and technologies are becoming increasingly

viable with growing potential in architecture. The scale of

availability will inevitably improve, whilst costs will come

down, as the governing sciences mature with increased

development and growing recognition of the technologies,

making them more realistic and economically viable than

ever. Furthermore, the technological expectations of this

cultural time, in addition to support from leading names in

architecture and the already desirable performance, act as

a further driving factor to help achieve this. It is likely that

we will begin to see the polyvalent wall realised through

small scale showpieces at first, and slowly integrated into

the façade.

Today, it’s perhaps more a case of posing the

question of when we will see the polyvalent wall materialise,

as opposed to questioning its credibility as a concept.

Word count: 8812.

20

Bibliography

Addington, A., and Schodek, D., Smart Materials and

Technologies in Architecture, Oxford: Architectural Press, 2005.

Afion Media Ltd., Saint-Gobain invests $80 million in SAGE to

make energy saving glass, 2012. Available at: http://www.energyefficiencynews.com/articles/i/3566/. Accessed

December 2012.

Andreotti, G., From Single to double-skin Façades, p.72. Available at: http://www.bath.ac.uk/cwct/cladding_org/fdp/paper9.pdf.

Accessed December 2012.

Anonymous, Buildings with minds of their own, 2006. Available at: http://www.carlomagnoli.com/MP/Anno_2006_files/Buildings_with

_minds.pdf. Accessed December 2012.

Arutjunjan, R., Markova, T., Halopenen, I., Maksimov, I.,

Tutunnikov, A., and Yanush, O., Thermochromic Glazing for “Zero

Net Energy” House, 2005, p.299-391. Available at:

http://www.aisglass.com/swfs_solar_heat/pdf/thermocromic_glazing.pdf. Accessed December 2012.

Barkkume, A., Innovative Building Skins: Double Glass Wall

Ventilated Façade, New Jersey School of Architecture, 2007.

Bonsor, K., How smart windows work, 2013. Available at:

http://home.howstuffworks.com/home-improvement/construction/green/smart-window1.htm. Accessed

December 2012.

Bramante, G., Willis Faber & Dumas Building – Foster Associates, Phaidon Press Ltd.,1993.

Compagno, A., Intelligent Glass Façades, Basel: Birkhäuser,

1995.

Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.

55-57.

Djalili, M., and Treberspurg, M., New technical solutions for

energy efficient buildings, PowerPoint presentation at BOKU:

University of Natural Resources and Life Sciences, October 2010.

Drexler, E., Engines of Creation: The Coming Era of

Nanotechnology, Anchor, 1987, p.51.

Edwards, B., Rough Guide to Sustainability, London: RIBA

Companies Ltd., 2001.

Elkadi, H., Cultures of Glass Architecture, Aldershot: Ashgate

Publishing Ltd., 2006.

Fitch, J., American Building 2: The Environmental Forces That

Shape It, New York: Schocken Books, 1972.

Gatermann + Schossig, Capricorn House - Düsseldorf, 2008.

Available at: http://www.gatermann-schossig.de/pages/en/projects/office/207.htm?show_pic=1.


Knaack, U., Klein, T., Bilow, M., and Auer, T., Façades: Principles

of construction, Basel: Birkhäuser, 2007.

Kwok, A., and Grondzik, W., The Green Studio Handbook:

Environmental Strategies for Schematic Design, Oxford:

Architectural Press, 2007.

Lamkins, C., The Future of Fenestration, 2010, p.4. Available at: http://cccfcs.com/uploads/Interior%20Design/ID%2011/Future%20

of%20Fenestration-Lamkins-Final.pdf. Accessed December 2012.

LBNL, Thermochromic Windows, 2011. Available at:

http://www.commercialwindows.org/thermochromic.php: Accessed December 2012.

Murray, S., Contemporary Curtain Wall Architecture. New York:

Princeton Architectural Press, 2009.

Mariam Djalili, M., and Treberspurg, M., New technical solutions

for energy efficient buildings, PowerPoint Presentation at BOKU:


Oesterle, E., Lieb, R., Lutz, M., and Heusler, W., Double-Skin

Façades: Integrated Planning, Munich: Prestel, 2001.

21

Oldfield, P., Trabucco, D., and Wood, A, Five energy generations

of tall buildings: a historical analysis of energy consumption in

high-rise buildings, The Journal of Architecture, 2009, 14(5), pp. 591-613.

Poirazis, H., Double Skin Facades for Office Buildings: Literature

Review, Lund University, 2004.

Poucke, V., Arab World Institute by Jean Nouvel, 2001. Available at: http://blog.kineticarchitecture.net/2011/01/arab-world-institute/.


SAGE Electrochromics, Improved energy performance, 2012. Available at: http://sageglass.com/story/improved-energy-

performance. Accessed December 2012.

SAGE Electrochromics, Technology FAQs, 2012. Available at:

http://sageglass.com/technology/faqs/. Accessed December 2012.

SmartGlass International, LC SmartGlass, 2010. Available at: http://www.smartglassinternational.com/lc-smartglass/. Accessed

December 2012.

Studio E, Solar Office, Doxford International, 2010. Available at: http://www.studioe.co.uk/doxford.html. Accessed December 2012. Suntek, Overview: Technology Basics. Available at:

http://suntekllp.com/info/. Accessed December 2012. Thomas, R., and Fordham, M., Environmental Design: An

Introduction for Architects and Engineers, 3rd Edition. New York: Taylor and Francis, 2006, p.96.

Wheeler, K., The history of glass in Architecture, 2011. Available

at: http://www.articledashboard.com/Article/The-History-of-Glass-in-Architecture/608542. Accessed December 2012.

Wigginton, M., and McCarthy, B., Environmental Second Skin

Systems, 2001. Available at: http://www.battlemccarthy.com/external%20site_double%20skin%

20website/index.htm. Accessed December 2012.

Wigginton, M., Glass in Architecture, London: Phaidon Press,

1996.

Wigginton, M., and Harris, J., Intelligent Skins, Oxford: Butterworth-Heinemann, 2002.

22

Illustration Acknowledgments

Cover image: Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.57.

Figure 1: Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.55.

Figure 2: Davies, M., A wall for all seasons, RIBA Journal, 1981. 88(2): p.57.

Figure 3: Addington, A., and Schodek, D., Smart Materials and Technologies in Architecture, Oxford: Architectural Press, 2005, p.83.



Figure 6: Compagno, A., Intelligent Glass Façades, Basel: Birkhäuser, 1995, p.54.




Figure 10: http://www.commercialwindows.org/images/thermochromic.jpg.

Figure 11: http://www.commercialwindows.org/images/3_31_interior_lowres.jpg.


Figure 13: Wigginton, M., Glass in Architecture, London: Phaidon Press, 1996, p.233.

Figure 14: http://s0.geograph.org.uk/geophotos/01/39/12/1391286_c73b0a3e.jpg.

Figure 15: Oesterle, E. et al., “Double-skin façade construction” in Double-Skin Facades: Integrated Planning. (2001) p.12.

Figure 16: Djalili, M., and Treberspurg, M., New technical solutions for energy efficient buildings, PowerPoint presentation at BOKU:


Figure 17: http://blog.kineticarchitecture.net/2011/01/arab-world-institute/.

Stephen RingroseB.A. Architectural Studies Stage 2101064602PORTFOLIOSession 2011-2012

Contents

Design Projects (ARC2001) Page

BA Charette 66-67Space To Live 68-71Simplicity, Economy, Home 72-77Civic Centred 78-85Section-Alley 86-88Learning Journal 89-91

Non-Design Projects

The Place of Houses (ARC2023) 92Architectural Technology (ARC2009) 93-100, 101-107Environmental Design & Services (ARC2011) 108-110

$�ZHHN�ORQJ�GHVLJQ�SURMHFW�ZRUNLQJ�ZLWK�¿UVW�DQG�WKLUG�years to design, create and install a temporary inter-vention on campus, celebrating the qualities of paper.

Our aim was to create a sculptural talking piece that provoked interest and attract people in to the school of Architecture, along a path that is often overlooked by the majority of students.

7KH�WHQVLRQ�LQVLGH�WKH�¿EUHV�RI�SDSHU�RIIHUHG�XV�DQ�opportunity to work with and experience the material in new ways, investigating how we could manipulate its properties. We created a series of three sculptures that were placed outside the school of Architecture.

The solidity of the installation contradicted the light and ÀH[LEOH�IRUP�RI�SDSHU�ZH�DUH�VR�FRPPRQO\�XVHG�WR��with the tubular design offering unique views through something we usually regard as being opaque, gener-ating lots of interest and attention to passers by.

B.A. Charette: Intervention

Space to Live: Rethinking the modern terraced house

This small housing project for a young couple looked to rethink how we perceive the standard terraced house. Contrasting the archetypal designs of neighbouring houses in the Jesmond area of Newcastle, we can recon-sider design, and move away from compartmented layouts to more open plan, bringing a contemporary update to the terraced house.

Designing for the clients’ gregarious life style, the aim was to create a light and tall volumetric space within a UHODWLYHO\�FRQ¿QHG�IRRWSULQW��ZLWK�D�NH\�IRFXV�RQ�VRFLDO�OLYLQJ��3DUWLFXODU�LPSRUWDQFH�ZDV�JLYHQ�WKHUHIRUH��WR�WKH�living room space, making it double heighted, and continuing it to the exterior space at the rear.

With the need for a well lit living space for social activities, an open plan solution with extensive glazing is used to allow light to penetrate horizontally throughout the house. This led to the concept of strong lateral pro-JUHVVLRQ�DJDLQVW�YHUWLFDO�DUWLFXODWLRQ�LQ�WKH�VWUXFWXUH�GHYHORSLQJ��7KLV�FRQFHSW�LV�UHÀHFWHG�LQ�WKH�GHVLJQ�RI�WKH�façades and furniture within, and the way in which light enters the space.

A

A

Ground Floor - Scale 1:50

2

1

3

8

7

Figure Ground Plan - 1:2000 The site

A

A

First Floor - Scale 1:50

Key:1) Dining area

2) Kitchen space3) Living space

4) Bedroom5) Bathroom

6) Study area7) Yard

8) Bicycle storage

54

6

Perspective view of front façade A sloped façade from the pavement creates a subtle threshold transitioning from public to private space.

(Left) Night time perspective of rear. (Above and below) Interior perspectives

Precedent: Therme Vals, ZumthorFurniture design

Final model

Section AA - Scale 1:50

Tall and narrow glazing is used to utilise the maxi-mum potential of the south facing front façade, whilst maintaining privacy within. An open-plan VROXWLRQ�FRQYH\V�D�VHQVH�RI�ÀH[LELOLW\�DQG�VSDFLRXV-ness, whilst distinct functional zones are formed by furniture and boundaries of circulation, without the need for walls. The lack of walls in combination with the extensive use of windows creates a bright and vibrant living environment. Glazing in the façades not only emphasise the vertical articulation; they also give clearly framed views, while their form limits the possibility of looking in by passers by.

Corten steel and white rendered panels are hung from a basic steel structure forming non load bearing facades. The corten steel panels are used as a con-temporary update on the more traditional red brick.

Precedent: Broadcasting Tower, Leeds

Simplicity, Economy, Home: Reconnecting opportunities

Designed as part of the Foyer Federation, this building provides accommodation for eight individuals living together. The aim is to help reform links to society, allowing one to feel reconnected both mentally and physically.

The Foyer Federation develops transformational programmes and campaigns that offer stability and guidance to disadvantaged youths aged 16-25, transitioning to adult independence.

Based around the art of furniture craftsmanship, this building provides the key values one needs for independent living; stability, social skills, education, and opportunities to reconnect with society.

7KH�SRVLWLRQ�DQG�RULHQWDWLRQ�RI�WKH�)R\HU�RQ�VLWH��PDWHULDOLWLHV�UHÀHFWLQJ�WKH�FRQWH[W��DQG�YLHZV�RYHU�WKH�FLW\��DOO�RIIHU�GLUHFW�RSSRUWX-nities for residents to reconnect.

Entrance to the site leads directly from the main approach street, where the heavy line of housing is continued by solid concrete FODG�ZDOOV��7KHVH�ZDOOV�DFW�WR�GH¿QH�WKH�VLWH�LQWR�]RQHV��OLYLQJ�DQG�ZRUN��VRFLDO�DQG�XWLOLWLHV��DQG�IRUP�FLUFXODWLRQ�URXWHV��$V�D�GHIHQ-sive mechanism, they also offer stability and a sense of protection to residents through the experiential journey as one rises up to their individual bed spaces.

Site Plan - Scale 1:500 (Right) Site context

Perspective view from Blandford Square

Figure Ground Plan

Site Section - West to East

Key Ground Floor:1) Lobby2) Kitchen3) Dining space4) Common room5) Cleaning store6) Laundry room7) Luggae store8) Disabled unisex WC9) Workshop��2I¿FH

11) Hall12) WC13) Lounge14) Dining room15) Kitchen

Key First & Second Floors:1) Landing2) Bedrooms (with en-suite)3) Disabled access bedroom

4) Bathroom5) Guest bedroom6) Master bedroom7) Study

1

2

4

3

5

6

7

8

10

9

12

13

15 14

11


1

2

2

2

36

7

4

5


1

2

2

2

3

Second Floor - Scale 1:200

Threshold journey sketches from entrance to individual bedrooms

Wall to Roof Construction Detail - Scale 1:10

��3URMHFWLQJ�WLPEHU�¿Q2) External timber cladding3) 38 mm batten zone4) Breather membrane5) 18 mm plywood sheathing board6) Insulation between studs of 200 mm 7) Vapour control layer8) 12.5 mm dryling to timber frame9) 25 mm service void10) 2 x 2 mm layers of plaster board��,QWHUQDO�ZDOO�¿QLVK

12) 20 mm roof deck13) 200 mm rigid mineral wool insulation14) 21 mm ply deck15) 360 mm x 140 mm timber joists16) Ceiling void (for sprinklers, lighting etc.)17) Extent of Glulam beams18) 25 mm perforated accessible acoustic ceiling

Precedent: Duncan Terrace - DOSarchitects

Precedent: Falling Water - Frank Lloyd Wright

Perspective view

Development model in site

Connecting with context

Section A-A - Scale 1:200

Final Model

Section B-B - Scale 1:200

Bedroom Plan - Scale 1:50

7KH�H[WHULRU�FODGGLQJ�V\VWHP�RI�KRUL]RQWDO�FHGDU�UHÀHFWV�WKH�VXUURXQGLQJ�WUHHV�DQG�JUHHQ�VSDFHV��HYRNLQJ�FRQQHFWLRQV�WR�WKH�FRQWH[W�DQG�JLYQJ�FODULW\�WR�GHVLJQ��&RQWLQXDWLRQ�RI�WKH�FODGGLQJ�WR�WKH�LQWHULRU�FUHDWHV�DQ�DOPRVW�VDQFWXDU\�OLNH�IHHO�IRU�UHVLGHQWV�WR�UHOD[��ZKHUH�WKH�RXWVLGH�PHUJHV�WR�WKH�LQVLGH��

Section C-C - Scale 1:50

Perspective view from approach to site

Initial Model

Civic Centred: Expanding horizons: Coastal leisure hub

The aim was to create an outward-bound leisure centre, forming new public connections between Prior’s Haven and Tyne-mouth. As a multipurpose ‘hub’, the building functions as an outdoor sailing and rowing club, also offering public gym facilities, training rooms, a bicycle workshop with storage, IT provisions for GIS software, shop, and a café lounge area with separate function space. The training room can be used for teaching of outdoor sports, dancing, yoga, scouts etc.

&RQWH[W�ZDV�RQH�RI�WKH�PRVW�LQÀXHQWLDO�JHQHUDWRUV�LQ�GHVLJQ�RI�WKH�EXLOGLQJ��$W�WKH�VLWH�WKH�VWULDWLRQ�RI�KRUL]RQWDOLW\�LQ�WKH�RS-posite cliff face lead to a concept of using rock strata to impact design.

The idea of long horizontal layers of rock developed through the spatial organization of building, offering unpretentious sim-plicity with functional clarity, as a linear building where one space feeds the next activity.

6LWH�ERXQGDULHV�DUH�GH¿QHG�E\�WKH�FRQWH[W��ZKHUH�EXLOGLQJ�VLWV�LQ�OLQH�ZLWK�VWURQJ�HGJHV�RI�WKH�SLHU�DQG�H[LVWLQJ�SXEOLF�IRRW-path, and the end of the coast-to-coast cycle route. The slight curved edge to the site is achieved through a serious of offset linear spaces.

7KH�FRQFHSW�LV�DOVR�UHÀHFWHG�LQ�WKH�EXLOGLQJV�DSSHDUDQFH��ZKHUH�LQ�ERWK�SODQ�DQG�HOHYDWLRQ��LW�DSSHDUV�OLNH�SODQHV�RI�URFN�sliding past one another. On the south facing façade, the café space takes advantage of the panoramic views of the coastline, utilizing a sculptural shading screen based on the opposite rock strata.

Figure Ground Plan - Scale 1:2500

Site Plan - Scale 1:1000

Perspective viewVehicular and cycle access

Circulation on site

Views

Sun path analysis

1 4

3

2

6

75

A

AB

B

C

C

Second Floor - Scale 1:200

1

2

34

5 6 7

8 9

10 11

12 13

A

AB

B

C

C


Precedents: (Left) Clifford Still Museum, (Right) Casa Diaz

6SDWLDO�RUJDQLVDWLRQ��LQÀXHQFHG�E\�URFN�VWUDWD

Pedestrian and vehicular circulation around site and building

Building at night

Key Second Floor:

1. Multipurpose function room 2. Exhibition space3. Bar4. Café 5. Serving counter6. Kitchen7. Void (double height lobby)

Key Ground Floor:

1. Bicycle Workshop2. Staff access only3. Training Room (Dividable)4. Cleaners Store 5. Disabled Access Unisex WC (with baby changing facilities)6. Wet Equipment Store7. Dry Storage Area8. Bin Storage9. Secure Bicycle Storage10. Disable parking

1

2

3

4

5

7

6

8

10

9

A

A

B

B

C

C


Key First Floor:

1. Lobby2. Reception3. Shop ��$GPLQ�RI¿FH��6WDII�URRP5. Disabled Access Unisex WC (with baby changing facilities)6. Male WC’s7. Female WC’s8. IT provision9. Plant room10. Female changing (with disabled access)11. Male changing (with disabled access)12. Gym13. First aid room

Section C-C - Scale 1:200

Site Section looking North

Section B-B - Scale 1:200

Section A-A - Scale 1:200

Perspective view of main entrance

Forming links to connect the hub with the rest of Tynemouth, bollards based on the design are to replace the existing ones from Front street, building public awareness and integrating into surrounding area.

Site Section looking East

Interior view of wet equipment store from entrance

Interior view of bar and café lounge area, from exhibition space

Interior view from entrance looking into double height lobby space and main corridor

Render of main façade

South facing powder coated Aluminium louvre system based on concept for design, provides unique views from within and acts as a shading device to prevent overheating from solar gain in summer.

Section-Alley: Urban Fabrication

The installation creates a dialog with the construction of the historic timber cruck frame buildings, which line the Long Stairs. The structure acts as a sculptural canopy, bridging the quayside with the top of the Long Stairs, creating three performance areas.

%\�WKH�TXD\VLGH��WKH�XUEDQ�VFDOH�UHÀHFWV�RSHQ�FLW\�OLIH��+HUH��RQH�LV�LQYLWHG�WR�RE-serve, walk beneath and traverse the installation via ramps, whilst a DJ performs above. Progressing along the installation towards the Long Stairs, one encounters the next performance area at the bottom of the chare, where a soloist musician sere-nades from a platform above. The height of this performance space in the narrow chare draws attention to the facades of the buildings and the textures, which can be seen and experienced and appreciated through the gaps in the structure. $IWHU�D�MRXUQH\�WKURXJK�KLVWRU\��RQH�¿QDOO\�UHDFKHV�WKH�WKLUG�SHUIRUPDQFH�VSDFH��emerging from the top of the chare into an open green space below the High Lev-el Bridge. The space invites one to stay and listen to bands perform on the stage, whilst enjoying the spectacular view down the chare and over the cityscape. The installation not only creates three performance areas, it creates an exciting new public space that appreciates the historic context of the chare, bringing peo-ple together people, music, and the environment.

Section through green space - Band performance

Long Stairs section - Soloist

Long section - Urban Fabrication

Final model Quayside section - DJ performance

1:1 junction detail

Relevant building fabric in local context

Exploded junction view

��+(#(!��).+(�&�� -#)(��&&�2��+).*��%��

� -�+�#(�#/#�.�&�+�,��+�"��(��!+).*��#,�.,,#)(��0��#��.*)(�-"��)(!��-�#+,��"�+��,�-"��,#-�� )+�).+�#(,-�&&�-#)(�

�"��,#-��/#,#-�0�,�#'*)+-�(-�#(�-�+',�) �)�-�#(#(!�'��,.+�'�(-,�#(�)+��+�-)�"�&*�'��-)�*+)�.��-"��%�-�"�*�')��&�0��0#&&��.,#(!�-"+).!").-�-"��*+)$��-��,�-"��,��-))&� )+�,��-#)(�&��+�0#(!,��(�� )+�')��&&#(!�).+�*+)*),��,-+.�-.+��)(��,#!(�� &�'2�,&%#&&,�#(�-�%#(!�'��,.+�'�(-,�"�/��LPSURYHG��DQG�ZRUNLQJ�ZLWK�DQRWKHU�JURXS�PHPEHU��ZH�ZRUNHG�HI¿FLHQWO\�WR�JHW�D�VHW�RI�DFFXUDWH�PHDVXUHPHQWV��,W�ZDV�LPSRUWDQW�IRU�XV�WR�WDNH�RXU�RZQ�'��,.+�'�(-,��,�-"��#!#'�*��-��0��)0(&)��0�,(3-��-�#&��().!"��#(�-�+',�) �#(�#/#�.�&�,-�#+��*-",� )+��1�'*&��(��)�,(3-�*+)/#��(2�#( )+'�-#)(�#(-)� ��)*�(#(!,�)+��.#&�#(!�"�#!"-,��-��

�(��) �).+�#��,� )+�(�1-�0��%�#,�-)�.,��-"��"#,-)+#��)(-�1-�) �-"��-#'��+��+.�%� +�'��.#&�#(!,�&#(#(!�-"��"�+�� )+��1�'*&��-"�� ))*�+�!��.#&�#(!��ZKLFK�ZDV�UHVHDUFKHG�LQ�WHUPV�RI�VWUXFWXUH��WR�LQÀXHQFH�RXU�GHVLJQ��:H�FDQ�UHODWH�RXU�LQVWDOODWLRQ�WR�WKH�EXLOGLQJ�IDEULF�LWVHOI�DQG�WKH�WLPEHU�VWUXFWXUH��'�+!#(!� +)'�-"��)(-�1-�

�)+�-"��,#-��')��&��0��#��-)� )�.,�)(�$.,-�-"��*�+-,�) �-"��)(-�1-�0��0�+��#(-�+�,-��+��-#(!��/�+2��,-+��-�')��&��+)�.�#(!�-"#,��0��&&�"��# �+�(-�-�,%,��"#&,-��0�,�0)+%#(!�)(�-"��)'*.-�+�')��&��) �+��"�&*�0"�(�(��#(��+�0#(!�-"�� ,�#(��.-) �� )+�-"��&�,�+��.--�+��(��.#&-�.*�,)'��) �-"��,-+.�-.+�� +)'�-"�� +#��#(�)+��+�-)�"�&*�*)+-+�2�).+��,#!(�#��,��

7KLV�SURMHFW�UHTXLUHV�¿QDO�ZRUN�WR�EH�H[KELWHG��DQG�QHHGV�WR�EH�RI�D�KLJK�SURIHVVLRQDO�SUHVHQWDWLRQDO�TXDOLW\��$V�D�JURXS��LW¶¶V�OLNHO\�ZH�DOO�KDYH�LQGLYLGXDO�,-2&�,�0"�(�#-��)'�,�-)�*+�,�(-#(!�!+�*"#��&&2��(��)(��0�2�).+�0)+%��(��*+�,�(-��*+) �,,#)(�&&2�#,�-"+).!"��)(,#,-�(�2��-"�+� )+��&))%��#(-)�¿QGLQJ�UHIHUHQFHV�IRU�VSHFL¿F�GUDZLQJ�W\SHV�DQG�VW\OHV�WKDW�ZH�FRXOG�ZRUN�WR�

,�DGGHG�VRPH�RI�WKH�¿QLVKLQJ�WRXFKHV�WR�RXU�LVRPHWULF�VHFWLRQ�LQ�3KRWRVKRS��WUHHV�DQG�JUHHQ�VSDFHV��IRU�WKH�SKDVH�RQH�VXEPLVVLRQ��

�"��0��%�0�,��&,)��"�(��-)��!#(�-"#(%#(!�) �0�2,�0��).&��/�+-#,��).+�#(,-�&&�-#)(��(,*#+��2�-"��)(-�1-�) �-"��)(!��-�#+,��-").!"-�) �.,#(!�WKH�JUDI¿WL�VXUURXQGLQJ�WKH�FKDUH�LQ�VRPH�ZD\��%URZVLQJ�ZHEXUEDQLVW�FRP�,�FDPH�DFURVV�D�SURMHFW�XVLQJ�WKH�SRSXODU�45�FRGHV�DV�JUDI¿WL��7KLV�LGHD�FDQ��.,��,��0�2� )+��--+��-�*�)*&��-)�/#,#-�-"��)(!��-�#+,��(��).+�#(,-�&&�-#)(��(��0#&&� )+'�*�+-�) �).+�*+)')-#)(�&��'*�#!(�

7KH�¿UVW�ZHHN�IRFXVHG�ODUHJO\�RQ�UHVHDUFK�LQWR�WKH�KLVWRULFDO�FRQWH[W�RI�WKH�1HZFDVWOH�FKDUHV��DQG�VLWH�DQD\O\VLV��

&KDUHV�GDWH�IURP�PHGLHYDO�WLPHV��7KHUH�ZHUH��FKDUHV�LQ�1HZFDVWOH�DW�RQH�SRLQW��KRZHYHU�VRPH�ZHUH�GHVWUR\HG�DIWHU�WKH�JUHDW�¿UH�RI�1HZFDVWOH�DQG��$�#��)� ��$��"�� '��%#$��"" '��)'�)#��" %$�#��$� %��# �� $��&��'��$��"�%#�#��&��(�$��%#�� $�

� ��$��"#��%!�$ �$�� $� ��#$�"$��$'��$��$��$%")�� !�"��$��$%")�*%$$"�##+��"��$,#�� %#��$��%�)#��$��)��"��$� %��$�$ ��&��"�#��" ��' ��!��"#��%��$� %$��$ �$��"�&�"��$'��'��"%��#��'�#��%�!�� %#�#��%��$� ��$��"��

4XLFN�VHFWLRQ�IURP�6NHWFK8S�PRGHO �"��,#-��%�-�"�*�')��&��*+)�.�� +�(�� )+�#,)'�-+#��,��-#)( ��(��+��,��-#)(

)(-�1-�+�,��+�"

��/�+-#,#(!�#��

)(-�1-�,-+.�-.+�

�#-��'��,.+�'�(-,

�#-��*�()+�'�%XVNLQJ�UHVHDUFK

��'#�#��$*'#�!��)�$#�!!�.�� 7KLV�ZHHN�ZH�ORRNHG�WR�EXLOG�RQ�LGHDV�IURP�WKH�¿UVW�ZHHN�DQG�EHJDQ�WR�WKLQN�DERXW�WKH�IRUP�DQG�GHVLJQ�RI�RXU�LQVWDOODWLRQ��:H�VNHWFKHG�KRZ�ZH�FRXOG�IRUP�OLQNV�EHWZHHQ��!!�$��)��*�!��#��'��(�,��,�'��#)�'�()��#��'��)�#��!�#��'��#()�!!�)�$#�)��)��!"$()�)�!!(��()$'.�)�'$*��()$'.��(�.$*�)'�+�!��!$#��)��(��(��'$*#��"�!$#��$,�+�'��#��)$��#(*'��(��#�$��)��(�"��#�)*��,�(� �%)�(�"%!�� #�)�'"(�$��)��"*(��()�+�!��)�,�!!�$#!.�!�()��,��.(��#��$#()'*�)�$#�#��(�)$��"��%$(�(��!��#��'�!�)�+�!.�(�$')�)�"��'�"��)$�%'$�*��"$�*!�'��(��#�)��)�'�%��)��)(�!��

��!($�'�(��'��'�#)�).%�(�$��,$$��)��)�,$*!��(*�)��!��$'�$*'�%'$��)��#��#)$�)�"��'�)��#$!$��(��!!�#��,�(�)$��+�!$%��).%��$��*#�)�$#��$'�$*'�()'*�)*'��)��)�,$*!��!!$,��$'�&*�� #()�!!�)�$#�)�"�(��"%!��).�,�(� �.��,�)�$*)��$'��))�#��()��)��(�� !��(�� +��#��#�'��(�� #$,!��$��$#()'*�)�$#�)��#$!$��(��#��#�$.��)��!!�#��$��(��#�#��($"�)��#��(�"%!��.�)�()'*�)*'�!!.�($*#��#��()��)��!!.�%!��(�#��$��)��'�,��)$�*(��()��!�%!�)��)$��$!)��$�#�#��)�"��'��"(��,�)��)*�*!�'�()��!��'$((�(��)�$#��$'"�#��!�# (�)$�)��$!*"#�(*%%$')(��#��$)��'�()'��)�$#(�$��"(�� "$��!!��)��(��*#�)�$#��#�� )��%��#��#�)$�)��# ��$*)�%'$�*��#��(��!��"$��!�,��$*!��%'�(�#)��*'�#��$*'��-��)�$#�

��)��)��(��"$�*!�'��(��#��#��*#�)�$#(�� "$��!!��)��$))$"��!��$��)��()'*�)*'��#)$�$*'�� )��%�"$��!��'$"�,��,��'��)��(��)�$#(��#��"��(�)$�)� ��!$#��)$�$*'�)*)$'��!��$'��(�*((�$#�� #�)�'"(�$��"$��!!�#��$��)��()'*�)*'��)��(�,�(�+�'.�)�"��$#(*"�#��#��%�'��%(�($"�)��#��)��)��$*!��+��#��+$��,��#$)��#�($��"��)�$*(��)��'�� '$"�)*)$'(�'��(��$#��'#�$+�'�)��#()�!!�)�$#�)�"��'�"��#��)��(*()��#��!�).��#�!$$ ��#)$��+�!$%�#��)��(��#��*')��'�#�-)�,�� $,�+�'� ��!��+��)��*#�)�$#��(��#��$(�#�,�!!��!!$,��$'�&*�� $#()'*�)�$#��

#�)��!�()'*�)*'�!��$'"�( �)��

��+�!$%"�#)

�-%!$�� )��%�"$��!�$��*#�)�$#�"$��!

�*#�)�$#�( �)��"��'�'�(��'��

��)�$#��$'�)*)$'��! �)'*�)*'��'�,#��#)$�� )��%�"$��!

��)% %��&,)%�#�� + &%��##�0��"�

,Q�WKH�¿QDO�ZHHN��WKH�DLP�ZDV�WR�¿QDOLVH�RXU�GHVLJQ�DQG�SURGXFH�RXU�¿QDO�H[KLELWLRQ�SUHVHQWDWLRQV�DQG�SURPRWLRQDO�PDWHULDOV�� %��.��#��+��+�*"*�+&��-�)0&%��* %��+��"��)&$�#�*+�.��"*�+,+&) �#*��'�)+�&��+��)&,'�.&)"��&%�+��&-�)�##��&)$�&��&,)��* �%��&)��/�$'#��)��" %��,'�+��&%+ %,&,*�# %�� %�'#��*�� %��)�$'*��&)�&%��+&�+)�-�)*��+��*+),�+,)��+��)��&)��/'�) �%� %�� +�&%�$&)��#�-�#*��.� #*+�&+��)*�.&)"��&%�&,)�')&$&+ &%�#��$'� �%��%��- ��&��

��*'�%+��#�)��$&,%+�&��+ $�� %�+��.&)"*�&'�$�%,��+,) %��*��#��$&��#�&��+��) + ��#�!,%�+ &%*�.��)��+��&) 1&%+�#��$*�!& %�. +��+��*,''&)+��&#,$%*��

2QFH�¿QLVKHG��,�KHOSHG�¿QLVK�RQH�RI�RXU�VHFWLRQV�LQ�$XWR&DG��EHIRUH�UHQGHULQJ�LW�LQ�SKRWRVKRS�IRU�WKH�¿QDO�SUHVHQWDWLRQ��:H�DOO�ZRUNHG�WRJHWKHU�SURGXFLQJ�WKH��VFDOH�PRGHO�RI�RXU�LQVWDOODWLRQ�WKDW�¿WV�LQ�RXU�VLWH�PRGHO��2QH�UHJUHW�LV�SHUKDSV�QRW�XVLQJ�WKH�ODVHU�FXWWHU��DV�DJDLQ��WKLV�ZDV�H[WUHPHO\�WLPH�FRQVXPLQJ�DQG�¿GGO\��KRZHYHU�WKH�¿QDO�UHVXOW�LV�LPSUHVVLYH�LQ�P\�RSLQLRQ�

$V�SDUW�RI�RXU�DGYHUWLVLQJ�FDPSDLJQ��ZH�SURGXFHG�DQ�LQWHUDFWLYH�À\HU��ZKHUH�WKH�ZD\�\RX�KROG�LW�UHODWHV�WR�WKH�NH\�DUHDV�RI�RXU�GHVLJQ�DQG�FRQFHSWV��7KLV�LQYROYHG�WKH�QHHG�IRU�¿QJHU�KROHV�WR�EH�SXQFKHG�WKURXJK�WKHP��$IWHU�GULOOLQJ�KROHV�IDLOHG�WR�ZRUN�ZHOO��$��,'�. +��+�� &��$�" %��')�**�+&�',%��+��&#�*�&,+��#*&��#'��+&�')&�,��+��.) ++�%��*�) '+ &%�&��&,)�')&!��+�. +��+.&�&+��)�$�$��)*�&��+��)&,'�

��#�$0�� # +0� %�,* %��- *,�#��-�)��#��%��.) ++�%��&$$,% ��+ &%�$�+�&�*��%��$�� +&�+�*+��'')� *��%��)�')�*�%+� ��*�%��* �%*��*� $')&-��*��)&,'�.��.&)"��.�##�+&��+��)��#��+ %��+�*"*�� )#0��(,�##0��+.��%�� %� - �,�#��&.�HYHU�DW�WLPHV�LW�IHOW�OLNH�VRPH�ZHUH�SHUKDSV�GRLQJ�OHVV�WKDQ�RWKHUV��2Q�UHÀHFWLRQ�RI�WKH�SURMHFW��,�IHHO�LW�KDV�EHHQ�WKH�PRVW�EHQ�H¿FLDO�WR�P\VHOI�DOO�\HDU��6SHQGLQJ�WLPH�LQ�WKH�VWXGLRV�ZRUNLQJ�DURXQG�RWKHUV�PDGH�PH�UHDOLVH�KRZ�LQYDOXDEOH�WKLV�FRXOG�KDYH��%�&-�)�+��'�*+�0��)��%�� *�*&$�+� %��&'��+&�+�"��&%�+&�%�/+�0��)��

��

��

��

��

BEN HOWARD. JACK JHONSON. MUMFORD AND SONS. THE BLACK KEYS. SIGUR ROS. TWO DOOR CINEMA CLUB. ARCADE FIRE. THE KOOKS.

THE LIGHTHOUSE FAMILY. THE KUSH. FINDING ATLANTIS. CHERYL COLE. ARTISAM. LITTLE COMETS. SHARKS TOOK THE REST. SHIELDS.

ROB. DA BANK. CHASE AND STATUS. JAGUAR SKILLS. ANNIE MAC PRESENTS. KISSY SELL OUT. ANT AND DEC. REGGAE ROAST. MAX COOPER.

��

��) -�)* ��)�%��)��*��+ &%��')&�,��

3URPRWLRQDO�À\HUV

��*��#��!,%�+ &%�$&��#��$�� %�#�$&��#��*�'�)+�&��/� � + &%

��-�#&'$�%+�&��* �%

Introduction

The validity of this statement is somewhat ambiguous, and is contingent to the notion of home that we accept. The concepts of ‘home’ are diverse, and so we approach them with vivacity and wonder. This essay will discuss the rationality of Bachelard’s statement by attempting to define what ‘home’ is, examining it within some of the particular experiential, physical and theoretical contexts that exist. For Bachelard’s statement to be valid we must first understand the qualities associated with ‘home,’ in order to determine whether all inhabited spaces demonstrate them. We’ll begin by reflecting upon some of the common perceptions.

The Notion of Home

Broadly speaking, a home can be described as a physical place of residence or refuge;7 offering control, protection, security, and stability.6 Kim Dovey defines home as ‘demarcated territory with both physical and symbolic boundaries that ensure dwellers can control access and behavior within’.4 These ‘symbolic boundaries’ relate to metaphorical connections that are commonly made, such as: comfort, happiness, a ‘sense of belonging’ etc. We associate these values with ‘home,’ though they can unquestionably be experienced elsewhere, giving merit to Bachelard’s statement. As a physical concept, there can be confusion between the terms ‘house’ and ‘home,’ which are often used interchangeably, coalescing to one idea. The former however, only describes the physical dimension of ‘home,’7 and is simply perhaps just one of many notions. It could be said that all houses are homes, but not all homes need to be houses. This helps us to understand that the idea of ‘home’ can be more than a house, and that it’s feasible for there to be more than one notion. Researchers within psychology argue the very nature and essence of home is ‘an emotionally based and meaningful relationship between dwellers and their dwelling places’.4 This raises the idea that home doesn’t require a physical form, and that it could be perceived almost as an experience. The concept of ‘home’ therefore, seems saturated with incoherencies and paradoxes. It’s almost a double-entendre, ‘which connotes a physical place but also has the more abstract sense of a state of being’.8 The work of another theorist, Despres, explains the concept of home can be understood through several dimensions: territorial (the material structure; a place of refuge), psychological (a symbol and expression of one’s identity, the notion of being able to ‘feel at home’) and phenomenological (experiential and spatial qualities etc.).3 We will look at some of these ideas in due course.

Clarity & Strength of Argument The psychological concept of being able to ‘feel at home’ means all inhabited spaces have the potential to bear the notion of ‘home,’ and it’s perhaps this idea that gives most credit to Bachelard’s statement. Conversely, the notion of one being able to become ‘homesick’ when away from home might question the validity. It’s possible however, that psychological emotions overwhelm the more obvious notions of ‘home,’ and that a home doesn’t always need to feel like one. Generally speaking, any inhabited space can bear the notion of ‘home,’ if the basic concept of home as a physical place of refuge is applied, or, if any other qualities associated with home are exhibited. The work of several theorists, notably Dovey and Pallasmaa, agrees with this idea, and a reoccurring notion develops that ‘home’ as an ‘experience’ or ‘state of being’ can be anywhere.4, 13

One concept that gives merit to Bachelard’s statement, builds on the notion of home as a theoretical idea; ‘place attachment’. This is perceived as ‘an individual’s strong emotional attachment to a place or environmental setting with great familiarity;’ notably home.1 Theoretically, we can feel place attachment to any inhabited space. ‘Home’ as a concept is interwoven with memories. A new building on a plot of land where childhood memories were formed (a den we made as a child, a particular view for example) could still

bear the notion of ‘home’ from our attachment to the place alone, regardless of the location or there being other associated qualities. From another angle, we can consider ‘home’ in terms of identity:4 It’s where we learn the cultural and social rules of life; we discover who we are and what we may become, gaining our behavioural attributes and beliefs. Again, this raises the point that ‘home’ can be anywhere: a school, a theatre, a train for example, as these places help to reflect and shape whom we are, forming our identities. Dovey asserts from the idea of home as a relationship, we can explicate home as a means of order, stating: ‘Home can be considered as a schema of relationships that bring order, integrity and meaning to the experience of place�as series of connections between people and their world’.4 We can think of ‘home’ as somewhere that orientates us in space, time and society; giving order to our lives. J.J. McCloskey once wrote: ‘Home, they say, is where the heart is,’9 signifying its importance in our lives. From this we can take the notion of ‘home’ to be the centre of our spatial world; an important reference point to which we come and go, and arguably this central reference point could be anywhere. To quote J. H. Payne: ‘be it ever so humble, there's no place like home.’15 This adage reflects the idea that home brings order, but implies only one space can truly be ‘home’. However, we often use the term ‘home’ in a broader sense, to describe where we come from, be it our hometown or nation for example. In fact, the term ‘home’ is derived from the Old Norse word ‘heima,’8 which meant region or world.12 In this sense, the notion of home doesn’t apply to a singular dwelling.

Furthermore, Pallasmaa concurs that ‘home’ can be anywhere: ‘it is the capacity of the dwelling to provide domicile in the world that matters to the individual dweller. The dwelling has its psyche and soul in addition to its formal and quantifiable qualities’.13 It’s within the capability of spaces to provide domesticity. One could even feel at home in a place which might be considered ‘unhomely – such as a motorway café. The very lack of domesticity, the bright lights and anonymous furniture can be a relief from what may be the

false comforts of a so-called home.’11 Whilst fairly ironic, this idea gives credit to Bachelard’s statement. Whilst Bachelard’s statement has thus far proven to be mostly valid, there can appear to be some uncertainty when looking from a different perspective. For example, it’s easy to take the fundamental values of home for granted (a place for shelter and survival), thus on a superficial level, Bachelard’s statement can appear flawed, as we often overlook them. As an initial response, the psychological principles (of attachment, desire, and safety for example) are perhaps what we more commonly associate with the notion of somewhere being a ‘home’. Arguably not all inhabited spaces come across in this way, and there are lots of places we wouldn't associate with being home. Nonetheless, this does not mean the statement is completely invalid, or that a home must feel particularly ‘homely’. Take a prison for example: whilst demonstrating some of the core values associated with home, there lacks comfort, happiness, a sense of belonging etc. From an individual’s perspective the validity of the statement is also perhaps questionable. For example, we live in an era with an ageing population, whereby often, to the older members of society, the only space they really inhabit and experience is their home, with decreasing segmentation. To these individuals, it’s fair to argue that not all inhabited spaces resemble home. In addition, some people may have different perceptions of ‘home’. One could argue there are associations of violence, insecurity and danger. It’s also possible that someone may ‘feel at home’ in a space where another individual doesn’t. These perspectives only add more value to Bachelard’s statement, as there are more values to be associated with the notion.

The Changing Nature of Home Taking a new angle on the idea that ‘home’ can be anywhere, it could be said that in the era we live, we are perhaps learning to become nomads once again, where the concept of ‘home’ as a permanent location becomes less important.14 Bachelard wrote: 'our house is our corner of the world'.2 Today we carry ‘our corner of the world’ with us wherever we go, thanks to the rise of technology: our memories and identities are very much uploadable, allowing ‘home’ to be anywhere. Vycinas agrees with this idea: ‘Home nowadays is a distorted and perverted phenomenon. It is identical to a house; it can be anywhere’.10

Increasingly, more and more jobs require an individual to work away from home several days a week. Because ‘home’ is something we all long to have or experience, one must find the values associated with it in hotels, the office, even on a train. One explanation is that we find these values as a process of imitation, whereby imitative practices occur ‘unconsciously’ or ‘naturally,’ making spaces feel like home. An example of this might relate to the work of Maslow, who states that ‘home’ provides psychological comfort;5 something one could certainly find in a diverse range of inhabited spaces, and arguably anywhere. For example, in a coffee shop, subconscious empirical associations we may have with home, such as the smell of coffee, means we can feel at home.

Summary In conclusion, we have seen that Bachelard’s statement is generally valid, and perhaps becoming increasingly more so, however it can be vague from certain angles as originally stated. The works of the theorists exemplified offer diverse theories and bring light on interesting ideas, where the general consensus is that all really inhabited spaces can indeed bear the essence of the notion of ‘home’. However, there’s an emphasis on the fact they are able to, not that they do. If we adopt just one of the notions discussed, the statement has no real strength on the surface, and it’s only by acknowledging the variety that exist whereby we can give true credit.

B.A. ARCHITECTURAL STUDIES STEPHEN RINGROSE 101064602

ARC2023“All really inhabited spaces bears the essence of the notion of home” (Bachelard). Discuss the validity (or

otherwise) of this statement.16

Literature References1: Altman, I. & Low, S., 1992, Place Attachment, London: Plenum Press.

2: Bachelard, G., 1958, The Poetics of Space, Boston: Beacon Press.

3: Despres, C., 1991, The meaning of home: literature review and directions for future

research and theoretical development, Journal of Architectural Research.

4: Dovey, K., 1985, Home and Homelessness: Introduction, In: Altman, I. & Werner, C., 1985 Home Environments. Human Behavior and Environment: Advances in Theory and Research (Vol. 8), New York: Plenum Press.

5: Maslow, A., 1954, Motivation and

Personality, New York: Harper Row.

6: Moore, J., 2000, Placing Home in Context, In: Unknown, Journal of Environmental Psychology (Vol. 20, Issue 3), Academic Press.

7: Oxford English Dictionary (2nd Edition), 1989, Oxford: Oxford University Press.

8: Rybczynski, W., 1987, Home: A Short History of an Idea, New York: Penguin Books.

9: Titelman, G., 1996, Random House Dictionary of Popular Proverbs and Sayings, New York: Random House.

10: Vycinas, V., 1969, Earth and Gods: An Introduction to the Philosophy of Martin Heidegger, Springer Publishing.

Internet References11: Botton, A., 2008, Where the heart is: Writers invite us into their idea of home.http://www.independent.co.uk/arts-entertainment/books/features/where-the-heart-is-writers-invite-us-into-their-idea-of-home-841568.html

12: Crane, R., & Gregory, E., 2010, Old Norse

Word Study Tool.http://www.perseus.tufts.edu/hopper/morph?l=heima&la=non&prior=sat

13: Pallasmaa J., 1992, Identity, Intimacy and Domicile.http://benv1082.unsw.wikispaces.net/file/view/PALLASMAA+Reading+with+image+pairings+-+Identity_Intimacy_and_Domicile.pdf

14: Thomas, S., 2004, Inhabited Space.http://travelsinvirtuality.typepad.com/helloworld/05_bachelard/

15: Unknown Author, Unknown Date, Cultural Dictionary.http://dictionary.reference.com/cultural/“home,+sweet+home”

Photographic References

16: Unknown, Shrimp Terrace - Marine Parade, Sheernesshttp://jpuss23.files.wordpress.com/2011/04/img_8325.jpg

17: Ringrose, S., 2012, Notions of Home

THE PLACE OF HOUSES

17

Word Count: 1474 (excluding quotations and references).

17

Image depicting the various notions of

3#(& �4�* 5 �,$'"�,# �idea it can be

anywhere.

STEPHEN RINGROSE 101064602 ARC2009 ARCHITECTURAL TECHNOLOGY

SIMPLICITY, ECONOMY, HOME SITE CB.A. ARCHITECTURAL STUDIES STAGE 2

SESSION 2011-2012

PRIMARY STRUCTURE Scale 1:200

The primary structure is a simple post and beam timber frame, with studs (150mm x 50mm) at 600mm centres, between 150mm x 150mm corner posts. The l ightweight frame is mechanically secured to concrete blockwork, upon strip foundations. There are intermediate posts where necessary (supporting secondary glulam beams), where the floor span exceeds the capabilities of the joists used.

The main secondary structural elements are the suspended t imber f loors, used throughout, and the timber flat roof (warm). Other components include jack studs, lintels etc., which form the supports for all openings in the façade, stair stringers, and joist bracing, placed every third of the floor span.

SECONDARY STRUCTURE Scale 1:200

TERTIARY STRUCTURE

The tertiary structure completes the building fabric, including the horizontal timber cladding across all living spaces, and the concrete clad ‘defensive’ walls. Tertiary structure also refers to floorboards (tongue and groove), OSB ply sheathing, timber support battens for cladding, plasterboard, insulation, ceilings etc.

Scale 1:200

SECTION SHOWING KEY JUNCTIONS

3� � � � Window Sill Detail

5� � � � � Wall to Roof

4� � � � Window Head Detail

1 � Wall to Ground Floor & Foundations

2� � � Wall to Intermediate Floor

Scale 1:20

1. GROUND FLOOR & FOUNDATIONS

2. INTERMEDIATE FLOOR

Bre Green Guide Rating - Intermediate Floors

Bre Green Guide Rating - Ground Floor

Scale 1:10

Scale 1:10

123

8

7

9

456

10

11

12

131415

20

16

1718

21

222324

19

1. Cedar Horizontal Cladding 2. 38mm Vertical Batten Zone

3. 15mm OSB/3 Sheathing Board4. 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm

5. 100mm Celotex FR5000 Insulation 6. 150mm x 50mm Timber Bottom Plate

7. Breather Membrane8. 195mm x 50mm Timber Rim Joist

9. 195mm x 50mm Timber Floor Joist at 400mm Centres10. Vapour Control Layer

11. 2 x 150mm x 50mm Timber Top Plates12. Skirting Board

13. 18mm Tongue & Groove Chipboard

123

9

456

10

8

11

71312

1. Cedar Horizontal Cladding 2. 38mm Vertical Batten Zone3. 15mm OSB/3 Sheathing Board4. Breather Membrane 5. 100mm Celotex FR5000 Insulation6. 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm7. 195mm x 50mm Timber Rim Joist8. 150mm x 50mm Timber Sole Plate9. Render Finish With Mesh10. Expanded Polystyrene Board11. Blockword12. 700mm x 300mm Concrete Strip Foundation13. Vapour Control Layer14. 15mm OSB/3 Board15. 25mm Service Board16. 15mm Plasterboard17. Skirting Board18. 18mm Tongue & Groove Chipboard19. 150mm Rigid Insulation Between Floor Joists20.195mm x 50mm Timber Floor Joist at 400mm Centres21. Netting To Hold Insulation22. 50mm Concrete Slab23. Polyethylene DPM24. 50mm Sand Blinding

4. WINDOW HEAD

3. WINDOW SILL

Bre Green Guide Rating - Windows

Bre Green Guide Rating - External Walls Scale 1:10

Scale 1:10

12

4

678

9

12

3

5

14

12345

6

7

89

1. Tripled Glazed ENERsign® Window2. Window Jamb3. Cedar Horizontal Cladding 4. Mastic Sealent5. 38mm Vertical Batten Zone6. Breather Membrane7. 100mm Celotex FR5000 Insulation8. 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm9. Mineral Wool Insulation10. 150mm x 50mm Timber Sill Plate11.Vapour Control Layer12. 15mm OSB/3 Board13. 25mm Service Void14.15mm Plasterboard

1. Vapour Control Layer 2. 150mm Celotex XR4000 Insulation Between Timber Studs 150mm x 50mm

3. 100mm Celotex FR5000 Insulation4. Breather Membrane

5. Timber Lintel (2 x 150mm x 50mm)6. Mastic Sealent

7. Cedar Horizontal Cladding8. Tripled Glazed ENERsign® Window

9. Window Jamb

1011

13

5. ROOF

“To create an integrated modern and sustainable design, offering stability to disadvantaged youths living together, with opportunities to reconnect with society. Natural and manmade materials coalesce to reflect the surrounding area and the functions within”.

� Timber is used for construction throughout for several reasons. Firstly, its usage makes the building sustainable, as wood is fundamentally carbon-neutral. The quick build time (construction rates can be reduced by as much as one third) is also attractive over alternate solutions, as is the high impermeability to water, great thermal and acoustic performance (for a relatively low cost), and low maintenance requirements. As a lightweight construction, it’s also favourable to poor ground conditions.

� The exterior cladding system of horizontal cedar seamlessly reflects the surrounding trees and green spaces. Over time it will silver slightly, integrating to the site further. Continuation of the cladding to the interior gives a sense of connection to the outside, and reflects to an extent, the activities of within (furniture crafting). The flexibility of the timber frame and cladding allows glazing to be placed anywhere, offering one varied opportunities to ‘reconnect’ with views over the city to the east.

� To educe a sense of protected living and stability, concrete cladding is also used in some places, which naturally has a sense of solidity. By encompassing the stairs within the concrete clad walls, one gets a sense of stability as they rise up through the building to their individual bed spaces. The relatively lightweight form can be used in conjunction with the timber frame system, as opposed to solid blockwork, whilst having the same desired effect. Concrete in this form is also chosen as it can be preformed off site, thus reducing build times further. The ‘concrete walls continue the heavy line of houses along the approach street, further assimilating the building to its surroundings.

TECTONIC INTENT

BRE GREEN GUIDE OVERALL RATING - A+

Bre Green Guide Rating - Roof

Bre Green Guide Rating - Internal Walls

Scale 1:10

109

11

131415

16

17

1

2

3

456

78

1819

1. Single Ply Waterproof Membrane2. Vapour Control Layer3. Fascia4. Cedar Horizontal Cladding5. 38mm Vertical Batten Zone6. 15mm OSB/3 Sheathing Board7. 100mm Celotex FR5000 Insulation8. 150mm Celotex XR4000 Insulation Between Timber Studs

150mm x 50mm9. 20mm Roof Deck10.100mm KingspanThermaroof® TR27 LPC/FM Insulation11. 20mm OSB/3 Deck12. 120mm KingspanThermaroof® TR27 LPC/FM Insulation13.195x50 Timber Roof Joist at 400mm Centres14. Ceiling Void (For Sprinklers, Lighting Zone etc.)15. 25mm Perforated Accessible Acoustic Ceiling16. 2 x 150mm x 50 mm Timber Top Plates17. 15mm OSB/3 Board18. 25mm Service Void19. 15mm Plasterboard

12

�!�� !��!"��$�� #��!�� !��!��!"��!"�� !��

��

�

�

� '�$"��!� $�!��#"�"�#��$#��!#��$��!��$��#��"��$��"��#��$��'��"�"��#��$"�!"��!��!��""��'"��#'��&��"�#��"#!�#��'��!��""��!��

�� 'LVDEOHG�SDUNLQJ�LV�ORFDWHG�DW�WKH�VRXWK�RI�WKH�EXLOGLQJ��WZR�SURYLVLRQV�DGMDFHQW�WR�JURXQG�ÀRRU�PDLQ�HQWUDQFH��ZLWK��!��#��%��""�#��$�� $Q�DOWHUQDWLYH�DSSURDFK�IRU�GLVDEOHG�SHRSOH�LV�IURP�WKH�PDLQ�HQWUDQFH�RII�WKH�SXEOLF�SDWKZD\�WR�WKH�1RUWK��,I�DSSURDFKLQJ�WKH�EXLOGLQJ�IURP�)URQW�6WUHHW�� /HYHO�DFFHVV�IURP�VLWH�ERXQGDU\�LV�OLPLWHG�E\�WKH�WRSRJUDSK\�RI�WKH�ODQG��EXW�LV�OHYHO�ZKHUHYHU�SRVVLEOH��RIWHQ�ZLWK��JUDGLHQWV�QR�JUHDWHU�WKDQ��7KH�FDU�SDUN�DQG�VHWWLQJ�GRZQ�SRLQW�SURYLGHV�OHYHO�DFFHVV�WR�WKH�EXLOGLQJ��,QVLGH��DOO��"��"��!��%�� $GHTXDWH�VLJQDJH�LV�LQ�SODFH�WR�GLUHFW�YLVLWRUV�WR�PDLQ�HQWUDQFHV��DQG�WR�LGHQWLI\�WKHVH�DV�EHLQJ�DFFHVVLEOH�� ,Q�WHUPV�RI�YHUWLFDO�DFFHVV��WKHUH¶V�D�SDVVHQJHU�OLIW��PP�[��PP��SURYLGLQJ�DFFHVV�WR�DOO�ÀRRUV��7KLV��LV�FOHDUO\�SRVLWLRQHG�LQ�IURQW�RI�WKH�JURXQG�ÀRRU�HQWUDQFH��DQG�VLJQSRVWHG�IURP�WKH�HQWUDQFH�RQ�WKH�¿UVW�ÀRRU��/LIW�KDV��D�PLUURU�WR�DOORZ�ZKHHOFKDLU�XVHUV�WR�UHYHUVH�RXW��DQG�DXGLEOH�WRQHV��,Q�DGGLWLRQ��WKHUH�DUH�WZR�SURWHFWHG�VWDLUFDVHV��$��DQG�%��DW�HLWKHU�HQG�RI�WKH�EXLOGLQJ�� $OO�LQWHULRU�GRRUV�DUH�DW�OHDVW��PP�LQ�ZLGWK��DQG�RSHQ�LQZDUGV��VR�DV�QRW�WR�FDXVH�KD]DUGV�IRU�YLVXDOO\�LPSDLUHG��SHRSOH�LQ�FLUFXODWLRQ�VSDFHV��(QWUDQFHV�DUH�GRXEOH�OHDI��ZLGWK��PP�RU�JUHDWHU��RQ�DXWRPDWLF�VHQVRUV��7KLV�FDQ��EH�EHQH¿FLDO�IRU�ZKHHOFKDLU�XVHUV�DQG�SHRSOH�ZLWK�OLPLWHG�SK\VLFDO�GH[WHULW\��'RRUV�VWD\�RSHQ�ORQJ�HQRXJK�IRU�WR��SHUPLW�VDIH�HQWU\�DQG�H[LW��'LVDEOHG�DFFHVV�:&¶V�DUH�UHFHVVHG�IURP�FRUULGRUV��VR�WKH�RXWZDUG�GRRU�VZLQJ��"��#��"#!$�#��!�$��#��"�� &OHDQLQJ�PDWV�LQVLGH�HQWUDQFHV�VWRS�UDLQZDWHU�IURP�VKRHV��ZKHHOFKDLUV�IURP�EHLQJ�WDNHQ�LQWR�WKH�EXLOGLQJ��ZKHUH�LW��FRXOG�EH�D�VOLSSLQJ�KD]DUG�� ,Q�WHUPV�RI�FRQVLGHUDWLRQ�IRU�YLVXDOO\�LPSDLUHG�SHRSOH��ÀRRUV��FHLOLQJV�DQG�ZDOOV�FRQWUDVW�YLVXDOO\��LQ�DGGLWLRQ��#��!��#!��$##��"��#��#��!��"��#��#�!�$��$#��#��!"��%��!�"�!"��"��"��#!�"#��WKH�JRLQJV�YLVXDOO\��WR�KHOS�SUHYHQW�WKH�KD]DUG�RI�WULSSLQJ��8VH�RI�WDFWLOH�SDYLQJ�RXWVLGH�WKH�EXLOGLQJ��FRUGXUR\�KD]DUG��ZDUQLQJ�VXUIDFH��DW�WRS�DQG�ERWWRP�RI�ODQGLQJV�IRU�H[WHUQDO�ÀLJKWV�DOVR�KHOSV�WR�PLQLPLVH�KD]DUGV�E\�ZDUQLQJ�RI��"#��!"��!��!��"#"��"�#��!��##�!��""��#��#��!��"��#��!�$��#!��"�� &RUULGRU�ZLGWKV�DUH�DOO��PP�RU�JUHDWHU��DOORZLQJ�IRU�ZKHHOFKDLU�XVHUV��SHRSOH�ZLWK�SXVKFKDLUV�WR�SDVV�RQH�DQ��RWKHU��PLQLPXP�UHTXLUHPHQW�LV��PP�IRU�SDVVLQJ��$OVR�HQDEOHV�ZKHHOFKDLU�XVHUV�WR�WXUQ�DURXQG�� $OO�VWDLUV�KDYH�KDQGUDLOV�RQ�HLWKHU�VLGH��IRU�SHUVRQV�ZKR�KDYH�D�ZHDNQHVV�RQ�RQH�VLGH�� ,Q�WKH�FDIp�DUHD��SDUW�RI�WKH�VHUYLFH�FRXQWHU�LV�DW�D�ORZHUHG�KHLJKW�IRU�ZKHHOFKDLU�XVHUV�� 7KHUH�DUH�IDFLOLWLHV�IRU�ZKHHOFKDLU�XVHUV��DPEXODQW�GLVDEOHG�SHUVRQV�LQ�WKH�VHSDUDWH�VH[�ZDVK�URRPV��LQFOXG��LQJ�EDE\�FKDQJLQJ�IRU�SHRSOH�ZLWK�FKLOGUHQ��6KRZHU�SURYLVLRQV�DUH�VHOI�FRQWDLQHG��ZLWK�OHYHO�DFFHVV�VKRZHU��WUD\V�IRU�DFFHVV�E\�DOO��:KHUH�WKHUH�LV�RQO\�RQH�WRLOHW��JURXQG�ÀRRU��RQ�D�VWRUH\��LW�LV�D�SDUW�0�:&�SURYLVLRQ�IRU��&��!��""�

��

�� 7KH�EXLOGLQJ�KDV�EHHQ�GHVLJQHG�WR�PHHW�DV�PDQ\�RI�WKH�UHTXLUHPHQWV�VHW�RXW�LQ�SDUW�%�RI�EXLOGLQJ�UHJXODWLRQV��"��""��

� 8VLQJ�WDEOH�&��IURP�$SSHQGL[�&�LQ�SDUW�%��WKH�RFFXSDQW�FDSDFLW\�RI�WKH�EXLOGLQJ�FDQ�EH�FDOFXODWHG��7KLV�LV�LPSRUWDQW�WR�HQVXUH�WKH�PLQLPXP�ZLGWKV�RI�DQ\�HVFDSH�FRUULGRUV�DQG�GRRU�RSHQLQJV��VWDLU�ZLGWKV��DQG�¿QDO�H[LW�ZLGWKV�VDWLVI\�WKH�UHJXOD�#��"��$��#��"��!��$��#��#'��"��#��#��&�

� 8VLQJ�WDEOHV��DQG��IURP�SDUW�%��DQG�WKH�RFFXSDQF\�FDSDFLWLHV�DERYH��ZH�FDQ�FDOFXODWH�WKH�PLQLPXP�ZLGWKV�RI�HVFDSH�URXWHV�DQG�H[LWV��7DEOH��DQG�RI�HVFDSH�VWDLUV��7DEOH��7KH�PLQLPXP�ZLGWK�IRU�HVFDSH�URXWHV�DQG�H[LWV�LV�GHSHQG�HQW�XSRQ�WKH�PD[LPXP�QXPEHU�RI�SHUVRQV�WKDW�QHHG�WR�HVFDSH��$V�WKH�WRWDO�RFFXSDQF\�OHYHO�LQ�WKH�EXLOGLQJ�LV�OHVV�WKDQ��HVFDSH�URXWH�FRUULGRU�ZLGWKV�DQG�GRRU�RSHQLQJV�ZLOO�QHYHU�QHHG�WR�EH�JUHDWHU�WKDQ��PP�WR�PHHW�UHJXODWLRQV��$�ZLGWK�RI��PP�ZLOO�VHUYH�XS�WR��SHUVRQV��WKXV�HVFDSH�URXWHV�IURP�WKH�¿UVW�ÀRRU�ZRXOG�PHHW�UHTXLUHPHQWV�LI�WKH\�ZHUH�WKLV�ZLGH��2Q�ERWK�WKH�JURXQG�DQG�¿UVW�ÀRRUV��HVFDSH�URXWHV�ZRXOG�RQO\�QHHG�WR�EH��PP�ZLGH�WR�PHHW�UHTXLUHPHQWV��DV�WKH�RFFXSDQF\�RI�#��"��%��"��"��&�!�#��"��!�$#��!!��!"��!��"��%��&��#�"��!��#�!�#��#��"��$��%��$�"��JHQHUDOO\�LQ�

�#��!�"��

��%��#!��#��6WUDWHJ\�,QIRUPDWLRQ

��

Type of Accommodation Room Size (m2 ) Floor Space Factor (m2 /person) Occupancy Capacity (Room Size/ Floor Space Factor)

Café 38.9 1.0 38.9

Serving Counter 5.5 0.4 13.75

Kitchen 23.1 7.0 3.3

Bar 8.1 1.0 8.1

Exhibition Space 11.5 2.5 4.6

Multipurpose Function Room 18.9 0.75 25.2

Sub-Total 93.85 (94)

Reception 2 2.0 1.0

Admin Office/ Staff Room 10 3.5 2.86

Shop 20.2 2.0 10.1

Gym 39.8 5.0 7.96

IT Provision 8 4.0 2.0

First Aid Room 8.8 4.0 2.2


Training Room 60.6 2.0 30.3

Wet Equipment Store 159.8 30.0 5.3

Dry Storage 13.3 30.0 0.44

Cleaning Store 5.5 30.0 0.18

Bicycle Workshop 23.4 5.0 4.68


Grand Total 160.9 (161)

!�$��

!��!

"#��

�!�

��

��

!

H[FHVV�RI��PP��IRU�D�EHWWHU�H[SHULHQFH�LQ�WHUPV�RI�DFFHVV�IRU�DOO�±�DOORZV�IRU�SDVVLQJ�RI�ZKHHOFKDLU�XVHUV�DW�DOO�SRLQWV��DQG�IRU�JHQHUDO�FRPIRUW�LQ�WUDYHUVLQJ�WKH�EXLOGLQJ��WKXV�DOO�UHTXLUHPHQWV�DUH�PHW�

� � ��"��#��!"�� %��"�!�"� �#��#"�"��#��"��!��"!� ��#� ��"!�� #��"��SHRSOH��7KH�VWDLUV�EHWZHHQ�WKH�¿UVW�DQG�JURXQG�ÀRRU�LQ�VWDLUFDVH�$��ZLOO�SUREDEO\�VHUYH�OHVV�WKDQ��SHRSOH��LQ�ZKLFK�FDVH�D�PLQLPXP�ZLGWK�RI��PP�FRXOG�EH�XVHG��DV�UHDOLVWLFDOO\��RQH�ZRXOGQ¶W�XVH�WKLV�DV�D�PHDQV�RI�HVFDSH�GXH�WR�WKH�DGMDFHQW�GLUHFW�H[LW��KRZHYHU�WKHRUHWLFDOO\��RQH�FRXOG�WDNH�WKLV�URXWH�VR�WKH�PLQLPXP�ZLGWK�RI��PP�PXVW�VWLOO�EH�XVHG�

� /LNHZLVH�ZLWK�HVFDSH�FRUULGRUV��DOO�VWDLUV�ZLGWKV�WKURXJKRXW�WKH�EXLOGLQJ�DUH�JUHDWHU�WKDQ�WKH�PLQLPXP�YDOXHV�WKDW�PHHW�UHJXODWLRQV��UDQJLQJ�EHWZHHQ��PP�DQG��PP��7KLV�KHOSV�WR�HQVXUH�D�VDIH�DQG�HI¿FLHQW�HVFDSH�LQ�WKH�HYHQW�RI�D�¿UH��$V�DOO�VWDLUFDVHV�DUH��PP�RU�JUHDWHU��WKH\�FDQ�EH�FODVVHG�DV�¿UH�¿JKWHU�VWDLUV�

� )LQDO�H[LWV�WR�H[WHULRU�VSDFHV�DUH�XVXDOO\�ZLWKLQ�SURWHFWHG�DUHDV��DQG�RIWHQ�FRPELQH�WZR�HVFDSH�URXWHV��IRU�H[DPSOH��D�VWRUH\�H[LW�DQG�D�VWDLU�HVFDSH�DERYH��:KHUH�WKLV�LV�WKH�FDVH��WKH�¿QDO�H[LW�QHHGV�WR�EH�ZLGH�HQRXJK�WR�VHUYH�WKH�QXPEHU�RI�SHRSOH�IURP�ERWK�URXWHV��7KH�PLQLPXP�¿QDO�H[LW�ZLGWK�FDQ�EH�FDOFXODWHG�XVLQJ�WKH�IRUPXOD�� ZKHUH�:� �ZLGWK�RI�¿QDO�H[LW��P��1� �QXPEHU�RI�SHRSOH�VHUYHG�E\�H[LW��DQG�6� �VWDLU�ZLGWK��P��&DOFXODWLRQV�IRU�¿QDO�H[LWV�DUH�VKRZQ�EHORZ�%�� #"�!��"�

� ([LW�IURP�SURWHFWHG�VWDLUV�$��QHHGV�WR�VHUYH�WRWDO�RFFXSDQF\�RI�OHYHO��DQG��WKXV�PLQLPXP�¿QDO�H[LW�ZLGWK� �� [�� ([LW�IURP�SURWHFWHG�VWDLUV�%��QHHGV�WR�EH�FDSDEOH�RI�VHUYLQJ�WRWDO�EXLOGLQJ�RFFXSDQF\��WKXV�PLQLPXP�¿QDO�H[LW�ZLGWK� �� [�� $OO�RWKHU�H[LWV��ZKLFK�DUHQ¶W�VKDUHG��DUH�H[SHFWHG�WR�EH�DV�ZLGH�DV�WKH�PLQLPXP�FRUULGRU�HVFDSH�URXWH��FDOFXODWHG�DERYH�DV��PP��,Q�WKLV�EXLOGLQJ��WKH\�DUH�DOO�DW�OHDVW��PP�ZLGH��GRXEOH�OHDI��

� �� !��!��!" �"��&��%

�� 3URWHFWHG�VWDLUFDVHV�VHUYH�WKH�SXEOLF�DV�FLUFXODWLRQ�WKURXJK�EXLOGLQJ�DV�ZHOO�DV�YHUWLFDO�HVFDSH�� 7KLV�W\SH�RI�EXLOGLQJ�LV�OLVWHG�DV��IURP�%��µ$VVHPEO\�DQG�5HFUHDWLRQ�¶�7KH�PD[LPXP�WUDYHO�GLVWDQFH�DOORZHG�WR�HVFDSH��URXWHV�LV��P�LQ�RQH�GLUHFWLRQ��DQG��P�LI�PRUH�WKDQ�RQH�URXWH�LV�DYDLODEOH��$OO�WUDYHO�GLVWDQFHV�FRPSO\�ZLWK�WKHVH��!# ��"!�� ([FHSW�IRU�WKH�VHFRQG�ÀRRU��WKHUH�LV�DW�OHDVW�RQH�GLUHFW�H[LW�WR�RXWVLGH�ZLWKRXW�WKH�XVH�RI�VWDLUV�IURP�HDFK�VWRUH\�� $OO�HVFDSH�URXWHV�DUH�VXLWDEO\�ORFDWHG��OHDGLQJ�WR�SODFHV�RI�VDIHW\�RXWVLGH�WKH�EXLOGLQJ��5RXWHV�DUH�ZHOO�OLW�DQG�VLJQHG��¿UH�UHVLVWDQW�PDWHULDOV�XVHG�IRU�SURWHFWLRQ��WKXV�PHHWLQJ�WKH�UHJXODWLRQV��7DEOH��IURP�SDUW�%�VWDWHV�WKH�QXPEHU�RI��HVFDSH�URXWHV�UHTXLUHG�LV�GHSHQGHQW�RQ�WKH�RFFXSDQF\�RI�HDFK�VWRUH\��ZKHUH�XS�WR��SHUVRQV�UHTXLUHV�RQH�H[LW��DQG��XS�WR��SHUVRQV�QHHGV�WZR��$OWKRXJK�WKH�JURXQG�DQG�¿UVW�ÀRRU�VHUYH�OHVV�WKDQ��SHUVRQV��ZKLFK�ZRXOG�UHTXLUH�MXVW��RQH�H[LW��DOO�VWRUH\V�KDYH�DW�OHDVW�WZR�HVFDSH�URXWHV��7KLV�PHDQV�WKHUH¶V�DOZD\V�DQ�DOWHUQDWLYH�PHDQV�RI�HVFDSH�IURP�D��VLWXDWLRQ��LQ�WKH�HYHQW�RQH�HVFDSH�URXWH�LV�UHQGHUHG�LPSDVVLEOH�E\�¿UH�� $OO�HVFDSH�URXWHV�KDYH�FOHDU�KHDGURRP�RI�RYHU�WZR�PHWUHV��&DYLW\�EDUULHUV�DUH�¿WWHG�RQ�WKH�OLQH�RI�HQFORVXUHV�WR��DQG�DFURVV�WKH�FRUULGRU��LQ�DGGLWLRQ�WR�D�¿UH�UHVLVWLQJ�FHLOLQJ�ZKLFK�H[WHQGV�WKURXJKRXW�WKH�EXLOGLQJ��WR�KHOS�LQFUHDVH�¿UH��UHVLVWDQFH�WLPHV��DQG�OLPLW�WKH�SURSRJDWLRQ�RI�VPRNH�DQG�¿UH�VSUHDG�WKURXJKRXW�� 0HDQV�RI�HVFDSH�LV�EDVHG�RQ�VLPXOWDQHRXV�HYDFXDWLRQ��ZKHUH�DXWRPDWLF�¿UH�GHWHFWLRQ�JLYHV�DQ�DOPRVW�LQVWDQ��WDQHRXV�ZDUQLQJ�IURP�DOO�WKH�¿UH�DODUP�VRXQGHUV��0DQXDO�FDOO�SRLQWV�DUH�DOVR�VLWHG�DGMDFHQW�WR�H[LW�GRRUV��DQG�WKHUH�DUH��YLVXDO�OLJKWV�WR�ZDUQ�SHRSOH�ZLWK�LPSDLUHG�KHDULQJ��,Q�WKH�HYHQW�RI�PLQRU��FRQWUROODEOH�¿UHV��¿UH�H[WLQJXLVKHUV�DUH��DOVR�ORFDWHG�RQ�DOO�ÀRRUV�� 6SULQNOHU�SURWHFWLRQ�V\VWHPV�DUH�LQVWDOOHG�WKURXJKRXW�WKH�EXLOGLQJ��WR�KHOS�UHGXFH�WKH�ULVN�WR�OLIH�DQG�WKH�GHJUHH�RI�GDP��DJH�FDXVHG�E\�¿UH��7KH\�DUH�XVHG�LQ�FRQMXQFWLRQ�ZLWK�WKH�DXWRPDWLF�¿UH�GHWHFWLRQ�V\VWHP�� )LUH�GRRUV�GLYLGH�WKH�PDLQ�FRUULGRU�RQ�WKH�¿UVW�ÀRRU�WR�KHOS�SUHYHQW�WKH�VSUHDG�RI�¿UH��7KHVH�DUH�KHOG�RSHQ�E\�UHOHDVH��PHFKDQLVPV�DFWXDWHG�E\�WKH�DXWRPDWLF�¿UH�GHWHFWLRQ�DODUP�V\VWHP�� ,Q�WKH�HYHQW�RI�D�¿UH��WKHUH�DUH�(YDF�FKDLUV�ORFDWHG�E\�DOO�HVFDSH�VWDLUV�RQ�WKH�DGMDFHQW�ODQGLQJ�IRU�GLVDEOHG�SHUVRQV�� (PHUJHQF\�VHUYLFHV�KDYH�YHKLFXODU�DFFHVV�WR�DW�OHDVW��RI�WKH�SHULPHWHU��IURP�WKH�FDU�SDUN��IRU�D�SXPS�DSSOLDQFH��$FFHVV�URDGV�WR�WKH�VLWH�DOVR�VDWLVI\�WKH�PLQLPXP�UHTXLUHG�ZLGWK�RI��PP��

�"�� !��

��$��" ��"��6WUDWHJ\�,QIRUPDWLRQ

��

6LWH�'HYHORSPHQW�3ODQ��

.H\��(PHUJHQF\��(VFDSH�3RLQWV�

��#��"�� $FFHVV�IRU�HPHUJHQF\�VHUYLFHV�WR�JURXQG�ÀRRU�HQWUDQFH��$FFHVV�IRU�HPHUJHQF\�VHUYLFHV�WR�SURWHFWHG�VWDLUV�$��YLD�¿UH�H[LW��$FFHVV�IRU�HPHUJHQF\�VHUYLFHV�WR�SURWHFWHG�VWDLUV�%��YLD�¿UH�H[LW��3DUNLQJ�IRU�¿UH�HQJLQH��#�� $VVHPEO\�SRLQW�%��$VVHPEO\�SRLQW�&

.H\��$FFHVV�3RLQWV�

��3XEOLF�DFFHVV�IURP�IRRWSDWK��OHYHO�DFFHVV��3XEOLF�DFFHVV��9HKLFXODU�DFFHVV��&DUSDUN��'LVDEOHG�SDUNLQJ��'LVWDQFH��D�WR�JURXQG�ÀRRU�HQWUDQFH��P��'URS�RII�SRLQW�IRU�YHKLFOHV��%LF\FOH�DFFHVV��6HFXUH�ELF\FOH�VWRUDJH��

� ��

6LWH�'HYHORSPHQW�3ODQ��

6FDOH��

1

�

�

�

�

�

�

�

�

�

$SSURDFK�IURP�3LHU�5RDG

([WHUQDO�VWDLU

��#�� RYHU��P�IURP�EXLOGLQJ�

��PP

��PP

��

�

�

�

�

��PP�:LGH�HQRXJK�IRU�¿UH�HQJLQH�DFFHVV�

�� "��DQG�GURSSHG�NXUE

��!��#��!��

��

/HYHO�DFFGVV�WR��!��

�

�

��

�"�� !��

6HFRQG�)ORRU�3ODQ��

��

1

��&

��#�"��# ��!��#��"�� ([KLELWLRQ�VSDFH��%DU��&DIp��6HUYLQJ�FRXQWHU��"��9RLG��GRXEOH�KHLJKW�OREE\�

.H\��(VFDSH�5RXWHV�

�D��&DIp�WR�SURWHFWHG�VWDLUV�$��P��WKURXJK�PXOWLSXUSRVH�IXQFWLRQ�URRP��E��&DIp�WR�SURWHFWHG�VWDLUV�$��P�F��&DIp�WR�SURWHFWHG�VWDLUV�%��P

� � �

�

�

�

�

3URWHFWHG�VWDLUV�$��PLQXWHV�UHVLVWDQFH�

��

3URWHFWHG�VWDLUV�%�

��

��

��PP�[��

��PP

��PP $��

$��

��PP

/RZHUHG�VHUYLFH�FRXQWHU�� %�� !!

��

��

��

��

��

�&�#��!��!�$"%��

)LUVW�)ORRU�3ODQ��

��

1

��)

��/REE\��#&�"!��6KRS��$GPLQ�RI¿FH��6WDII�URRP��'LVDEOHG�$FFHVV�8QLVH[�:&��ZLWK�EDE\�FKDQJLQJ��IDFLOLWLHV��0DOH�:&¶V��)HPDOH�:&¶V��,7�SURYLVLRQ��3ODQW�URRP��)HPDOH�FKDQJLQJ��ZLWK�GLVDEOHG�DFFHVV��0DOH�FKDQJLQJ��ZLWK�GLVDEOHG�DFFHVV��) ��)LUVW�DLG�URRP


�� !��!��$"" �&"� ��!��!&$�!�� !��!��$"" �&"�#$"&��&��%&��$%�� !��!��$"" �&"�#$"&��&��%&��$%��

��%&��$%��!��'��!��(��$�%�$%�"��PP��DQG�JRLQJV�RI��PP

�

� � �

� ��

� �

��

3URWHFWHG�VWDLUV�%�3URWHFWHG�VWDLUV�$�3LONLQWRQ�3\URVWRS��%%

��

��

��

��

��

��

��

��

��$��""$%��"%��!�HYHQW�RI�¿UH��'!��&"�"#�!��!��$��&�"!�"��%��#�

��PP ��

��

��

�(��$

��PP

��PP([LW�WR�DVVHPEO\�SRLQW�$��ZLGWK��PP�

([LW�ZLGWK��PP

��!'��#"�!&

��


��"��" ��$ �!" $��$�� ""�� "��D��:HW�HTXLSPHQW�VWRUH�WR�SURWHFWHG�FRUULGRU��P�E��:HW�HTXLSPHQW�VWRUH�WR�SURWHFWHG�VWDLUV�%��P

��&

��%LF\FOH�:RUNVKRS��$��##� ��&��7UDLQLQJ�5RRP��'LYLGDEOH�� "#��$ "��'LVDEOHG�$FFHVV�8QLVH[�:&��ZLWK�EDE\�FKDQJLQJ��IDFLOLWLHV��:HW�(TXLSPHQW�6WRUH��'U\�6WRUDJH�$UHD��%LQ�6WRUDJH��%"��&��$ "��'LVDEOH�SDUNLQJ

�$�!��" #��

*URXQG�)ORRU�3ODQ��

��

1

�

��

�

�

�

�

�

��

3URWHFWHG�VWDLUV�%�

3URWHFWHG�VWDLUV�$�

3URWHFWHG�FRUULGRU

3URWHFWHG�FRUULGRU

��

��

��

��

��

��

��

��

� ��

��

��

��PP

([LW�WR�DVVHPEO\�SRLQW�%��ZLGWK��PP�

([LW�WR�DVVHPEO\�SRLQW�&��ZLGWK��PP��PP

��%��! ��$

STEPHEN RINGROSE� 101064602ARC2010� ENVIRONMENTAL DESIGN & SERVICESSIMPLICITY, ECONOMY, HOME� SITE CB.A. ARCHITECTURAL STUDIESSESSION 2011-2012

In order to design an efficient and sustainable building, it is important to calculate U-values for the exposed surfaces of the flat (ground floor, exterior walls, roof, doors and windows).

The exterior wall construction comprises a timber frame with timber cladding and OSB/3 board internally. Timber naturally has good thermal properties, particularly for a lightweight construction of this type (for example, the exterior cladding is to be softwood, such as cedar, which has a thermal conductivity of 0.13 W/mK), and studs of 150mm x 50mm were selected, primarily for increased structural strength, but also to accommodate larger volumes of insulation.

This insulation material throughout the building was well considered, with many types looked at including Rockwool, Phenolic foam and Polyisocyanurate (PIR). The latter was found to be the most efficient, with a thermal conductivity of just 0.021 W/mK, and thus was selected for the external walls. A combination of insulation from Celotex and Kingspan is used, consisting of 150mm PIR in between the timber studs, with a secondary layer of 100mm outside them. This arrangement gives an overall U-value of for the walls of 0.1.

The floor is a suspended timber system, consisting of 18mm tongue and grove chipboard over timber joists (195m x 50 mm at 400mm centres) with 175mm of Kingspan ThermaFloor TF70 insulation, giving an overall U-value of 0.15 W/m2K.

A warm-deck flat roof is used, delivering improved energy efficiency over the traditional cold-deck design, whilst eliminating the risk of condensation by moving the dew point outside of the structure. Again Kingspan insulation was chosen at 150mm, giving a U-value of 0.1 W/m2K.

In terms of windows and doors, the flat uses Frostkorken doors (Passivhaus certified doors, comprised of timber with cork insulation) by Optiwin, which are amongst the most efficient on the market, offering a low U-value of just 0.72 W/m2K. Triple glazing (from German company ENERsign) is used throughout, capable of delivering U-values of just 0.65 W/m2K. Triple glazing insulates up to 60% better than a low-e double glazed window, and reduces heat radiation between glass and room by 80%.

Flat Energy Performance

Walls - 0.1 W/m2K

Roof - 0.1 W/m2K

Ground Floor - 0.14 W/m2K

Windows = 0.65 W/m2K (Including wooden frame, triple glazed and gas filled)

Doors 0.72 W/m2K

On-site Renewable Energy

36.7m2 Photovoltaics

ENERGY PERFORMANCE - U-VALUES

Image of ENERsign window sample, and Frostkorken doors used.

U-values

� Documents detailing the U-values achieved, including the insulation chosen for each, with sections showing construction details of the suspended ground ��

Walls

Roof

Floors

In terms of making the flat more sustainable, a range of methods were looked at to see whether it would be possible for it to become energy self efficient. These methods included usage of solar water heating systems (notably evacuated tube solar collectors) and photovoltaic solar panels amonst others.

Photovoltaics is a method of generating electrical power by converting solar radiation into DC electricity. Solar panels are used, composed of cells containing a photovoltaic material, commonly silicon based. Due to the growing demand for renewable energy sources, the manufacturing of solar cells and photovoltaic arrays has advanced considerably in recent years, however the efficiency still remains fairly low for consumer usage. Monocrystalline silicon cells are the most efficient of the photovoltaics technologies with a conversion efficiency of around 15-19%. The effect of shade does need to be considered however, as even minor shading can result in critical loss of energy. The adjacent concrete clad defensive walls will provide shading when the sun is over to the east, reducing the efficiency of the system, however modern modules now have a bypass diode to minimise shade effects, so it is perhaps less of a problem than in the past.

The warm-deck flat roof design of the flat is appropriate for the implementation of this method, as the optimum panel inclination angle (of roughly 30 degrees) can be achieved using appropriate framework. The SAP calculation indicates that the self-contained flat requires 6337 kWh/year for the both the central and water heating systems. In terms of electricity, the usage of low energy lighting and a relatively good daylighting strategy means the total electrical requirements are fairly low, adding just a further 300 kWh/year for lighting and fans, making a total of 6637 kWh/year.

The UK gets on average, around 950 kWh/year per square metre (this varies regionally, and at different times of the year). Assuming the photovoltaic panels used have a full efficiency of 19%, and are orientated to maximize their potential, each 1m2 would produce 181 kWh/year, thus to cover the total energy requirements of the dwelling, a setup of 36.7m2 of panels would be required. This is theoretically possible as the roof has an exposed area of 38m2.

In comparison, the usage of solar water heating systems would require much less space. Solar water heating systems use energy from the sun for heating. They are normally used to heat domestic hot water tanks, however more efficient installations are capable of contributing towards central heating. Solar heating systems use a heat collector, usually mounted on a roof, in which a fluid is heated by the sun. This fluid is used to heat water that is stored in either a separate hot water cylinder or in a twin-coil hot water cylinder. A domestic installation comprising 4m2 collection area can provide between 50% and 70% of the hot water requirement for a typical home, thus a setup of merely 8m2 would be sufficient to cover the hot water heating requirements of the flat. Doubling this to 16m2 would include the general heating requirements also. However, whilst evacuated tube solar collector are arguably more efficient, the required setup could cost in excess of £20,000, and there is the need for water storage tanks, where the flat simply does not have the required space. The need for photovoltaics would also still be there in terms of generating the electrical requirements, thus it makes sense to stick to just one type.

ENERGY STRATEGY - BECOMING SELF SUFFICIENT

Photovoltaic panels and diagram of typical system installation.

DAYLIGHTING STRATEGY

In terms of day lighting, the strategy implemented was slightly governed by site constraints and design concepts. A public park space to the immediate southern boundary limited the usage of fenestration for obvious privacy issues. Instead, most of the natural lighting is taken from the north and west, with the only exception being high up window in the bathroom facing south. The window design is intended to be fairly generous where used,

Placement of glazing was also constrained by the tall concrete clad wall running down the eastern side of the flat, which forms a strong part of the overall site design concept on site. This meant there could be no glazing on this side, and in addition, the flat shares a party wall with the other residents’ living space up to the first storey, hence there could be no glazing there either.

However, upon modeling some of the key spaces within Dialux 4.9, the results generally show more than acceptable lighting throughout. Acceptable lux levels in a space are roughly 100-300 (with 100 being the expected norm towards the back of a room for example).

Dialux lighting simulation of lounge space, demonstrating typical ��

By using this technology in conjunction with the high performing construction methods, windows and doors used (which help to minimise energy requirements in general), we can actually get a fairly sustainable design that is capable of being almost entirely energy self sufficient. Whilst the initial setup costs would be very high, over time the expenses are earnt back in cost savings, and it is certainly worthwhile with module lives estimated to be at around 25 years. Other advantages of photovoltaics include the carbon dioxide emissions savings, as they produce none within their operating lifetimes, leading to a more sustainable design. The SAP result of 29% improvement of the TER with 6 credits makes the building level 4 under the code of sustainable home, meeting my design intentions to create a sustainable dwelling. With such high performing insulation and windows there is no need for a chimney, or even a flueless gas fire, all of which improves the SAP score. The U-values achieve all meet AECB Gold Standards.

SUMMARY

Stephen Ringrose, Leeds UKPart 1 ArchitectEmail: [email protected]

part 1 undergraduate portfolio

Documents

range of wildlife

site plan

science festival

exceparc3001 ecologies

ricart arc3001

wildlife corridors

local wildlife

temporary structure