Technology Report

THA1240ASSIGNMENT ONE:

U1261273KATE GLYNN:

MATERIALS:

ZINC

FIG 1: FIG 2: FIG 3:



This report focuses on the analysis on many aspects of building design, from the fabric of the building to the way

it is constructed. Through the use of case studies this report aims to analysis six key areas: materials, environmental

design, building skins, construction, structure and building services.

The material that is studied in this report is zinc, contemplating how the material is mined and the problems

the trade is encountering, as well as discussing the use of the material in the Stonehenge Visitor centre where a special brand of zinc is used to clad the underside of the roof in

order to reflect the light. The end of zinc and its ability to be recycled and reused in other buildings is also studied.

When analysing environmental design this report focuses on a development that strives on creating

sustainable building and using sustainable building material, Centre for Alternative Technologies (CAT) and more

specifically the Sheppard Lecture Hall in the CAT development. This building incorporates rammed earth and

other sustainable materials in the design.

30 St Mary’s Axe also known as the Gherkin is the case study for building skins. With its double skin façade, the

twisting diamond structure with the moveable glazing allows a higher rate of air movement round the building.

This in turn with the interior layout allows air to circulate in the social spaces of the building.

To analysis how buildings are constructed the Museum of European and Mediterranean Civilisations (MUCEM) is

used to analysis a unique material of ultrahigh reinforced concrete which has been used to create a filigree concrete

effect that covers the building. Through this section of the report analysis how the building is put together and how the

different elements are all constructed.

London’s Aquatic Centre is used to analysis the structure by using a solid concrete structure as a bases, that encases the

major amenities of the design as well as a steel frame structure for the room that symbolises the fluid movement

of water. This design is also flexible by being able to remove the extra seating needed for the Olympic Games and then

down scale the seating to accommodate everyday life.

For building servicesthe MMU Student Union is a great example of how a building can have many different

functionalities and hoe it is these function that define the building services. In order to create comfortable space no

matter the activity a controlled and sustainable design must be implemented.

As you read this report you will see the variety of case studies for sky scrapers to swimming pool the different

functionalities and design concepts of these building have been dictated by the technology the architects have uses,

through extensive research and by using the technology to serve the conceptual design all these buildings are amazing

in their own right.

INTRO:

Zinc is a chemical element; it is used mostly to create otheralloys – such as brass. Other uses of zinc include a

componentin batteries, for medicinal purposes and in some skincare products (Want to know it, 2011). As a building

material onehalf of the zinc that is produced is used in ‘zinc galvanizing,which is the process of adding zinc to iron or

steel to prevent rust’ (Kropschot, 2011). Zinc is now being explored and not just as an add on to improve other

materials failings, it being built into design to create sleek and elegant shapes in a range of colours companies such as

VMZINC are exploring it’s possibilities and have been doing it since 1978 (VMZINC,2011).

Zinc production in recent years has taken a turn for the better in thinking about how to ‘restor[e] the ecological,

economic and social balance between generations and regions’ – to promote sustainable development of the zinc

industry (VMZINC, 2013). This is due to the Independent Mine Monitor’s report confirming fears that heavy metal

mining was contaminating edible fish species, in places such as the Northern Territory Gulf Region, with the pollution

coming from McArthur River Zinc Mine (Hageman, 2014).

The main countries where zinc ore is mined are:1. Asia and Australia: 44%

2. America: 43%3. Europe: 10%

4 Africa: 3%(VMZINC, 2013).

ZINC THE BIGINNINGS:

With the largest zinc mine is Rampura Agucha mine, India which in this year alone has produced 640,845 million metrictons (McLeod, 2015).

The environmental footprint of zinc involves the understanding of the resource requirements and the environmental releases associated with the metal production, however it also involves taking into consideration the benefits of using zinc at other stages in the product life (Zinc.org, 2015). In order to take both of these elements into consideration the ‘IZA launched the Zinc for Life program’ this resulted in the first global life cycle assessment (LAC) for high grade zinc (Zinc.org, 2015).

Zinc prices fluctuate regularly this is based on many factors such as, the fact that zinc prices are closely linked with the economy, during the recession between 2008 and 2010 zinc prices hit an all-time low (Adeyanju, 2014). More recently the LME (London Metal Exchange) have shown high stock levels in zinc this is turn drives the price of zinc downdramatically (Adeyanju, 2014). As a direct result of this continuation of high stock levels the price of zinc has fallen to a 5 year low companies such as Glencore have said that they would ‘slash its zinc output by over a third’ (Els, 2015). China as with many industry metals is the top consumer for zinc, this will therefore have an effect on the price for zinc and the demand goes up so will the price in order to capitalise of the high demand (Adeyanju, 2014).

FIG 1: (Orbital, 2008)

FIG 10: (Nappper, 2014)

FIG 11: (Wikipedia, 2009)

FIG 6: (Find My Mine, 2015)

FIG 12: (Chemistry for Everyone, 2013)

FIG 13: (LME, 2015)

VMZINC:Zinc in its basic form as a building material corrodes to

form a thin film over its surface called a patina, this light grey patina can take between six months to two years to

form depending of the clime and the exposure of the site, and this ‘protects the zinc completely and slows down its

irrigation with oxygen’ (VMZIC, 2010). With this protection even a thin rolled zinc can achieve up to 100 years life

depending on the environment (Nicely, 2015). Due to this patina zinc is a low maintenance material, it will self-repair

imperfection and scratches as the patina continues to develop over its life span (VMZIC, 2010). As previously

discussed zinc is becoming a more environmentally friendly product and the mining stage due to new regulations and

developments within the industry (Zinc.org, 2015), also as a finished product zinc is durable and also easily recyclable in

fact ‘in the building industry zinc is 100% recyclable’, putting it well ahead of many other materials that are only initially

taking the steps to become recyclable (VMZIC, 2010).

VMZINC produces different form of zinc to fit all of theirclient’s needs, they provide the freedom to craft

elegant shapes due to the malleability and construction capacity thatVMZINC provide (VMZIC, 2010). VMZINC

are constantly experimenting with their product, striving to expand the knowledge and uses of zinc, recently they

created a new surface finish AZENGAR – this new surface finish is the ‘first engraved zinc giving a product with a matt, heterogeneous and light aspect’ (VMZINC, 2014). VMINC’s

more sort after finish is their PIGMENTO fiishes it offers a range of colours that they believe will enhance any

building. This colorization of the zinc is achieved with aspecial pigment layer, ‘PIGMENTO provides a special

resilience in a marine environment’, and PIGMENTO is available in four standard colours: blue, green, brown, and

red. (VMZINC, 2014).

In an interview with Archdaily VMZINC explain the process on how they create intricate shapes with zinc specific to their client’s needs. They customized the bent panels to meet the client’s needs and specifications (Galloway, 2014). VMZINC are considerate to the environment, they are matriculate when it comes to ordering the materials needed they try to avoid wastage for both the ‘environmental impact as well as for keeping the product affordable for our clients’ (Galloway, 2014).

To create this seamless constriction VMZINC use the panels to hide the cladding rails and fixings, with many different ways of interlocking and attaching the panels, depending on if you are using the zinc panels as interior cladding, exterior facades or as roof cladding (VMZINC, 2015).

On the facades the different interlocking systems, create different affect depending on how the client envisions their project.

FIG 14: (VMZINC, 2014)


FIG 15: (VMZINC, 2014) FIG 16: (VMZINC, 2014)

FIG 2: (VMZINC, 2014) FIG 17: (VMZINC, 2014)








The Stonehenge visitor centre is a recent project finished in 2013 by architects Denton Corker Marshall, they won the competition to design the visitor centre after plans for the

first scheme fell through 20 years previously (Waite, 2012).

The Stonehenge visitors centre ‘is finally leaving its understated mark on the Wiltshire countryside’ (Cook,

2014). There are three pods underneath the curved steel roof structure that was developed to represent the rolling

hills of the Wiltshire countryside, (Denton Corker Marshall Architects, 2013). This roof with the underside being clad in zinc composite panels made by VMZINC is punctured with

a complex geometry that creates a blurred transition from the surrounding landscape to the interior of the building.

Supporting this steel frame roof are ‘211 irregularly places sloping columns’ (Archdaily, 2013). These columns are used

as an abstracted representation of the surrounding woods that will grow over time (Denton Corker Marshall

Architects, 2013).

The three pods are finished in different materials to indicate the function of the accommodation inside

(Denton Corker Marshall Architects, 2013). The largest which is clad in ‘sweet chestnut timber’ (Archdaily, 2013),

houses the museum and the service facilities located to the south of the structure. The glass pod located to the north

of the structure houses the ‘educational base, a stylish cafe and retail facilities’ (Archdaily, 2013). The smallest located

between the two is clad in zinc which provides the ‘ticketing and guidance facilities’ (Archdaily, 2013).

STONEHENGE VISITOR CENTRE:

The zinc used in the underlining of the roof, highlights the other materials of the three pods, it heightens their ‘their natural aspect’ allowing the free standing pods to sit beautifully, naturally and seamlessly beneath its canopy (Galloway, 2014). The punctured holes in the zinc paneling are cantilevered over the supporting columns this replicates the casting of shadows created by foliage it also creates a natural sun shade (Denton Corker Marshall Architects, 2013).

The zinc composite panels made by VMZINC, constructed using a cassette system wall panel as the cladding is used on the underside of the roof (VMZINC, 2012). As previously stated the zinc composite panels require little to no maintenance over its life span, which could span up to 70 years. Even though one of the requirements of the brief was to ensure the building could be taken down easily and efficiently if required (Archdaily, 2013). Unlike the natural zinc the panels that VMZINC make, the PIGMENTO brown panels are coated in a self- protective patina that prevents scratches and imperfections on the surface (Galloway, 2014). These PIGMENTO Brown panels reflect the materials beautifully allowing an elegant design that incorporates the reflection of light, as shown in the image to the right. Zinc is a durable and cost affective material in comparison to other materials. It is malleable, flexible and suitable for roof cladding for all roof pitches above 5% (Galloway, 2014). This promotes ‘natural ventilation and reduces the need for cooling in the pods’, although more technical solutions are also used in the building, such as ‘heat pumps and high efficiency insulation’ (Archdaily, 2013).

VMZ Composite-Cassette System: Sections

VMZ Composite Vertical CassetteVertical aluminium secondary frameworkBracketSliderSpacer to break thermal continuityVMZ Composite roof parapet copingVentilated base trim in zincPerforated profile

FIG 25: (Denton Corker Marshall Architects, 2013)


FIG 26: (Archdaily, 2013)




FIG 29: (Archdaily, 2013)

FIG 30: (VMZINC, 2012)FIG 4: (VMZINC, 2012)

While zinc ore in its beginnings of being mined is currently on the road to successfully become more sustainable, to

protect the surrounding environment and its inhabitant. Zinc as and end product is highly recyclable, ‘Few

materials are as dynamically useful as zinc’ (Purity Zinc Metals, 2012). ‘Today, more than 95% of the zinc products

used in buildings are collected at end-of-life’ (Zinc.org, 2015). It is estimated that zinc comprises of 0.006% of the

Earth’s crust (Amercan Galvanizers Association, 2014), because of the non-renewable nature of exiting zinc ore, it is vital that zinc will continue to be used. Zinc is a sustainable

material due to the fact that 40% of the zinc used worldwide comes from recycled sources (Purity Zinc Metals, 2012).

However due to zincs durability it is slow to enter the recycling system, the life of zinc containing products varies,

it can range from ‘10-15 in cars and household appliances’ to over ‘100 years for zinc panels and sheets used on roofs.’ The

products that zinc protect tend to be replaced due to undesirability, not because the zinc has ceased to protect the

product (Zinc.org, 2013).

The recycling process for galvanized (rust protected steel) is complex, the most widely applied zinc recycling of

galvanized steel is Electric Arc Furnace (EAF) heating. The steel is heated until the zinc volatizes, becoming a gas and separating from the steel, this gas is then treated in a

Wealz kiln turning the zinc gas into a dust an eventually it goes back to its original state as a raw material (Purity Zinc

Metals, 2012).

ZINC BACK TO THE

BIGINNINGS:FIG 31: (Recycling and Roheisen, 2015)

FIG 8: (Recinal, 2015)

FIG 32: (Zinc.org, 2014)

Zinc is arguably a renewable material, although the min-ing of the material is obviously not renewable the ability to recycle that material when a building has reached its end makes is somewhat renewable. The progress made with the different finished of zinc through companies such as VMZ-INC means that the material is constantly changing, pushing people’s perception of the uses of it in building design. I feel that this material could be used the emphasis the degrading of a building, to represent the ever changing landscape in the patina of the zinc as using it to show that building do infect change over time and we should be embracing these changes as architects.

ZINC TO CONCLUDE:



FIG 1: (Orbital, 2008)

CAT – Centre for Alternative Technology – located Mid Wales (CAT, 2012), CAT is an “education and visitor

centre demonstrating practical solutions for sustainability” (CAT, 2011). Since 1973 CAT has strived to create a project

that would show the nature of problems exiting in our society in relation to sustainability and create new and

experimental ways of moving forwards, when it first started on the Llwyngwern slate quarry it was a group of people

dedicated to “eco-friendly principles and a ‘test bed’ for new ideas and technologies” (CAT, 2009).

It has become over recent years a teaching grounds, a living laboratory and a valuable particle demonstration centre on how in modern day society we can implement sustainable practice in everyday life. They have an enormous range of

examples that they use on site of sustainable solutions, these include:

Photovoltaics Solar thermal A micro-grid Off-grid and grid-connected systems Biomass combined heat and power (CHP) Hydro Air source heat pumps A community heat main A range of small to medium wind turbines

(CAT, 2009).

SHEPPARD LECTURE

HALL - CAT

FIG 33: (Akamasdiver, 2013)

FIG 42: (Gwynfan Bungalow, 2015)

FIG 43: (CAT, 2011)

ENVIRONMENTAL DESIGN:

SHEPPARD LECTURE HALL CAT, WALES

FIG 33: FIG 34: FIG 35:

FIG 36: FIG 37: FIG 38:

FIG 39: FIG 40: FIG 41:

CAT is such a huge site and has many remarkable examples on how the building materials and basic structure of a building can have a major impact on the environmental design. For this section of my illustrated report I am going to use the WISE Building completed in 2010 by Architect Pat Borer and David Lea, but more specifically the Sheppard Lecture Hall (Griffiths, 2010).

WISE - the Wales Institute for Sustainable Education allows thousands of people to enter its doors with the opportunity to learn about “green architecture, renewable energy and other environmental technologies” (CAT, 2010). The Sheppard Lecture Hall is a circular building located to the south of the Wise building and is the centre piece to the entire building. It is a stunning circular space, consisting of a 7 metre high wall made of rammed earth that encompasses the main lecture hall. In this lecture hall up to 180 people can be accommodated on three tiers of fixed and moveableseating. The full height sliding door opens onto a southern glazed annular sun space. Natural light for the lecture hall when the sliding door is shut, comes in from a central skylight which can be covered using the mechanical moon disc (CAT, 2011).

FIG 44: (CAT, 2010)

FIG 34: (Soar, 2011)

FIG 40: (CAT, 2010)

RAMMED EARTH:

The circular interior walls of the Sheppard Theatre are the highest rammed earth walls in the UK, standing at 7.2

meters tall (CAT, 2010).Traditionally rammed earth walls and buildings are built with the soil upon which they stand,

and this in most cases still remains the preferred solution, the material could be improved if the soil is insufficient

through the addition of substances such as: clay, sand or stones (Rammed Earth Construction, 2015). In the case

of the Sheppard Theatre, Llynclys Quarry near Oswestry – located around 35miles away from CAT was identified as

source of suitable material for the lecture hall (CAT, 2010). The reason the architect used rammed earth was due to the

fact that earth is often a waste product in most building projects. This loose, moist subsoil in the compacted in thin layers between the formwork, a “circular shuttering system

with an adjustable radius” was used. The earth was added in 150mm layers that were then compacted using a pneumatic ram, many of the people that work at CAT were involved in

the build of the walls. The walls were built in 4 sections with 2 full height gaps for the doors. The rammed earth walls are

“500mm thick, incorporating 320 tonnes of earth”(CAT, 2010).

The rammed earth walls provide structural support for the roof, while still being the internal walls, this is so that the

external walls largely made of timber and glazing mainly on the southern walls so that the solar energy travels through

the glazing and is then absorbed by the earth walls. The thermal mass of the earth walls means that this solar gain is stored and then released into the building when it cools

keeping it at a stable temperature. This is a very efficient way of keeping a comfortable temperature without the need of

mechanical heating (CAT, 2011).

FIG 38: (Soar, 2011)

FIG 45: (CAT, 2010)

FIG 35: (Borer, Lea, 2010)

The Sheppard lecture theatre has as previously mentioned full height glazing to the south that allow the corridor around the rammed earth walls to heat up through solar gain, which in turn is absorbed through the rammed earth walls. The second opening directing in the center of thelecture theater is affectionately called the Moondisk at CAT,this opening can be mechanically closed so that the lightdoesn’t interfere with presentations. The moon diskilluminates the whole theatre, with its raised up positionabove the ceiling it allows the light to reflect off the whitesurface to decrease the amount of glare in the space(CAT, 2010). The amount of light that is able to be put intothe space reduces energy used in artificial lights during theday allows nature to fully encompass the space

Through the use of a combination of cross ventilation,warmer air rising and wind passing over the opening causing the suction effect, passive stack ventilation is the most effective natural ventilation (Passivent, 2015). In the Sheppard Theatre a solid timber shutter with external louvres, covered with a fly screen creates the opening in the roof of the theatre, above the Moondisk that due to the positioning of this vent it allows a “draught from one side of a room to the other, to create an up-draught of warm air”. This allows the heat gained from the rammed earth and the thermal mass, to regulate through the Passive stack effect (CAT, 2010).

THE MOONDISK:

FIG 39: (CAT, 2010)

FIG 46: (Colorcoat, 2011)

FIG 36: (Soar, 2011)

SUSTAINABLE INSULATION:

The external walls of the Sheppard theatre, to the west of the building are insulated using Hempcrete which consists of a

500mm hemp-lime mix that is then stabilized by 15% concrete – this concrete is used to help increase the

plasticity of the mix when it is applied. The hempcrete is applied by spraying the material against “temporary

shuttering, fully enclosing the timber frame of the building. This process providing a huge degree of “air tightness, while still remaining breathable” meaning that the risk of heat loss

is low limiting the chance of thermal bridging. In the Sheppard Lecture Theatre the hempcrete was sprayed into

the shuttering at a thickness of 500mm, this completely encompasses the timber frame which the WISE complex is built out of, this was then finished with lime render. “These

walls therefore have a u value of ~0.14W/m2/K” (CAT, 2011).

The roof of the theatre was insulated using cellulose which is recycled paper insulation, it is ideal for a project such as this

which is keen to use sustainable and environmentally friendly products. Cellulose insulation is up to 85% recycled

paper and due to this when added into buildings as insulation it traps carbon by products for years effectively

lowering a buildings carbon foot print (CIMA, 2012).

Cork insulation was also used in other areas of the WISE Building – it was used to avoid any cold bridging, also due to

it being water proof in some instances where other natural insulation material cannot be used in potentially damp areas

cork is a good solution to this problem (CAT, 2011).

FIG 47: (CAT, 2010)

FIG 48: (CAT, 2010)

FIG 49: (CAT, 2010)

FIG 50: (Design Blendz, 2009)

BUILDING SKINS:

30 ST. MARY AXE

FIG 51: FIG 52: FIG 53:

FIG 54: FIG 55: FIG 56:

FIG 57: FIG 58: FIG 59:

SHEPPARDLECTURE HALL TO CONCLUDE:The CAT prides itself on its sustainability project and the Sheppard Lecture Hall is fine example of that. The functionality and concept of the building as well as this drive in the environmental design of the building led to the use of rammed earth within this building. Using the earth to insulate and prevent noise pollution passing through the thick wall. This along with elements such as the moon disk, a way of preventing or allowing light into the space is also driven from the concept of the building. This way of using the technology and the environmental strategies to orientate and aid in the function of the building is something that has inspired me from researching this project, it is this was of thinking that I wish to implement into my design.

FIG 40: (CAT, 2010)

FIG 39: (CAT, 2010)

FIG 45: (CAT, 2010)

30 ST MARY AXE:

The Gherkin as it is affectionately known is a 41 story skyscraper standing at 180m built in 2004, and designed by

architectural firm Foster and Partners. It was commissioned by “Swiss Re, a reinsurance company” which wanted Foster

& Partners to design their office space of around 46,600 meters squared and therefore was originally called the Swiss

Re Building however, after the company sold the building in 2007 the building has reverted its name to the street

address upon which it stands on – 30 St. Mary Axe. Upon the original site of 30 St. Mary Axe was the “Baltic Exchange Building which was severely damaged by a terrorist attack in

1992” (A View on Cities, 2010).

The Gherkin is London’s first “ecological tall building” it has become an instant landmark in London’s historic skyline

(Lomholt, 2012). The tower was generated through the constraints that the site of 30 St Mary Axe provided, this

formed the base of the circular plan, allowing the building to appear more slender than many of the other blocky London

towers. The slimming of the base of the tower maximizes the public realm allowing the building to have affective

circulation and movement patterns at street level, this allows interaction between the uses of the building providing the

base with a more commercial and public domain rather than the privateoffice space above (Foster & Partner, 2004).

FIG 59: (Foster + Partner, 2004)

FIG 52: (My Decorative, 2014)

FIG 51: (Archinet, 2013)

The building set in the narrow medieval streets, began the debate for the need for more high rise buildings in the city centre, the Gherkin became an inspiration for the development of the city’s skyline, and in recent years has become an icon of London (A View on Cities, 2010). The building was featured in many advertisements for the London 2012 Olympics showing its iconic status within the city. Its “unusual yet centrally symmetrical form” creates a silhouette that can be seen and recognized across the city. It has been reproduced in many films, drawings and advisements as previously mentioned and become an urban icon inn its own right through the use of this transition of public space at the base the Gherkin has become a landmark, a place to meet and above all as mentioned an icon (Massey, 2013).




THE ‘LUNGS’, ATRIUMS:

The nature of the towers diagonally braced structure allows for column free floor space. The circular plan with radiating

fingers off each floor and radial geometry, link the floors through a series of atriums. These atriums create a social aspect between the breaks of the floor plan. Creating an

informal breakout space, a natural social focus – places for refreshment points and meeting areas, which spirals up the

building.

These atriums also have a very important environmental #aspect, distributing fresh air and in the same instance

drawing out the warm stale air. Through the use of the open panels in the façade fresh air is drawn into the atriums

which then function as the buildings ‘lungs’ distributing fresh air up space and along the floors. The fact that these atriums travel up several floors means that the stack effect

would occur, as the stale and warm air rises it is drawn upwards by the current of air at the top of the atrium and is then directed through a MVPR system to circulate the warms from the air. These systems reduce the building’s

#reliance on air conditioning and together with other sustainable measures, means that it uses only half the energy

consumed by a conventionally air-conditioned office tower (Foster + Partners, 2004).



FIG 61: (VOGT, 2006)

THE DOUBLESKIN FACADE:The façade on 30 St Mary Axe is a two-part system with a double-glazed, circular outer envelope which incorporates a diagrid structural system as well as the opening elements within the facade, and a single-glazed inner envelope, this is a double skinned facade (Moussavi, 2004). The double screen that sandwich a central ventilated cavity contain solar-control blinds. These cavities act as buffer zones to reduce the need for mechanical heating and cooling and are ventilated by exhaust air drawn from the offices.

The opening panels that provide the fresh air into the atrium spaces are controlled based off the climatic readings from the outside, the façade only opens what the external temperature is between 20 degrees Celsius and 26 with the wind speed being below 10mph, in accordance with the existing safety regulations within the building. (Architecture Week, 2005).




CONSTRUCTION:

MUCEM

FIG 63: FIG 64: FIG 65:

FIG 66: FIG 67: FIG 68:

FIG 69: FIG 70: FIG 71:

To conclude 30 St Mary’s Axe is a landmark of London it signifies the regeneration that the city has undergone to

become a beacon to the world, through its innovative design it is able to create air movement both internally and exter-

nally. This internal arrangement of space followed by the placement of the moveable façade aids in drawing out the

warm air through MVHR keeping the heat in the build-ing while provide fresh air. The moveable façade as well as

the structure that allows it is something that I would use in my design the simplicity of it in such a complex build-ing structural is something that creates an elegance to the

architecture. This is the reason as to why this building I such a landmark of the city.

30 ST MARY’SAXE TO

CONCLUDE:



FIG 52: (My Decorative, 2014)

MATERIALS“FILIGREE CONCRETE”:The Museum of European and Mediterranean Civilisations (MuCEM) is designed by the Algerian-born French architect Rudy Ricciotti, it is the main project of Marseille’s on-going architectural and cultural renaissance. The museum is located on Marseille’s seafront next to a seventeenth century stronghold, Fort St Jean (Lomholt, 2014). The concept behind the design is to incorporate: views, sea, sun, a mineral quality, all integrated around the cultural significance of the building as well its site. This all must be orchestrated by a program that is a cognitive experience (Archdaily, 2013).

The most striking element of the MuCEM is the pioneering exterior skin which is made up of a delicate filigreed concrete (Webster, 2015). Filigree is a term used to express ornamental and intricate designs usually associated with wire and jewelry (Design Boom, 2013). The concrete outer skin is technological brilliance and the filigree effect is achieved through fiber-reinforced ultra high performance concrete which combines and strenghthens the structural integrity of the concrete with the intricate delicacy, creating a practical solution to solar gains it also creates the fanning of shadows throughout the interior, thus creating an almost godly atmosphere within the museum (Archdaily, 2013). This fiber-reinforced ultra high performance concrete consists of aggregates, fibers and a binder. Its composition gives it three essential qualities: a compressive strength 6 to 8 times superior to conventional concrete, a perfect seal, and a capacity to mould the most diverse casts, henser the filigree effect. As its name indicates, it contains metallic and or synthetic fibers thinner than a strand of hair that also provide excellent performance under traction (Arcspace, 2014).

FIG 64: (Ricciotti, 2002).

FIG 72: (Massart, 2002).



CONCRETE“TREES”:

The building overall is a perfect square, 72 m per side, within this square, another of 52 m per side, comprising of the exhibition and conference halls can be identified as the heart of the museum (Archdaily, 2013). The concrete outer

layer covers the outer 72-meter square with the concrete also being used to create 308 tree-shaped pillars that stand at over 8 metres high and form the vertical structure of the

inner square. These pillars were constructed through a layering system much like how a 3D Printer works, each

type of pillar is coded and the layers of concrete are added to create the unique shapes of the vertical structure

(Lomholt, 2014).

The connection of the columns to each other, to the foundation slab and to the edge beams of the floors is

done with the use of post-tensioning that increases also the tensile resistance. The post-tensioning with sheathed

greased strands starts from the bottom of each tree-column. Going upwards, the strands follow the multiple branches. In

order to make the building earthquake resistant, dilatation joints were suppressed, edge beams for the floors have been post-tensioned to counter temperature effects, elements of the precast columns were pinned at the top and bottom by Freyssinet hinges, as the post-tensioning can pass through,

and most of the wind bracing was taken up by the central core (SCIA, 2013).

Given its marine environment, the deck is highly exposed to weathering from the sun, rain and sea spray so through the

use of UHPC with “closed pores”, it is air and watertight - it is as suitable material for the project design as for a maritime context (Arcspace, 2014). However, with the

colour of the concrete staying in the dust colour to represent the rocks of the sea and deteriorate of the surface

will increase the linkage between the ocean and the museum (Archdaily, 2013).

FIG 66: (Lafarge, 2002).






FIG 79: (Voinot, 2014).

FIG 65: (Sale, 2014).

FIG 78: (Archello, 2013).

JOINTS AND JUNCTIONS:“ZIGGURAT

RAMPS”Between the two square are openings that entirely bypass

the central square and form interconnected spaces, through the vertical and external awareness that is created in both the plan and through the use of materials. This use of the

filigree concrete creates views of the fort, the sea or the port, and culturally overwhelmed visitor within these spaces. The

two interlacing ramps span the exterior the inner square, this peripheral loop around the building and up to the ramp

towards the fort will be enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any

lingering doubts about the use of the history of our civilizations (Archdaily, 2013).

Stepping onto these ziggurat ramps, you enter a quite extraordinary space, “bristling with stainless-steel tie and suspension rods whose pins-and-needles ballet” which is flecked with shade from the larger square covered by the filigree concrete (Ayers, 2013). These ties are bolted onto

the filigree concrete with the suspension rods spanning the width of the space that houses the ziggurat ramps, these

rods are in tension in order to support the filigree concrete structure tying it back to the more solid concrete column

structure that surrounds the inner square and heart off the building (Archello, 2013).

STRUCTURAL DETAIL:


ST- JEANACCESS:

The promenade of ramps the thread around the building then continue towards the roof terrace which is bound to the idyllic Fort St-Jean with a 115m long slender pathway

and an 820 meter suspended walkway that cut through the structure and is itself a successful exercise in material

experimentation, sporting an elegant and effective slenderness (Design Boom, 2012). Once on the Fort St-Jean,

you enjoy sweeping views of the museum in its wider setting, a charcoal-grey shadow to the fort, its concrete

shawl reflects ripples on a sandy seabed (Lomholt, 2014).




ROOF TERRACE:The concrete pergola on the roof is supported above it through a clever system of stainless steel cables that attach to 15 meter wide cantilever beams that sit on top of the main vertical pillars of the building. The intricate filigree concrete surrounding the entire building is supported through the same concrete cantilever beams, the filigree concrete screening also shades areas of the terrace, stainless steel cables have also been fixed from the wooden deck to the cantilever beams which overhang above the terrace by 4 metres to stabilise the whole canopy structure above the terrace. On the outside of the building the cantilever beams carry the weight of the external ramps that lead up to the terrace through long stainless steel braces that span the whole height of the building (Lomholt, 2014).

FIG 82: (Voinot, 2013).

FIG 63: (Voinot, 2013).


GLAZING:The main glazing is situated in the smaller inner square

of the building with the northern and eastern edges of the building being exposed to large exposes of glazing. The

other sides being covered by the filigree concrete creating shading and preventing solar gains (Archdaily, 2013). The

main exhibition spaces benefit between this contrast of materials allowing filtered light into the spaces and creating obscured views of the landscape linking it directly with the

sea and the functionality of European and Mediterranean Civilisation Museum (Lonholt, 2014).




FOUNDATIONSDETAIL:


The MUCEM is a prime example of an architect pushing the boundaries of architecture, by using concrete a material that signifies an almost brutal and solid nature and instead using it in such an intricate way. This style of construction

and how the structure of the building by using this ultrahigh performance concrete has shaped and developed the design

into these amazing exhibition spaces. I fell that this type of material and intricate thinking of the placement of the

structure has allowed the architect to ground the building to its concept in a way that previously hadn’t been thought

about. This could be used in future projects as a way of combining the structure and concept of my designs, creating

a more fluid and coherent design.

MUCEM TOCONCLUDE:


FIG 63: (Voinot, 2013).


LONDON AQUATICS CENTRE:The Aquatics Centre is set on the south eastern edge of the 2012 Olympic Park. Pedestrian access to the Aquatics Centre from the Olympic Park is via the east-west bridge (called the Stratford City Bridge) which passes directly over the Centre, this creates the primary gateway to the Olympic Park. This bridge in turn create one of the fundamental features of the design (Zaha Hadid Architects, 2011).

The concept for the London Aquatic Centre – designed by Zaha Hadid Architects, I inspired by the fluid nature of water in motion, by creating spaces that reflect the moving river landscape of the Olympic Park. The undulating roof sweeps up from the ground as a wave - enclosing the pools of the Centre with a unifying gesture of fluidity (Archdaily, 2011). Another concept for the design was to accommodate the large crowds that the Olympics brings to a venue such as this as well as leave the city of London the legacy of these games by the pool being able to function after the games (Domus, 2011).

FIG 91: (Hufton + Crow, 2013).



STRUCTURE:

LONDON AQUATICS CENTREFIG 94:

FIG 87: FIG 89:

FIG 90: FIG 91:

FIG 93: FIG 95:

FIG 92:

FIG 88:

This site was exceptionally complex, with many different elements restricting and coordinating the design. The

concept as it has already been mention is the movement of water and so it was imperative that the design was as close

to the river as possible, however the main pedestrian access route via the Stratford City Bridge, is at a higher level that

the river, so the solution was to have a cast in-situ concrete podium. The concrete podium would then encase the main pool hall which was situated on a perpendicular axis to the bridge allowing the entrance to descend into the main pool

hall. This concrete podium also allowed the training pools to be slotted in underneath the bridge. Creating an out od site

out of and mentality allowing the main pool hall the take centre stage (RIBA, 2011).

CONCRETEPODIUM:

FIG 87: (Huftom + Crow, 2013).

FIG 90: (Helene Binet, 2013).


FIG 96: (Zaha Hadid Architects, 2011).


FIG 93: (Hugo Sanchez, 2011).

ROOF-LEGACY

MODE




ROOF -OLYMPIC MODE:This continuation of the concept for the fluid motion ofwater is also expressed in the wide spanning steel roof, the double curvature geometry has been used to create a structure of parabolic arches that define this conceptual form (RIBA, 2011). The roof undulates to differentiate the volumes of the space for the competition and diving halls, it is clad in timber on underbelly of the undulating surfaces and the top is clad in aluminium panels. As well as the concept for the fluid motion there is also the flexibility needed to transform the venue into a smaller and more manageable form of itself after the games. The roof structure plays a vital role in being able to make these changes. It is grounded at three points two at the north west end of the building and one at the south east end this structural frame ensures that the extra seating could be slotted in for the duration of the games and then replaced with glazing once the seating was removed (Domus, 2011).

FIG 89: (Inhabitat, 2012).



FIG 101: (Architectural Records, 2016).

This site was exceptionally complex, with many different elements restricting and coordinating the design. The

concept as it has already been mention is the movement of water and so it was imperative that the design was as close

to the river as possible, however the main pedestrian access route via the Stratford City Bridge, is at a higher level that

the river, so the solution was to have a cast in-situ concrete podium. The concrete podium would then encase the main pool hall which was situated on a perpendicular axis to the bridge allowing the entrance to descend into the main pool

hall. This concrete podium also allowed the training pools to be slotted in underneath the bridge. Creating an out od site

out of and mentality allowing the main pool hall the take centre stage (RIBA, 2011).

LONDON AQUATIC

CENTRE TO CONCLUDE:


FIG 89: (Inhabitat, 2012).



BUILDING SERVICES:

MANCHESTER METROPOLITANUNIVERSITY STUDENT UNION

FIG 110:

FIG 103: FIG 105:

FIG 106: FIG 107:

FIG 109: FIG 111:

FIG 108:

FIG 104:

MMU STUDENT UNION:The Manchester Metropolitan University Student Union Building designed by Feilden Clegg Bradley Studios is a design that needed to be tough and flexible to reflect the down time of students at university, it must be able to cater to their needs of stability as well as place for encouragement and fun. By using this as a concept as well as paying homage to neighbouring Victorian features in other buildings (RIBA, 2015).

The internal space are open and flexible to represent the ever changing student life. It features an expose concrete struc-ture with pre-cast concrete walls that signifies the concrete of a stable and safe environment where student can get help with anything relating to student life. This combine with the exposed building services creates a no-nonsense and infor-mal atmosphere. The buildings vast functionality with all the different areas of the student union such as: table tennis, pool tables, meeting areas, office spaces, coffee shops for the daytime, bars and sound systems for the night time. All these different activities need different plant and building services in order to make them comfortable for the users of the building (Feilden Clegg Bradley Studios, 2014).

The design requires mechanical, electrical and public health engineering services associated with this multiuse

building which incorporates many different areas. As will all non-residential building this building requires a plant

room in order to store the equipment need to keep this building comfortable (Feilden Clegg Bradley Studios, 2014). The design of the services needed to reflect the

varying ways each space would be used across the daytime and them the night, whilst be taking full engineering account of the building’s city centre location and the

specific acoustic requirements of such a specialist use building (Waterman, 2014). Taking into account the

central city location as well as the many different function that this student union has, the plant room is therefore

located on the roof. This provide the more space internally as well as when equipment need to replaced or repaired

it can be simply craned off and a new piece of equipment installed quickly and efficiently (Feilden Clegg Bradley

Studios, 2014).

PLANT:






FIG 113: (Feilden Clegg Bradley Studios, 2014).

MVHR UNIT:The design provides a highly flexible, modern and highly energy efficient services installation to suit the University’s requirements and ensure that the building is operated a low carbon emissions in line with the MMU carbon reduction and monitoring requirements. One of the ways that this design meets that requirement is by having a MVHR unit located on the roof. This unit through a series of ducts allows the warmth of the air to be recirculated while providing fresh cooler air. Also the warm and stale air meats the MVHR unit the warms is extracted and passed through to fresh air that then get re distributed throughout the space. The functionality of rooms changed deepening on the time of day, for instance the pool room at night changed into a nightclub, therefore the air changed per minute need to be controlled in order to allow more air changes during the times where the activities are more strenuous. This controlled environment also applies to the rest of the building certain spaces such as the offices will have different environmental requirements that those of the storage areas. The system in place at the MMU Student Union allows those who work there to have control of their own environment allowing the computer to set the changed as it dictates (Waterman, 2014).






In conclusion this building is able to function with a high efficiency because of the work of the building services.

With the plant room being located at roof level it has al-lowed to use the maximum space at the lower levels. Each

space is ventilated and serviced to suit its functionality, and this is something that I have carried on into my Vietnam Project allowing the functionality of the space to dictate

the plant required.

MMU STUDENT

UNION TO CONCLUDE:




As you can see this report has focused on analysing different aspects of building design, this has been achieved through the use of various case studies ranging in function. It has explained six key areas: materials, environmental design, building skins, construction, structure and building services. These areas are all part of building design, and I shall strive to implement the positive aspects of all these case studies into my designs.

Zinc, has been argued as a sustainable material, although the mind-ing of many material is not sustainable due to the fact that zinc can be recycled after its first use makes it a somewhat reusable material. This material is forever changing and creating new uses, however he Stonehenge Visitor Centre shows how this material has been used as roof cladding to aid in the architectural element of the floating roof.

When analysing environmental design this report has focused on the Centre for Alternative Technologies (CAT) a place dedicated to sustainable development. The building specifically in the CAT de-velopment is the Sheppard Lecture Hall. This building incorporates rammed earth and other sustainable materials in the design, think-ing of new ways to create modern and effect sustainable design.

30 St Mary’s Axe has a double skin façade. This façade with the twisting diamond structure and moveable glazing allows a higher rate of air movement round the building. Creating a building skin that works for the building in creating a comfortable atmosphere within the internal spaces.

The case study that have been used to analysis how buildings are constructed is the Museum of European and Mediterranean Civ-ilisations (MUCEM). This building has been used to examination a unique material of ultrahigh reinforced concrete which has been used to create a filigree concrete effect that covers the building. Through this section of the report the analysis of how this building has been put together, through the use of this unique material to create both a decorative and structural element.

London’s Aquatic Centre is used to analysis structure, this building by using its contexts allows the structure to create a concept for the design, by using a solid concrete structure as a bases, which encases the major amenities of the design. As well as a steel frame structure for the roof that symbolises the fluid movement of water. This design is also flexible by being able to remove the extra seating needed for the Olympic Games and then down scale the seating to accommodate everyday life. For building services the MMU Student Union is a great example of how a building can have many different functionalities and hoe it is these function that define the building services. In order to create comfortable space no matter the activity a controlled and sustaina-ble design must be implemented.

This report has signified the reasons as to why the technology help aid and create amazing architecture. You experience architecture not on paper but in the spaces that the architect creates and in order for these spaces to work the architecture needs to be somewhat dictated by the technology extensive research and by using the technology to serve the conceptual design all these buildings are amazing in their own right

TO CONCLUDE:

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Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterra-nean-civilisations-marseillesFig 79: Voinot, G. (2013). Suspension Rods. {Digital Image]. Retrieved 5th April 2016 from, http://www.e-architect.co.uk/marseille/mucem-museum-marseilleFig 80: Ricciotti, R. (2002). Ramp to MuCEM. [Digital Image] Retrieved 1st April 2016 from, http://rudyricciotti.com/projet/musee-des-civilisa-tions-deurope-et-de-mediterranee#!/rudyricciotti.com/wp Fig 81: Archello. (2013). Site Plan. [CAD Drawing]. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterranean-civ-ilisations-marseillesFig 82: Voinot, G. (2013). Roof Terrace Shading. {Digital Image]. Retrieved 5th April 2016 from, http://www.e-architect.co.uk/marseille/mucem-museum-marseilleFig 83: Archello. (2013). Structure. [CAD Render]. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterranean-civi-lisations-marseillesFig 84: Ricciotti, R. (2002). Glazing. [Digital Image] Retrieved 1st April 2016 from, http://rudyricciotti.com/projet/musee-des-civilisations-deurope-et-de-mediter-ranee#!/rudyricciotti.com/wpFig 85: Archello. (2013). Glazing Detail. [CAD Drawing]. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterrane-an-civilisations-marseillesFig 86: Archello. (2013). Foundation Detail. [CAD Drawing]. Retrieved 5th April from, http://84.38.224.208/en/project/national-museum-european-and-mediterra-nean-civilisations-marseillesFig 87: Hufton + Crow. (2013). Concrete Podium. [Digital Image]. Retrieved 20th April 2016 from http://www.domusweb.it/en/architecture/2014/02/27/london_aquatics_centre.html

Fig 88: Hufton + Crow. (2013). Olympic Mode - Main Pool Hall. [Digital Image]. Retrieved 20th April 2016 from, https://www.architecture.com/StirlingPrize/Awards2014/London/LondonAqauticsCentre.aspxFig 89: Inhabitat. (2012). London’s 2012 Olympic Park Opens. [Digital Image]. Retrieved 20th April 2016 from http://inhabitat.com/londons-2012-olympic-park-opens-to-the-public-this-week-after-years-of-preparation/london-aquatics-center-3/Fig 90: Helene Binet. (2013). Legacy Mode - Main Pool Hall. [Digital Image]. Retrieved 20th April 2016 from, http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-archi-tects-photoFig 91: Hufton + Crow. (2013). Night View of the London Aquatics Centre. [Digital Image]. Retrieved 20th April 2016 from, http://www.zaha-hadid.com/architec-ture/london-aquatics-centre/Fig 92: Hufton + Crow. (2013). Exterior View. [Digital Image]. Retrieved 20th April 2016 from, http://www.zaha-hadid.com/architecture/london-aquatics-centre/Fig 93: Hugo Sanchez. (2011). Swim Complex a Fitting First Sight. [Multimedia Renders]. Retrieved 20th April from, http://visual.ly/london-2012-olympic-venues-part-2-aquatics-centerFig 94: Helene Binet. (2009). Undulating Steel Roof Frame System. [Digital Image]. Retrieved 20th April 2016 from, http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-had-id-architects-photoFig 95: Helene Binet. (2013). Concrete Interior. [Digital Image]. Retrieved 20th April 2016 from, http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photoFig 96: Zaha Hadid Architects. (2011). First Floor Plan – Olympic Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-had-id-architects-photoFig 97: Zaha Hadid Architects. (2011). Ground Floor Plan – Olympic Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-had-id-architects-photoFig 98: Helene Binet. (2009). Steel Roof Frame System. [Digital Image]. Retrieved 20th April 2016 from, http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects-photoFig 99: Zaha Hadid Architects. (2011). Roof Overhang – Legacy Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/london-aquat-ics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-archi-tects-photoFig 100: Zaha Hadid Architects. (2011). Roof Detail – Legacy Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/london-aquat-ics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-archi-tects-photoFig 101: Architectural Record. (2016). Zaha Hadid’s Amazing Legacy. [Digital Image]. Retrieved 20th April 2016 from, http://www.architecturalrecord.com/Fig 102: Zaha Hadid Architects. (2011). Section – Olympic Mode. [CAD Drawing] Retrieved 20th April from http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/5015552a28ba0d02f0000de7-london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-archi-tects-photoFig 103: Hufton + Crow. (2014). Exterior View of the MMU Student Union. [Digital Image] Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manches-ter/manchester-metropolitan-university-student-unionFig 104: Hufton + Crow. (2014). Pool Hall. [Digital Image]. Retrieved 20th April 2016 from, https://www.architecture.com/StirlingPrize/Awards2015/NationalWin-ners/ManchesterMetropolitanUniversityStudentUnion.aspxFig 105: Hufton + Crow. (2014). Interior Gathering Space. [Digital Image] Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manches-ter-metropolitan-university-student-unionFig 106: Hufton + Crow. (2014). Exterior Reflection off the Black Bricks. [Digital Image] Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropolitan-university-student-unionFig 107: Hufton + Crow. (2014). Front Elevation. [Digital Image] Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropoli-tan-university-student-unionFig 108: Feilden Clegg Bradley Studios. (2014). Sectional Render. [CAD Render]. Retrieved 20th April 2016 from http://fcbstudios.com/work/view/manches-ter-metropolitan-university-student-unionFig 109: Hufton + Crow. (2014). Exterior View 2. [Digital Image]. Retrieved 20th April 2016 from, https://www.architecture.com/StirlingPrize/Awards2015/Nation-alWinners/ManchesterMetropolitanUniversityStudentUnion.aspxFig 110: Feilden Clegg Bradley Studios. (2014). Exterior View. [Digital Image]. Retrieved 20th April 2016 from http://fcbstudios.com/work/view/manchester-metro-politan-university-student-unionFig 111: Hufton + Crow. (2014). Entrance. [Digital Image]. Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropoli-tan-university-student-unionFig 112: Hufton + Crow. (2014). Cafe. [Digital Image]. Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropolitan-univer-sity-student-unionFig 113: Feilden Clegg Bradley Studios. (2014). Section. [CAD Drawing]. Retrieved 20th April 2016 from http://fcbstudios.com/work/view/manchester-metropoli-tan-university-student-unionFig 114: Hufton + Crow. (2014). Pool Hall. [Digital Image]. Retrieved 20th April 2016 from, http://www.e-architect.co.uk/manchester/manchester-metropoli-tan-university-student-unionFig 115: Feilden Clegg Bradley Studios. (2014). Ground Floor Plan. [CAD Drawing]. Retrieved 20th April 2016 from http://fcbstudios.com/work/view/manches-ter-metropolitan-university-student-union

Fig116: Feilden Clegg Bradley Studios. (2014). 1st Floor Plan. [CAD Drawing]. Retrieved 20th April 2016 from http://fcbstudios.com/work/view/manchester-met-ropolitan-university-student-union

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