Coalescence

the union of diverse things into one body or form or group; the growing together of parts. Jonathan Oswald

The aim of the project was to form a new connection between the industrial uses on the Churchfields site and the historic heart of Salisbury. This has been achieved through the reorganising of site to create physical and visual connections to the citys Cathedral and natural landscape around which a new urban area can develop. The building establishes a link between the scenery recognised by John Constable and the craft and skill that has become an established part of the current industrial landscape. It brings these oftenseparated typologies into one structure to create an environment to inspire, create and learn. The hierarchy of the building is defined through its materiality and architectural form, making use of transparent and opaque materials to define the servant and served spaces. This is achieved by reinterpreting the industrial warehouse forms to enclose the primary uses. The circulation spaces are contained within a strong glass form to connect these main areas and establish a linear, visual link to both the city and the rest of Churchfields, reflecting the purpose of the building.

Contents Masterplanning Building Development Final Building Technical Work 01 - 16 17 - 42 43 - 66 67 - 74

Early Site Analysis

Salisbury is a small Cathedral city located in Wiltshire in the South of England, having a population of 39,726 at the time of the 2001 Census. The city sits on the river Avon and four of its tributaries. As such the city has developed around this network with much of the city being located on the higher ground between the waterways. The main feature of the city is its Cathedral and the historic city grid, known as the Chequers, that surrounds it. The mix of the waterways and the historic centre create a stunning landscape in which the city presides. This project deals with the redevelopment of the Churchfields Industrial Estate, a large site to the West of the city centre that is located within the confines of a River Nadder Oxbow and associated water meadows. The site borders the Conservation area that encompasses most of the central city area. The site is to be developed into a housing led area in accordance with the plans of the Salisbury Vision.

Churchfields Collage

01 Part 1

Masterplanning

Arts Centre

Train Station Churchelds Industrial Estate Market Place

Water Meadows

Cathedral

Conservation Area Boundary

02

Site Boundary, Access Points and Views

Rail and Vehicular Routes

03 Part 1

Masterplanning

Flood Risk

UWE Frenchay Campus Scale Test

04

Speed Planning
This exercise quickly produced ideas for the site at two scales using whatever was to hand at the time. The ideas placed down on the site model were largely based on the topic analysis that had previously been done. The two scales dealt with the site first in the context of the wider urban area and then focused more upon the site in detail. What was produced at these two scales was influenced by a set of words that were preestablished. These words were Green Fingers, Industry and Science based Education. What was identified was the need to improve pedestrian and cyclist links to Harnham in the South and the City Centre/Cathedral to the East. These routes were then taken and key anchor points were created through which new centres could be established, providing a focus for the development of the rest of the site.

05 Part 1

Masterplanning

06

Masterplan Development
The masterplan for the site was developed with a focus around the sight lines to the Cathedral along with the locations for new green links. The aim was to reintegrate the site back into the city, to establish a new urban area that felt part of the city rather than independent from it. An analysis of the views to the Cathedral from the site show there is a narrow corridor between two barriers of trees that allow for clear views. Taking this line as the key element in the Masterplan along with pedestrian links a hierarchy was established that facilitated the masterplan and also defined the site of the project building. The masterplan was further refined in order to begin to rationalise the site while retaining all existing buildings from the industrial estate that were in good condition.

Landscape & Mind

Urban Landscape

Work & Body Bucolic Landscape

Soul

Viewing Corridor to Cathedral and Site Hierachy

Green Ingress and Links

Road Grid Based Upon Oxbow and Views

07 Part 1

Masterplanning

Pedestrian Movement around Site

Use Zoning

Retained Buildings

08

Masterplan Components
The urban form and site layout has been influenced by four main contributing factors. In order to reintegrate the site back into the city, new natural connections, footpaths and cycle routes are created. These new routes link the site to pre-existing links in the city and establish new connections to both Harnham and the surrounding natural landscape. A new vehicular hierarchy is also established, creating strong links to the main access route off Churchfields road and providing access routes to new developments across the site. These two elements intersect to create the main urban forms for the site, and both centre around a new avenue that establishes a physical and visual link the Cathedral across the width of the Churchfields site, establishing a link between the retained elements of the industrial estate, through the new urban development, to the city centre. The site is to be mixed use, with a prominence towards different uses across the site, moving from light industrial in the West, through a central residential area to a more leisure and office led development in the East.

09 Part 1

Masterplanning

Natural Connections

Vehicular Links

Natural Connections

Vehicular Links

Main Site Flow

Primary Use Areas

10

Renovation of Paris, Georges-Eugne Haussmann, 1853 - 1870

The renovation of Paris established new boulevards and routes through the tight medieval city grid, creating direct links between the citys main buildings and a more rational city grid. In creating the new routes, buildings that were in the way were demolished and some sliced in half, with a new facade then created. The work program also established design rules for faades and created new city squares where the avenues intersected. The aim was to use these new city arteries to breathe new life into a crowded city, making it more open, permeable and connected. Many of the ideas from the Haussmann Plan were transferable into the project work at the masterplan level, informing the overall project narrative. A strong avenue has been created through the existing industrial estate, removing selected buildings to accommodate it. Around this new avenue much of the new development is focused, being built around the existing industrial areas. What is created is a strong visual and physical link between the industrial landscape of the site and the Cathedral. At points of intersection new spaces are created, of which one contains the project building. This progression runs parallel to those ideas put forward by Haussmann.

11 Part 1

Masterplanning

12

Masterplan Massing
The massing of the new development on the site has been subject to the main masterplan components and the site context. As a result, the site features taller, higher density buildings at its centre, with a peak around the central intersection on the new main avenue. From this the buildings slope down to meet the height of the tree line that surrounds the site on the rivers edge. From North to South the density and scale of the buildings reduce, in order to focus traffic to the North and allow the development to dissipate into the river valley towards the South. The use of higher densities to the North also establishes the development as part of the city and creates a strong connection to both the Train Station and the existing Churchfields Road.

North to South

West to East

13 Part 1

Masterplanning

14

15 Part 1

Masterplanning

16

Building Brief
The main aim of the building is to create a link between Churchfields and the historic heart of Salisbury, establishing a physical link to match the visual link of the masterplan. The building will establish this link through its programme and form. A building layout that will relate the masterplan to the current city. The establishment of a new public realm and walk-able connections to the city and Churchfields.

Gallery 100 people 280m

2

2.8m2 min per person

room

Workshops 15 people 39m 60

2

2.6m2 min per person

rooms

to

4 to 6 90 people total
room

Studios 3 to 4 people 2.6m2 min per person 11m2 room 6 rooms 24 people total Administration 20 people FT 160m2 room 234 people max. 8m2 min per person

17 Part 2

Building Development

18

Salisbury Cathedral from the Meadows, John Constable, 1829

This sketch was completed on Constables last visit to Salisbury in 1829, it is from this painting that Constable developed some of his later works regarding the Cathedral and features a view that is of a greater distance than the painting completed in 1831. Typical of Constables oil studies, the picture is executed with tremendous freedom, yet with an eye for composition and a varied palette. The overall effect is one of a fresh, breezy day, the rain clouds clearing away into the distance, to reveal blue patches of sky. The dark mass of trees on the left guides the eye towards the spire of the cathedral, which reaches up towards the light. The view featured in Constables work is remarkably similar to the view from the building site. The Cathedral is the main feature of the painting and the view from the site, yet it is slightly obscured from view in both Constables work and the site today. While the building, in particular the gallery, will seek to make the most of this view and Constables landscape, it also seeks to provide the same views that were available to the artist. The artists studios in the building are at ground level; part of the landscape itself, in the same position the Constable would have produced his work from.

19 Part 2

Building Development

20

Goldsmiths Centre, Lyall, Bills & Young, London, 2012

The primary function of the Centre is to provide post-graduate education, business start-up studio space, business skills tuition and support for young goldsmiths, plus craft skills training to preapprentice silversmiths close to Hatton Garden, the traditional home of the trade in London. The building programme found here is similar to that of the proposed building with a mix of education and studio/workshop space. What is apparent within the plan of this building is the importance of the central void and open ground floor area. The ground floor area contains all the communal and public facilities, leaving the upper floors free to focus on the office, studio and workshop spaces. What is also clear is the importance segregation between the service access and user movement. The services are separated, with access independent from Services the rest of the building and a dedicated lift for getting materials and equipment to the various Circulation and service access that have been influential on the development of the building programme diagram and the building form itself. Circulation rooms. It is these two elements, the circulation Public Spine Admin Studios/ Workshops Workshops Void Workshops

Studios/ Workshops

21 Part 2

Building Development

Kimball Arts Centre, B.I.G, Park City, Utah, In Progress

The project is for the renovation and extension of an art centre in Utah with the extension being built from railway sleepers reclaimed from the Great Salt Lake. The new five-storey, twisting wing will provide exhibition galleries both at basement level and upstairs, connected to each another and to a restaurant between by a winding staircase. A rooftop terrace will overlook the existing building, which the architects intend to renovate into an educational hub with a rooftop sculpture garden. This building also contains similar programme elements to those proposed in the project building, containing a mixture of public spaces and more private educational spaces. The circulation in this building is around the exterior

of the space, rather than centralising it, resulting in main building spaces being central in the building, rather than making use of the external surfaces. The response to the city context is another relevant element, the building footprint and lower gallery face the city grid, and as the building rises, it turns to greet visitors entering the city via the main access street. This manipulation of form in order to meet the context and views at two different levels is an element that has been investigated in the project building.

Workshops Studios

Services Admin

Public Spaces

Circulation Routes

22

Site Analysis & Masterplan Refinement

The site selection evolved in conjunction with the masterplan development. Following the initial masterplan, site analysis and development took place that then fed back into the masterplan to further refine it and fully integrate the project building into it. The site, in the context of the masterplan is located at the Eastern end of the key site avenue, with the main vista towards the Cathedral over the water meadows. This is a key location for establishing the link between the city and Churchfields. The vista from the site encompasses the view that Constable experienced and recreated in his works.

Cathedral

Nadder Valley

23 Part 2

Building Development

Existing Site Access

Sun Path and Prevailing Winds

Proposed Access and Routes from Masterplan

Main Site views from Masterplan

24

Form Experiments & Programme Development

Following the site selection, the next exploration involved experimenting with raw forms and ideas to accommodate the programme on the site. The basic idea was to capture the view of the Cathedral through a raised space that would be elevated above the site avenue so as to not obstruct the public realm but instead create a physical interaction with it. Having understood the spaces required by the building programme, there was a process of organising the spaces through diagrams to understand the interaction of the programme elements and the different users of the building.

25 Part 2

Building Development

10

26

Initial Development
This stage involved looking at the site in context and attempting to establish a form based upon this. This stage of development ran parallel to the development and evolution of the masterplan, so as it developed the site context changed from being based upon the existing site context to being based around the context proposed by the masterplan. This changed the nature of the space around the building and therefore the thinking behind it.

27 Part 2

Building Development

28

Vitrahaus, Herzog & de Meuron, Weil am Rhein, Germany, 2010

The building is designed to house the home collection by Vitra within the Vitra Campus on the outskirts of Basle. The five-storey structure is comprised of 12 houses that are stacked upon one another. The building has a daytime view of the surrounding landscape, while in the evening the perspective is reversed. During the day, one gazes out of the house, and when darkness falls, the Vitrahaus interior glows, and the physical structure of the house seems to dissipates into the landscape. The glazed gable ends turn into display cases that shine across the campus and the surrounding countryside. The project makes use of the intersection and orientation of different forms in order to create one coherent building. From the exterior the orientation of the forms appears to have no relevance to its surroundings, however when the building is analysed in the context of the wider area it becomes clear. Each form is oriented to take advantage of the various views across the city, down river valleys and across hills, in the process also connecting the building to Germany, France and Switzerland. This method for orienting the building forms to capture the context of the building has been influential on the building design.

Germany

Germany

France

France

Basle

Basle

Switzerland

Switzerland

29 Part 2

Building Development

30

Interim Design
At this stage the building layout and form had been designed to fit the context and constraints of the masterplan. The site is located where the viewing corridor meets the river and is therefore the location for pedestrian routes that link to the Town Path, the city and Harnham. This vista to the Cathedral is a narrow, gap between a set of trees that provides a clear view over the water meadows. The conflict was therefore to locate the building, and in particular the gallery, in such a position in which to make use of the vista towards the Cathedral and Harnham while not blocking the view for the ground level pedestrians. This is the primary reason for the orientation and shape of the building. The building is rotated away from the viewing corridor so as to not create a solid barrier to the path, and the first floor gallery then projects over the path so that it nestles in between the trees. The face of the gallery is then re-oriented towards the Cathedral. The result is that the building is able to take advantage of the Vistas towards the city and down the Nadder Valley.

Gallery

Admin

Workshop Studios

31 Part 2

Building Development

32

Plan Development
The plans developed as a result of the site context and the programme diagrams. This established the first iteration of the layout. Following this, the additional building requirements that are needed for the building to perform its primary functions resulted in the plans evolving and changing. The individual spaces of the building were planned and re-planned, with some spaces moving and others being incorporated into one space. Some of these changes include the shifting of the lecture space across the building and turning it into a double height space, which in turn created a large basement level. Later on in the development, this was then reduced to a much lesser slope across a single floor. This removed the need for such wide scale excavation works, and created a more attractive space in comparison to the pit that was in its place. The artists studios were also reorganised into much more rational spaces, using the negative space created from the linear set of studios to establish the circulation space instead of having a kink in all the spaces.

33 Part 2

Building Development

34

Further Development
This stage began to deal with crafting the internal spaces of the building and their relationship with the external environment. The main area to be refined in the design was the glazed circulation space that sits between the two timber forms. It began as a cuboid that sat between the spaces but uncomfortably stepped down to link to the artists studios at river level. As a result a new form was sought that would help define the entrance space at one end, enclose the junctions between the building areas and created a more distinguished connection to the river level. The result is a stronger transparent form that divides the more opaque nature of the programme spaces. The shape has been selected as a wide arch, following the sectional profile of the building as it steps down the riverbank and creates a link to the landscape at both ends of the building. Further development then took place to properly define the entrance space and the frontage onto the public realm, enabling this area to be read externally as being the main access point to the building. The workshops were also reworked by removing the lift that had cluttered them and creating transparent faces internally and externally, to establish this area as a visible production space.

35 Part 2

Building Development

36

Development Models
The development models were used as a tool to explore the buildings interaction with the tree line, the river bank and the public realm. They explored exactly how the building would settle into the landscape and in particular the riverbank. Two early models were produced to establish the form of the building as a physical element it surroundings whereas the later model was produced at a larger scale to explore the relationship between the building elements and the landscape in more detail. As a result of these models it was noted that what would become an important element of the project would be the buildings interaction with the landscape, and how it would mediate between the built and natural forms.

37 Part 2

Building Development

38

Landscape Development
The landscape plan developed around the study of two precedents and the desire to emphasize the linear nature of the avenue through the site. The landscape plan would be the continuation of a plan for the whole of the Churchfields in an aim to properly ingrain the building into the site. The landscaping consists of lines of planting that are divided by Yorkstone paving and bricks to match those found in the city centre. The planting and hard surfaces provide variety in plant types, trees and seating areas. Where these spaces come across buildings and other roads, the planting and paving changes orientation. In the case of the project building, it draws focus towards the building entrance. How the building merges into the riverbank was also an area that required careful consideration. It was decided to use the same style of landscaping found across the site to dissolve the hard form of the building back into the landscape.

BGU University Square, Chyutin Architects

9/11 Memorial, PWP Landscape Architecture

39 Part2

Building Development

40

Form Process
The rough process that was undertaken from initial form to the final building is demonstrated here. It took the idea of reinterpreting the warehouse forms and developed it in accordance with the programme requirements, views, landscape and public realm ideas to establish the final form.

Programme Forms Located on Site

Forms Staggered in Response to Context

River Bank Cut Away for Access

Lower Area Removed to Open up Viewing Corridor

Forms Divided to Cre

41 Part 2

Building Development

up Viewing Corridor

Forms Divided to Create Circulation Space

Gallery Face Skewed Towards Cathedral

Artists Studios inserted into Riverbank

Circulation Space Crafted to Junction between the Forms

42

Site Planning
The site plan has been organised around the context of new urban areas proposed in the masterplan, establishing a new urban realm that connects Churchfields to the riverbank walk, and therefore linking to Harnham and the city centre. The building sits within this public space, creating the connection between Churchfields and the landscape before it. The building is oriented within the site so as to sit off the main avenue, yet provide a frontage onto it. The projected form of the gallery is then suspended above the avenue to take advantage of elevated views towards the Cathedral and down the Nadder Valley. Priority within the space is given to pedestrian and cycle movement, with vehicular access being secondary and providing access via a different route. Parking spaces are provided on site for disabled and staff only, other users of the building will be directed to other sites in Churchfields, making use of the wider urban area instead of just the individual site.
1 2 3 4 5 6 Churchelds Churchelds Road & Train Station City Centre & Train Station Cathedral Views Harnham Views Harnham

Flows

Connections

Industry

Gallery

Workshops Studios Cultural Education

Routes

Programme Accomodation

43 Part 3

Final Building

1. Yorkstone Brick & Paving

2. Dark Stained Timber

3. BGU University Square, Chyutin Architects

4. Loosdrecht Island House, 2by4 Architects

Site Plan 1:500

5. Existing Natural Grass and Reedbeds

44

Building Organisation
The building is organised using two extruded forms containing all the main use areas, with a central spine of circulation that then spans the three floors. This spatial organisation mirrors the use of transparent and opaque materials to represent the servant and served spaces of the building. The building programme is organised with a focus around locating the education and reception areas between the workshops and studios. Establishing a shared creative area for the two creative typologies to interact.

Gallery

Workshops

Teaching Rooms

Administration O ce Lecture Theatre

Studios

45 Part 3

Final Building

Circulation

Gallery

Teaching Rooms Lecture Space Workshops Administration Services

Painters Studios Breakout Space Stores

46

1. 2. 3. 4. 5. 6. 7. 8. 9.

Breakout Space Painters Studios Teaching / Meeting Rooms Lecture Space Main Reception Administration Services & Stores Main Gallery Workshops

1:200

5.

3.

1.

2.

River Level 47 Part 3

Final Building

Ground Level

7.

6. 9.

4. 8.

Upper Level 48

Main Entrance The space is defined using the glazed element to provide a permeable access point. This is then framed using an additional timber structure that follows the existing lines of the building. The external space is created using the layout of the building to define two sides of it and using the landscaping style to lead the public towards the main door.

Reception and Ground Circulation Space Upon entering the building, the occupant is within the main circulation space. Here on the ground floor, the building and landscape opens out in front of them. The lecture space is seen to the left, which can be divided from the main space using sliding partitions. The main stair takes the user up to the gallery and workshops, while the stair behind this goes to the artists studios.

49 Part 3

Final Building

Upper Circulation Space At the top of the main set of stairs, the upper circulation space is a glass void between the forms that contain the workshops and gallery, with bridges through the void providing access. The workshops are seen to the right, being presented to this space using glazing, allowing the function to be viewed from the circulation space. The form of the glazing rises over this space an arches down towards the reception and the artists studios, drawing the eye down and creating a vertical connection within this space.

River Circulation Space This space is created out of the void between the upper levels of the building and the row of artists studios. It provides the main access into the studios as well as opening up to the riverbank, continuing the line of circulation that is found across all three floors of the building. The space connects vertically to the glass form above and out each end into the public realm and landscape through glazing.

50

Workshop Light Study

This exercise was done to investigate the quality of light that would be achieved in the Workshop spaces. For the purposes of this study a stronger light was used that than the actual north light to develop an understanding of how the light permeates the space. Lighting in this space requires indirect dispersed light, to provide even light onto the working surfaces. This is important for crafts such as woodworking, glass making and metalwork. In the process of performing this exercise the size of the window was doubled and the wall facing onto the main circulation space was changed to a glazed wall not only to add visibility to the space but also to add additional indirect south light into the space.

51 Part 3

Final Building

52

Main Gallery
The Gallery space is one of the most important spaces within the building. This space provides an environment to establish the link between the craft and skill found in the industrial processes within Churchfields back to the landscape as depicted by Constable. This link is created through this space, with large glazed windows at either end of the extruded form that capture views onto the Cathedral and back into Churchfields through the main site avenue. Within the space works created within the building will be displayed, serving as an educational tool for the creativity of industry and artistry. For this reason the space is makes use of light tones in order to provide a bright space to display the works. Colour within the space is defined by the surrounding landscape and the works displayed within it.

Loosdrecht Island House, 2by4 Architects, 2012

53 Part 3

Final Building

54

Painters Studio
These spaces are presented to artists at river level in order to capture the same view that Constable took advantage of in his works. The spaces embrace the surrounding environment, being built into the landscape and opening out directly onto the riverbank. The result is a space that immerses the occupant into the landscape, using materials, sights and sounds to do so. This materiality is brought into the interior by making use of exposed concrete on the floor and walls, also providing a hard wearing surface that will gather layers of history from those artists who will use the space.

55 Part 3

Final Building

56

Circulation
This space is the main junction between the two main building forms. It is formed of arching glass that divides the two opaque buildings sat either side of it, as a result of the nature of this space, the external appearance of the two extrusions is brought into the interior of this space, in order to further define these two forms and the junction between them. The space connects the building areas vertically and horizontally, providing viewing spaces through to the landscape and into the various spaces, creating an environment where the processes that take place are visible to the building occupants.

57 Part 3

Final Building

58

Building & Landscape Integration

The building creates a frontage to the Churchfields site and is viewable from the Water Meadows, so it was important that this frontage established a connection between the urban and natural landscapes. Part of this is achieved by bedding the building into the riverbank itself, embedding the artists into the environment they are representing in their work. The shallow pitched roofs provide variations in height that reflect the variation found in the tree line that makes up this site frontage. The use of glass on this frontage not only provides the view out over the meadows, but creates reflections of this landscape in the building when viewed from the Town Path. It also makes the building permeable and viewable from across the meadows, providing glimpses of the function of the building from afar.

59 Part 3

Final Building

60

Public Realm
The building is located at the end of the site avenue and as a result forms part of the public realm for connections to Harnham, the Town Path and the city centre. The avenue creates a viewing corridor over the water meadows to the Cathedral. The building makes use of its elevated gallery to capture this view, while the public space runs beneath it. The main entrance to the building is straight off the public realm, using the two staggered building forms to create two sides of the square and frame the entrance. The landscape of the public realm reflects the linear nature of the avenue, establishing a directionality that draws the eye down this space towards the Cathedral. This is then broken to establish a new angle that draws a line to the building entrance and creates and interaction between the building form and the landscape.

61 Part 3

Final Building

62

North East Elevation 1:200

South West Elevation 1:200

63 Part 3

Final Building

South East Elevation 1:200

North West Elevation 1:200

64

65 Part 3

Final Building

66

Structural Strategy

Building Component

Material Excavated Earth

Thickness

Amount m
2

Density Weight (kg)

Embodied Energy Embodied Carbon (MJ/m3) (kg CO2 /kg)

148 0.2 0.2 0.2 223 443 585

444 44.54 88.62 117 2.052 8.91 2400 2400 2400 2400 2400 106,896.00 212,688.00 280,800.00 4,924.80 21,384.00 82,080.00 19,440.00 71,979.84 64,937.81 63,205.50 13,900.80 11,989.44 5,994.72 1,725.05 4,496.28 58.24 0.101 0.101 0.101 0.101 0.101 0.101 0.101 0.101 1.37 0.073 0.96 0.72 1.05 1.37 0.72 1.37 10,796.50 21,481.49 28,360.80 497.40 2,159.78 8,290.08 1,963.44 7,269.96 88,964.80 4,614.00 13,344.77 8,632.40 6,294.46 2,363.32 3,237.32 79.78 13,195.30 6,876.96 1,651.68 230,074.24 183.94

Concrete River Level Slab Ground Level Slab Upper Level Slab Columns Beams Cast Walls River Level Ground Level Upper Level

Concrete (50% GGBS RC40) Concrete (50% GGBS RC40) Concrete (50% GGBS RC40) Concrete (50% GGBS RC40) Concrete (50% GGBS RC40) Concrete (50% GGBS RC40) Concrete (50% GGBS RC40) Concrete (50% GGBS RC40)

34.2 2400 8.1 2400 29.99 2400 8.325 7800 43.59 1450 0.02 0.23 0.23 116.4 0.01 0.00005 1086 21.72 640 109 24.98 480 1086 249.8 24 0 937 149 330 172 41.3 0.221 7800

10% 0.2052 0.228 0.891 0.99 0 0 3.42 3.8 0.81 0.9 2.99916 3.3324 8.32536 9.2504

2.052 8.91 0 38 34.2 9 8.1 33.324 29.9916 2.28 9.9

Reinforcement All Cast Concrete General Steel Built Walls Blockwork Timber Panels Skin Structure Fill Steel Frame Cladding Concrete Block OSB Timber (General) Rockwool General Steel Timber (General) Box Profile Steel

9.367 480 0.007 7800

Windows External Windows Aluminium Clad Timber Frame Circulation Aluminium Clad Timber Frame Internal Aluminium Clad Timber Frame

966,442.24 Total Floor Area (sqm) 1250.8 772.66

Total per sqm

67 Part 4

Technical Work

Circulation Space Glass Aluminium Clad Timber Frame

Roof Pre-fabricated Timber Panels Timber Cladding Service Area Walls Concrete Blockwork Workshop Dividing Walls Cast Concrete

Gallery Space Steel Frame

External Upper Walls Pre-fabricated Timber Panels Timber Cladding

External Service Area Wall Pre-fabricated Timber Panels Box Prole Steel Cladding

Upper Level Slab Pre-cast Concrete Floor Panels Concrete Screed Main Windows Double Glazing Aluminium Clad Timber Frame Ground Level Structure Concrete Frame Gallery Support Pre-cast Concrete Beams Steel Fixing Brackets Internal Walls Concrete Blockwork

Upper Level

External Upper Walls Pre-fabricated Timber Panels Timber Cladding

External Lower Walls Pre-fabricated Timber Panels Timber Cladding Ground Level Slab Beam and Pre-cast Concrete Panels Concrete Screed Foundations

External Service Area Wall Pre-fabricated Timber Panels Box Prole Steel Cladding

Ground Level

Main Windows Double Glazing Aluminium Clad Timber Frame

External Lower Walls Pre-fabricated Timber Panels Timber Cladding River Level Walls Concrete Retaining Wall Concrete Blockwork

Studio Bi-fold Doors Double Glazing Aluminium Clad Timber Frame

River Level
River Level Slab Beam and Pre-cast Concrete Panels Concrete Screed Foundations

68

Environmental Strategy

Gallery Solar Shading Expressing the extrusion externally not only gives a strength to the form but also provides shading from high summer sun while allowing winter sunlight to penetrate the space in the morning

Heating Underoor heating is used in most spaces bar the workshops to make use of the concrete thermal mass and provide clean, unlcuttered spaces within the building

Flood Mitigation This lower element of the building has a minor risk from ooding, so this has been taken into account in the material and service elements of the space. Cast concrete is used for the oor and wall surfaces, providing a hard wearing and resilant surface. Electrical and lighting services are run down from ceiling level and will be a minimum of 1200mm from oor level so prevent any contact with any ood water.

69 Part 4

Technical Work

Timber External Skin Pefabricated timber panels were selected to form the external skin of the building as it would provide a lightweight constrcution that would be able to accomodate a high level of insulation.

Workshop Heating Underoor heating is not used in these spaces due to the potential need to x machinery and workbenches into the concrete oor. In this case radient panel heaters are used. These can be attached to the walls and roof and can the posistioned as seen t for the function of the space. Internal Structural Concrete Concrete has been used for most internal surfaces to provide a long lasting and resilant nish that will withstand the lifespan of the building. It also provides much of the thermal mass of the building

Internal Glazing and Ventilation Internal glazing is used to open the workshop spaces to the circulation space and allowing the industrial processes to be viewable. It also allows indirect south light to reach into these spaces via the main glazed circulation space. The glazing panels also feature operable vents to create an airlow through the workshops.

Glazed Circulation and Ventilation The heavy use of glazing allows south light into this space throughout the day, which then disperses into the connected spaces. The triple height open space also allows for excess heat to be vented through the top, creating negative pressure to draw fresh air into the neighbouring rooms.

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Detail Development
The details of the building became a very important element, ensuring the strength of the built forms. The desire was to have two opaque, extruded forms divided by the translucent circulation space. To achieve this the building components needed to be as clean and uncluttered as possible, internal and externally. For this reason the desire was to hide all drainage systems and minimise structural support for the glass, as it is the minimal nature of the forms that gives them their strength. The details went through several iterations, investigating the layup of prefabricated timber wall panels and their attachment to the building structure, along with how a hidden gutter detail could work in this context. Structural glazing systems were also investigated, specifically how this would junction against the opaque forms to create a clean detail. It was important that the glazing appear to nestle between the two structures, rather than appear heavy and independent in order to reinforce the hierarchy of the building organisation.

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Technical Work

External Timber Cladding Hidden Gutter Timber Panels Fixed to Steel Support Trusses Downpipe within Timber Panels

Structural Glazing Support

Structural Glazing Support

Structural Double Glazing

Drainage Channel

Grass Roof Build Up Precast Concrete Panels

1:20 Developing Details

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Waterproong Layer Polycarbonate Proled Gutter 12mm OSB 20mm Battens Engineered Timber I-Beam 200mm Insulation Breather Membrane Plasterboard Lining Vapour Control Layer

Aluminium Window Frame Engineered Timber I-Beam 200mm Insulation Vapour Control Layer Breather Membrane 75mm Polished Concrete Screed 100mm Rigid Insulation Board Precast Concrete Beam Precast Concrete Floor Panel Structural Concrete Beam / Ceiling Joists / Air Gap Plasterboard Lining 200mm Insulation Western Red Ceder Cladding 20mm Battens / Air Gap Breather Membrane

Vapour Control Layer Damp Proof Course

50mm Insulation Concrete Blockwork Structural Concrete Column

1:20 Final Detail Section

In Situ Concrete Strip Foundation

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Technical Work

1:1 Developing Detail

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