Jonathan Oswald - Graduate Portfolio

7/27/2019 Jonathan Oswald - Graduate Portfolio

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Coalescence

the union o diverse things into one body or orm or group; the growing

together o parts.

Jonathan Oswald


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The aim o the project was to orm a new connection between the industrial

uses on the Churchelds site and the historic heart o Salisbury. This has

been achieved through the reorganising o 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 crat and skill that has become

an established part o the current industrial landscape. It brings these oten-

separated typologies into one structure to create an environment to inspire,

create and learn.

The hierarchy o the building is dened through its materiality and architectural

orm, making use o transparent and opaque materials to dene the servant

and served spaces. This is achieved by reinterpreting the industrial warehouse

orms to enclose the primary uses. The circulation spaces are contained

within a strong glass orm to connect these main areas and establish a linear,

visual link to both the city and the rest o Churchelds, reecting the purpose

o the building.


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Masterplanning

Building DevelopmentFinal Building

Technical Work

01 - 16

17 - 4243 - 66

67 - 74

Contents


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Salisbury is a small Cathedral city located in

Wiltshire in the South o England, having a

population o 39,726 at the time o the 2001

Census. The city sits on the river Avon and our

o its tributaries. As such the city has developed

around this network with much o the city

being located on the higher ground between

the waterways. The main eature o the city is

its Cathedral and the historic city grid, known

as the Chequers, that surrounds it. The mix o

the waterways and the historic centre create a

stunning landscape in which the city presides.

This project deals with the redevelopment o

the Churchelds Industrial Estate, a large site to

the West o the city centre that is located within

the connes o a River Nadder Oxbow and

associated water meadows. The site borders the

Conservation area that encompasses most o the

central city area. The site is to be developed into

a housing led area in accordance with the plans

o the Salisbury Vision.

Early Site Analysis

Churchelds Collage

01 Part 1 Masterplanning


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Arts Centre

Train Station

Churchfields Industrial Estate

Water Meadows

Conservation Area Boundary

Market Place

Cathedral

02


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Site Boundary, Access Points and Views Rail and Vehicular Routes



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Flood Risk UWE Frenchay Campus Scale Test

04


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This exercise quickly produced ideas or 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 rst in the context o the wider urban area

and then ocused more upon the site in detail.

What was produced at these two scales was

inuenced by a set o words that were pre-

established. These words were Green Fingers,

Industry and Science based Education.

What was identied 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 ocus or the

development o the rest o the site.

Speed Planning



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06


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Viewing Corridor to Cathedral and Site Hierachy Green Ingress and Links Road Grid Based Upon Oxbow and Views

Soul

Bucolic

Landscape

Work &Body

Urban

Landscape

Landscape

& Mind

The masterplan or the site was developed with

a ocus around the sight lines to the Cathedral

along with the locations or new green links. The

aim was to reintegrate the site back into the city,

to establish a new urban area that elt part o the

city rather than independent rom it.

An analysis o the views to the Cathedral rom the

site show there is a narrow corridor between two

barriers o trees that allow or clear views. Taking

this line as the key element in the Masterplan

along with pedestrian links a hierarchy was

established that acilitated the masterplan and

also dened the site o the project building.

The masterplan was urther rened in order to

begin to rationalise the site while retaining all

existing buildings rom the industrial estate that

were in good condition.

Masterplan Development



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Retained BuildingsPedestrian Movement around Site Use Zoning

08


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The urban orm and site layout has been

inuenced by our main contributing actors. In

order to reintegrate the site back into the city,

new natural connections, ootpaths 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 o

Churchelds road and providing access routes to

new developments across the site.

These two elements intersect to create the

main urban orms or the site, and both centre

around a new avenue that establishes a physical

and visual link the Cathedral across the width o

the Churchelds site, establishing a link between

the retained elements o the industrial estate,

through the new urban development, to the city

centre.

The site is to be mixed use, with a prominence

towards dierent uses across the site, moving

rom light industrial in the West, through a central

residential area to a more leisure and ofce led

development in the East.

Masterplan Components



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Natural Connections Vehicular Links

l i i l i

Main Site Flow Primary Use Areas

10


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The renovation o 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

hal, with a new acade then created. The work

program also established design rules or aades

and created new city squares where the avenues

intersected. The aim was to use these new city

arteries to breathe new lie into a crowded city,

making it more open, permeable and connected.

Many o the ideas rom the Haussmann Plan

were transerable into the project work at the

masterplan level, inorming 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 o the new development

is ocused, being built around the existing

industrial areas. What is created is a strong

visual and physical link between the industrial

landscape o the site and the Cathedral. At

points o intersection new spaces are created,

o which one contains the project building.

This progression runs parallel to those ideas put

orward by Haussmann.

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



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The massing o the new development on the

site has been subject to the main masterplan

components and the site context. As a result,

the site eatures 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 o

the tree line that surrounds the site on the rivers

edge.

From North to South the density and scale o the

buildings reduce, in order to ocus trafc to the

North and allow the development to dissipate

into the river valley towards the South. The use

o higher densities to the North also establishes

the development as part o the city and creates a

strong connection to both the Train Station and

the existing Churchelds Road.

Masterplan Massing

North to South West to East



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The main aim o the building is to create a link

between Churchelds and the historic heart o

Salisbury, establishing a physical link to match the

visual link o the masterplan.

The building will establish this link through its

programme and orm.

A building layout that will relate the masterplan to

the current city.

The establishment o a new public realm

and walk-able connections to the city and

Churchelds.

Gallery

100 people 2.8m2min per person

280m2room

Workshops

15 people 2.6m2min per person

39m2room 4to6rooms

60to90 people total

Studios

3to4 people 2.6m2min per person

11m2room 6 rooms

24 people total

Administration

20 people FT 8m2min per person

160m2room

234 people max.

Building Brie

17 Building DevelopmentPart 2


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18

Salisbury Cathedral rom the Meadows John Constable 1829


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This sketch was completed on Constables last

visit to Salisbury in 1829, it is rom this painting

that Constable developed some o his later

works regarding the Cathedral and eatures a

view that is o a greater distance than the painting

completed in 1831. Typical o Constables oil

studies, the picture is executed with tremendous

reedom, yet with an eye or composition and a

varied palette. The overall eect is one o a resh,

breezy day, the rain clouds clearing away into the

distance, to reveal blue patches o sky. The dark

mass o trees on the let guides the eye towards

the spire o the cathedral, which reaches up

towards the light.

The view eatured in Constables work is

remarkably similar to the view rom the building

site. The Cathedral is the main eature o the

painting and the view rom the site, yet it is

slightly obscured rom view in both Constables

work and the site today. While the building,

in particular the gallery, will seek to make the

most o 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 o the landscape

itsel, in the same position the Constable would

have produced his work rom.

Salisbury Cathedral rom the Meadows, John Constable, 1829



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GoldsmithsCentre, Lyall, Bills & Young, London, 2012


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Public

Services

Spine

Circulation

Admin

Workshops

Studios/

Workshops

Workshops

Circulation Void

Studios/ Workshops

The primary unction o the Centre is to provide

post-graduate education, business start-up studio

space, business skills tuition and support or

young goldsmiths, plus crat skills training to pre-

apprentice silversmiths close to Hatton Garden,

the traditional home o the trade in London.

The building programme ound here is similar

to that o the proposed building with a mix o

education and studio/workshop space. What is

apparent within the plan o this building is the

importance o the central void and open ground

oor area. The ground oor area contains all

the communal and public acilities, leaving the

upper oors ree to ocus on the ofce, 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 rom

the rest o the building and a dedicated lit or

getting materials and equipment to the various

rooms. It is these two elements, the circulation

and service access that have been inuential on

the development o the building programme

diagram and the building orm itsel.

Goldsmith s Centre, Lyall, Bills & Young, London, 2012


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


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0

1

2

3

4

Workshops

Studios

Services

AdminPublic Spaces Circulation Routes

The project is or the renovation and extension

o an art centre in Utah with the extension being

built rom railway sleepers reclaimed rom the

Great Salt Lake. The new ve-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 rootop terrace will overlook the

existing building, which the architects intend to

renovate into an educational hub with a rootop

sculpture garden.

This building also contains similar programme

elements to those proposed in the project

building, containing a mixture o public spaces

and more private educational spaces. The

circulation in this building is around the exterior

o the space, rather than centralising it, resulting

in main building spaces being central in the

building, rather than making use o the external

suraces. The response to the city context is

another relevant element, the building ootprint

and lower gallery ace the city grid, and as the

building rises, it turns to greet visitors entering the

city via the main access street. This manipulation

o orm in order to meet the context and views at

two dierent levels is an element that has been

investigated in the project building.

y g

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Site Analysis & Masterplan Refnement


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Cathedral

Nadder Valley

The site selection evolved in conjunction with

the masterplan development. Following the

initial masterplan, site analysis and development

took place that then ed back into the masterplan

to urther rene it and ully integrate the project

building into it.

The site, in the context o the masterplan is located

at the Eastern end o the key site avenue, with the

main vista towards the Cathedral over the water

meadows. This is a key location or establishing

the link between the city and Churchelds. The

vista rom the site encompasses the view that

Constable experienced and recreated in his

works.



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Existing Site Access Sun Path and Prevailing Winds Proposed Access and Routes from Masterplan Main Site views from Masterplan

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Form Experiments & Programme Development


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Following the site selection, the next exploration

involved experimenting with raw orms and ideas

to accommodate the programme on the site.

The basic idea was to capture the view o 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

o organising the spaces through diagrams to

understand the interaction o the programmeelements and the dierent users o the building.



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1

6 7 8 9 10

2 3 4 5

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Initial Development


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This stage involved looking at the site in context

and attempting to establish a orm based upon

this. This stage o development ran parallel to the

development and evolution o the masterplan,

so as it developed the site context changed

rom being based upon the existing site context

to being based around the context proposed

by the masterplan. This changed the nature o

the space around the building and thereore the

thinking behind it.



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

The building is designed to house the home


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Germany

France

Switzerland

Basle

i

The building is designed to house the home

collection by Vitra within the Vitra Campus on

the outskirts o Basle. The ve-storey structure is

comprised o 12 houses that are stacked upon

one another. The building has a daytime view o

the surrounding landscape, while in the evening

the perspective is reversed. During the day, one

gazes out o the house, and when darkness alls,

the Vitrahaus interior glows, and the physical

structure o 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 o the intersection and

orientation o dierent orms in order to create

one coherent building. From the exterior the

orientation o the orms appears to have no

relevance to its surroundings, however when the

building is analysed in the context o the wider

area it becomes clear. Each orm is oriented

to take advantage o 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

or orienting the building orms to capture the

context o the building has been inuential on

the building design.



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At this stage the building layout and orm had

Interim Design


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Gallery

A dm in Worksh op

Studios

been designed to t the context and constraints

o the masterplan. The site is located where the

viewing corridor meets the river and is thereore

the location or pedestrian routes that link to the

Town Path, the city and Harnham. This vista to

the Cathedral is a narrow, gap between a set o

trees that provides a clear view over the water

meadows.

The conict was thereore to locate the building,

and in particular the gallery, in such a position

in which to make use o the vista towards theCathedral and Harnham while not blocking the

view or the ground level pedestrians. This is the

primary reason or the orientation and shape o

the building. The building is rotated away rom

the viewing corridor so as to not create a solid

barrier to the path, and the rst oor gallery

then projects over the path so that it nestles in

between the trees. The ace o the gallery is then

re-oriented towards the Cathedral. The result is

that the building is able to take advantage o the

Vistas towards the city and down the Nadder

Valley.



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The plans developed as a result o the site context

Plan Development


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and the programme diagrams. This established

the rst iteration o the layout. Following this, the

additional building requirements that are needed

or the building to perorm its primary unctions

resulted in the plans evolving and changing. The

individual spaces o the building were planned

and re-planned, with some spaces moving and

others being incorporated into one space.

Some o these changes include the shiting o

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 oor. This removed

the need or 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 rom the linear set o studios to

establish the circulation space instead o having

a kink in all the spaces.



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34

This stage began to deal with crating the internal

spaces o the building and their relationship with

Further Development


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spaces o the building and their relationship with

the external environment.

The main area to be rened in the design was

the glazed circulation space that sits between the

two timber orms. It began as a cuboid that sat

between the spaces but uncomortably stepped

down to link to the artists studios at river level. As

a result a new orm was sought that would help

dene 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

orm that divides the more opaque nature o the

programme spaces. The shape has been selected

as a wide arch, ollowing the sectional prole o

the building as it steps down the riverbank and

creates a link to the landscape at both ends o

the building.

Further development then took place to properly

dene the entrance space and the rontage 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 lit that had cluttered them and creating

transparent aces internally and externally, to

establish this area as a visible production space.



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The development models were used as a tool

to explore the buildings interaction with the tree

Development Models


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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 orm o 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 o these models it was noted that

what would become an important element o

the project would be the buildings interaction

with the landscape, and how it would mediate

between the built and natural orms.



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The landscape plan developed around the study

o two precedents and the desire to emphasize

Landscape Development


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the linear nature o the avenue through the site.

The landscape plan would be the continuation

o a plan or the whole o the Churchelds in an

aim to properly ingrain the building into the site.

The landscaping consists o lines o planting

that are divided by Yorkstone paving and bricks

to match those ound in the city centre. The

planting and hard suraces 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 o the project building, it draws ocus

towards the building entrance.

How the building merges into the riverbank was

also an area that required careul consideration. It

was decided to use the same style o landscaping

ound across the site to dissolve the hard orm o

the building back into the landscape.

BGU University Square, Chyutin Architects 9/11 Memorial, PWP Landscape Architecture

39 Building DevelopmentPart2


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The rough process that was undertaken rom initial

orm to the nal building is demonstrated here.

It took the idea o reinterpreting the warehouse

Form Process


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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 i i

It took the idea o reinterpreting the warehouse

orms and developed it in accordance with the

programme requirements, views, landscape and

public realm ideas to establish the nal orm.



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i i i Fo rms D iv ided to Create Circu lat ion Space Gal le ry Face Skewed Towards Cathedral Art is t s Studios inse rted into Rive rbank Circu la tion Space Cra fted to Junct ion between the

Forms

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The site plan has been organised around the

context o new urban areas proposed in the

masterplan, establishing a new urban realm that

Site Planning


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1

2

3

4

5

6

1

2

3

4

5

6

Churchfields

Churchfields Road & Train Station

City Centre & Train Station

Cathedral Views

Harnham Views

Harnham

Industry

Cultural

Education

Studios

Workshops

Gallery

Flows Connections

Routes Programme Accomodation

connects Churchelds to the riverbank walk, and

thereore linking to Harnham and the city centre.

The building sits within this public space, creating

the connection between Churchelds and the

landscape beore it.

The building is oriented within the site so as to

sit o the main avenue, yet provide a rontage

onto it. The projected orm o the g allery is then

suspended above the avenue to take advantage

o 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

dierent route. Parking spaces are provided

on site or disabled and sta only, other users

o the building will be directed to other sites in

Churchelds, making use o the wider urban area

instead o just the individual site.

43 Final BuildingPart 3


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1. Yorkstone Brick & Paving

2. Dark Stained Timber

3. BGU University Square, Chyutin Architects

4. Loosdrecht Island House, 2by4 Architects

5. Existing Natural Grass and ReedbedsSite Plan 1:500

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The building is organised using two extruded

orms containing all the main use areas, with a

central spine o circulation that then spans the

Building Organisation


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WorkshopsGallery

Teaching Rooms

Studios

Administration Oce

Lecture Theatre

three oors. This spatial organisation mirrors

the use o transparent and opaque materials to

represent the servant and served spaces o the

building.

The building programme is organised with

a ocus around locating the education and

reception areas between the workshops and

studios. Establishing a shared creative area or

the two creative typologies to interact.


Circulation


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Gallery

Lecture Space

Workshops

Administration

Services

Teaching Rooms

Painters Studios

Breakout Space

Stores

46

1.

2.

3.

Breakout Space

Painters Studios

Teaching / Meeting Rooms


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River Level Ground Level

2.

1.

3.

5.

4.

5.

6.

7.

8.

9.

g g

Lecture Space

Main Reception

Administration

Services & Stores

Main Gallery

Workshops

1:200



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Upper Level

4.

6.

8.

9.

7.

48


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Main Entrance

The space is dened using the glazed element

to provide a permeable access point. This is then

ramed using an additional timber structure that

ollows the existing lines o the building. The

external space is created using the layout o the

building to dene two sides o 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 oor, the building and landscape opens

out in ront o them. The lecture space is seen

to the let, which can be divided rom 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.



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Upper Circulation Space

At the top o the main set o stairs, the upper

circulation space is a glass void between the

orms 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 unction to be viewed rom the circulation

space. The orm o 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 o the void between the

upper levels o the building and the row o artists

studios. It provides the main access into the

studios as well as opening up to the riverbank,

continuing the line o circulation that is ound

across all three oors o the building. The space

connects vertically to the glass orm above and

out each end into the public realm and landscape

through glazing.

50

This exercise was done to investigate the quality

o light that would be achieved in the Workshop

spaces. For the purposes o this study a stronger

light was used that than the actual north light

Workshop Light Study


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to develop an understanding o how the light

permeates the space. Lighting in this space

requires indirect dispersed light, to provide even

light onto the working suraces. This is important

or crats such as woodworking, glass making

and metalwork. In the process o perorming this

exercise the size o the window was doubled and

the wall acing onto the main circulation space

was changed to a glazed wall not only to add

visibility to the space but also to add additionalindirect south light into the space.



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The Gallery space is one o the most important

spaces within the building. This space provides an

environment to establish the link between the crat

and skill ound in the industrial processes within

Churchelds back to the landscape as depicted

Main Gallery


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Churchelds back to the landscape as depicted

by Constable. This link is created through this

space, with large glazed windows at either end

o the extruded orm that capture views onto the

Cathedral and back into Churchelds through the

main site avenue. Within the s pace works created

within the building will be displayed, serving as an

educational tool or the creativity o industry and

artistry. For this reason the space is makes use

o light tones in order to provide a bright spaceto display the works. Colour within the space is

dened by the surrounding landscape and the

works displayed within it.

Loosdrecht Island House, 2by4 Architects, 2012



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These spaces are presented to artists at river

level in order to capture the same view that

Constable took advantage o in his works. The

spaces embrace the surrounding environment,

being built into the landscape and opening out

Painters Studio


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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 o exposed concrete on the oor and walls,

also providing a hard wearing surace that will

gather layers o history rom those artists who

will use the space.



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This space is the main junction between the two

main building orms. It is ormed o arching glass

that divides the two opaque buildings sat either

side o it, as a result o the nature o this space,

the external appearance o the two extrusions is

Circulation


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brought into the interior o this space, in order to

urther dene these two orms 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.



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The building creates a rontage to the

Churchelds site and is viewable rom the Water

Meadows, so it was important that this rontage

established a connection between the urban

and natural landscapes. Part o this is achieved

by bedding the building into the riverbank itsel

Building & Landscape Integration


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by bedding the building into the riverbank itsel,

embedding the artists into the environment they

are representing in their work.

The shallow pitched roos provide variations in

height that reect the variation ound in the tree

line that makes up this site rontage.

The use o glass on this rontage not only

provides the view out over the meadows, but

creates reections o this landscape in the

building when viewed rom the Town Path. It also

makes the building permeable and viewable rom

across the meadows, providing glimpses o the

unction o the building rom aar.



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The building is located at the end o the site

avenue and as a result orms part o the public

realm or 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 o its elevated

Public Realm


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gallery to capture this view, while the public

space runs beneath it.

The main entrance to the building is straight

o the public realm, using the two staggered

building orms to create two sides o the square

and rame the entrance.

The landscape o the public realm reects

the linear nature o 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 orm and the landscape.



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62


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North East Elevation 1:200

South West Elevation 1:200



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South East Elevation 1:200

North West Elevation 1:200

64


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66

Structural Strategy


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m2 m3

Excavated Earth 148 444

Concrete River Level S lab Concrete (50% GGBS RC40) 0.2 223 44.54 2400 106,896.00 0.101 10,796.50

Ground Level S lab Concrete (50% GGBS RC40) 0.2 443 88.62 2400 212,688.00 0.101 21,481.49

Upper Level S lab Concrete (50% GGBS RC40) 0.2 585 117 2400 280,800.00 0.101 28,360.80

Columns Concrete (50% GGBS RC40) 2.052 2400 4,924.80 0.101 497.40 .

Beams Concrete (50% GGBS RC40) 8.91 2400 21,384.00 0.101 2,159.78 .

Cast Walls River Level Concrete (50% GGBS RC40) 34.2 2400 82,080.00 0.101 8,290.08

Ground Level Concrete (50% GGBS RC40) 8.1 2400 19,440.00 0.101 1,963.44

Upper Level Concrete (50% GGBS RC40) 29.99 2400 71,979.84 0.101 7,269.96 .

Reinforcement All Cast Concrete General Steel 8.325 7800 64,937.81 1.37 88,964.80

Built Walls Blockwork Concrete Block 43.59 1450 63,205.50 0.073 4,614.00

Timber Panels Skin OSB 0.02 1086 21.72 640 13,900.80 0.96 13,344.77

Structure Timber (General) 0.23 109 24.98 480 11,989.44 0.72 8,632.40

Fill Rockwool 0.23 1086 249.8 24 5,994.72 1.05 6,294.46

Steel Frame General Steel 116.4 0 0.221 7800 1,725.05 1.37 2,363.32

Cladding Timber (General) 0.01 937 9.367 480 4,496.28 0.72 3,237.32

Box Profile Steel 0.00005 149 0.007 7800 58.24 1.37 79.78

Windows External Windows Aluminium Clad Timber Frame 330 13,195.30

Circulation Aluminium Clad Timber Frame 172 6,876.96

Internal Aluminium Clad Timber Frame 41.3 1,651.68

966,442.24 230,074.24 Total

Total Floor Area (sqm) 1250.8 772.66 183.94 per sqm

Embodied Energy

(MJ/m3)

Embodied Carbon

(kg CO2 /kg)Building Component

AmountMaterial Thickness Density Weight (kg)

67 Technical WorkPart 4

Circulation Space

Glass

Aluminium Clad Timber Frame

Roof

Pre-fabricated Timber Panels


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River Level

Ground Level

Upper Level


Timber Cladding

Workshop Dividing Walls

Cast Concrete

Gallery Space

Steel Frame

Service Area Walls

Concrete Blockwork

External Upper Walls


Timber Cladding External Service Area Wall


Box Profile Steel Cladding

External Upper Walls


Timber Cladding

Upper Level Slab

Pre-cast Concrete Floor Panels

Concrete Screed

Main Windows

Double Glazing


Ground Level Structure

Concrete Frame

Gallery Support

Pre-cast Concrete Beams

Steel Fixing Brackets

Internal Walls

Concrete Blockwork

Main Windows

Double Glazing


External Service Area Wall


Box Profile Steel Cladding

External Lower Walls


Timber Cladding

External Lower Walls


Timber Cladding

Ground Level Slab

Beam and Pre-cast Concrete Panels

Concrete Screed

Foundations

River Level WallsConcrete Retaining Wall

Concrete Blockwork

Studio Bi-fold Doors

Double Glazing

Aluminium Clad Timber Frame River Level Slab

Beam and Pre-cast Concrete Panels

Concrete Screed

Foundations

68

Environmental Strategy


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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

Flood Mitigation

This lower element of the building has a minor

risk from flooding, so this has been taken into

account in the material and service elements of

the space. Cast concrete is used for the floor

and wall surfaces, providing a hard wearing andresilant surface. Electrical and lighting services

are run down from ceiling level and will be a

minimum of 1200mm from floor level so

prevent any contact with any flood water.

Heating

Underfloor 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



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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.

Internal Structural Concrete

Concrete has been used for most internal

surfaces to provide a long lasting and resilant

finish that will withstand the lifespan of the

building. It also provides much of the thermal

mass of the building

Workshop Heating

Underfloor heating is not used in these spaces

due to the potential need to fix machinery and

workbenches into the concrete floor. In this

case radient panel heaters are used. These can

be attached to the walls and roof and can the

posistioned as seen fit for the function of the

space.

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.

70

The details o the building became a very

important element, ensuring the strength o the

built orms. The desire was to have two opaque,

extruded orms divided by the translucent

circulation space. To achieve this the building

components needed to be as clean and

uncluttered as possible, internal and externally.

Detail Development


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For this reason the desire was to hide all drainage

systems and minimise structural support or the

glass, as it is the minimal nature o the orms that

gives them their strength.

The details went through several iterations,

investigating the layup o preabricated 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, specically

how this would junction against the opaque

orms 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 reinorce the hierarchy

o the building organisation.

71 Part 4 Technical Work


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External Timber Cladding

Hidden Gutter

Downpipe within Timber

Panels

Structural Glazing Support

Drainage Channel

Structural Glazing Support

Structural Double Glazing

Grass Roof Build Up

Precast Concrete Panels

Timber Panels Fixed to Steel Support

Trusses

1:20 Developing Details

72

Waterproofing Layer

Polycarbonate Profiled Gutter

12mm OSB

20mm Battens

Engineered Timber I-Beam

200mm Insulation

Breather Membrane

Plasterboard Lining


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Vapour Control Layer

Aluminium Window Frame

Engineered Timber I-Beam

200mm Insulation


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


Damp Proof Course

50mm Insulation

Concrete Blockwork

Structural Concrete Column

In Situ Concrete Strip Foundation1:20 Final Detail Section



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1:1 Developing Detail

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Jonathan Oswald - Graduate Portfolio

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