ENCOU RAGEMENT OF TH E ART S

BS C ARCH I TEC T UR E

BETH AN GRI F FIT HS


We shape our buildings; thereafter they shape us.
-Winston Churchill
In the era of social media, many have experience the lack of face
to face connection. Corporate greed has resulted in our public
spaces declining, life for most often results in all work and no play.
The theme of this portfolio is to create places for developing a skills
or passions and designing to give opportunity for communities to
get out of their homes and connect with the world around them.

ESCAPING REALITY
PRIMER
Process work................................. 3-13
Plans..............................................15-16
Sections ........................................17-18
Elevations .....................................19-20
Renders..........................................21
Site 2: In a movie..........................22
Environmental diagram ..............23
Detailing .......................................24
1 2
STUDYING PORTUGAL
PORTO
20 Sketches ..................................25-26
Building study 1+2........................27-28
Building study 3+4.........................29-30
FINAL DESIGN A PLACE TO START, A POINT TO LISTEN
PROJECT
Process work ................................31-64
Site plan ........................................65
Diagrams.......................................66
Plans...............................................67-70
Elevations......................................71-78
Building schedule ........................79
Materiality ....................................80
Sections.........................................81-84
Perspective section .....................85-86
Structural model ..........................87-88
CONTENTS
Structural strategy .......................89-90
Detailing .......................................91-94
U values ........................................95-96
Materiality experimentation .......97-98
Façade model .............................99-100
Environmental strategy ..............101-102
Fire strategy .................................103-104
Feedback ....................................105-106
Finl model......................................107-108
Renders..........................................109-110

PROBLEM AND RESPONCE TO THE BREIF
Lack of hobbies is a common issue in todays era of social media.
3 4
EXCITEMENT
Excitement is only possible for a short period of time,
to change the constant state of stability (homeostasis)
the user must increase heart rate and be in an un
known scenario especially with colours.
Understanding this I feel a room for exercise is crucial
to stat this process. To further inspire I think a maze
idea that incorporates the senses is best for this
emotion.
Creating a hub for an place of inspiration for writers or artist will
help people to connect and develop their hobby. To feel inspired,
you must mix the emotions of excitement and relaxation.
PRIMER
RELAXATION
MASLOWS HIERARCHY THEORY
1. Physiological- Essential need, food water, shelter
2. Safety- wellbeing and health
3. Belonging- social spaces
4. Esteem- form relationships with others
5. Self-actualisation- to realise potential
From this theory I feel creating individual rooms to al-
low for a safe private space is essential. Users will have
different needs so there is different levels of privacy for
relaxation areas such as communal sitting areas and
library.
EMOTIONS OF PEOPLE BY DESTINATION
SUN DIAGRAM
The site is facing north
which will have constant
light which will be good for
studio lighting.

ENVIONMENTAL
DIAGRAM
There is many trees in this
area around the site which
creates a relaxing atmos-
phere and also some priva-
cy.

PEDESTRIAN ROUTE
The most popular routes are
individuals walking from the
residential areas into town.

POLLUTION/ NOISE
Along the roads there is
most of the noise and smell
of pollution, especially to-
wards the north of the site
crossing the bridge area.

TOPOGRAPHY
Yellow- Site
Green- Residential
Blue- Pubs, Bars and restau-
rants
Brown- Public attractions/
RED: EXCITEMENT museums
BLUE: RELAXED Red- Car parks
Purple- Industrial/Working
5 buildings 6
 GAME CUBE CONCEPT

EMOTIONAL MAPPING

EMOTIONAL JOURNEY THROUGH BUILDING

LEVEL 2:
EXCITEMENT
RELAXATION AND
USER EMOTION EXCITEMENT REFLECTION
This diagram shows a conceptual
mapping of the emotions around the
site, blue showing calming emotions and
red showing areas of excitment. LEVEL 1:
AIM FOR RELAXATION
BUILDINGS OUT OF COMFORT COMFORTABLE
ZONE
ATMOSPHERE
EMOTIONAL MAPPING

The user is in control of the of what experience The concept is to create a building that acts as a game cube. It allows the user to enter and be transported into two main scenarios.
DEVELOPMENT they will get from the building as mirrored by The two levels of the building created contrasting emotions, atmosphere and experiences to generate excitement.
EXPERIENCE CREATING
OF HOBBY the player and the video game.
The form and structure of the building will imitate a game cube and will create a understated plain façade but will contrast with
Every user is unique of what they will take from inside which contains vibrant experiences and atmosphere. The central game slot in the cube transports to user to various games,
that experience. the project mirrors this action by creating a central core that transports the user to different floor levels.

The physical factors that cause emotions

relaxed and excitment

7 8
 PRECEDENTS

MASTER DESIGNERS GARDEN PLOT SCENT MAZE- ES DEVLIN COLOURFUL ARCHITECTURE- KRI- SPERONE WESTWATER SLIDING HOUSE- DrMM THE DYNAMIC D* HAUS
JIN DE KONING

This project contains high walls and thick This maze gives off aroma’s when walked This project used columns to help This floor allows visitors to travel up floors This house is able to uncover as much or a These buildings are on runners that allow
archways to incorporate a sense of depth around it, this will invigorate the senses. create shadow and depth while also in a 12footx12foot exhibition space while little as the user requires and is a glass box flexible changing and moving of views
which I will adopt for my project. incorporating colour to the senses. allowing views out to show the colour of being covered by elements. which I will adopt for the project.
the floor of the gallery.

9 10
 COLLAGE OF RELAXATION STUDIO ROOMS ADJACENT ROOMS: EXCITEMENT

VIEW FROM FIRST ROOM

USER JOURNEY

Build up of senses

INSIDE INDIVIDUAL PODS

SECTION VIEW

EXERCISE + DARK MAZE COLOUR AND COLOURFUL VIEW

SCENT ROOM MAZE PLATFORM = INSPIRATION

The concept to create excitement into the building will start with raising the heart rate
by using the rooms for gym activity. This then leads to the four rooms that link to use
the denial and reward experience to help will inspiration and creativity.
Increases Little to no Small Full colour Full access to Can choose to
heat rate light amounts of and some the senses sit in groups or
The first room will be all black with minimal light and different sized rooms to play with
colour and view individual spaces
perspective and feel infinitely long. The second room will incorporate colour inspired
light to write or paint.
by the festival of Holi and also add scent with this colour. The third will add shadow
and light and breeze but finally will lead to a full view to the north and combine the
senses.

VIEW FROM THIRD ROOM

INDIVIDUAL PODS

The concept for the individual bedrooms is to create a place that the
user feels locked away and able to relax without anyone distracting
them yet in a comfortable environment so they can feel creative. To do
this I will use contrasting materials from outside to inside using metal vs.
timber.
11 12
ROOM LAYOUTS TIMBER FRAME AND CURTAIN WALL SYSTEM

ROOM LAYOUT 1
MAIN CONCEPT ROOM LAYOUT 2

The main concept when looking at room layout is to

separate the building for excitement and relaxed.

On further reflections of tectonics I believe choosing an exposed steel

structure which would show the workings of the building.

This would mirror the concept of the game cube showing its wires and
connections as it takes the user into a different reality.

13 14
 PLANS

GROUND FLOOR PLAN FIRST FLOOR PLAN

0 2500 5000
0 2500 5000

0 15,000 30,000
1 3 10
9
2
SITE PLAN

1 4
8

6 7
5
1

1. Bedrooms 7. Dark maze

2. Library 8. Sensory room
3. Exercise room 9. Colour maze
4. Floor exhibition lift 10. View point
15 5. WC’s 16
6. Kitchen/ Communal area
 SECTIONS

EAST SECTION EAST SECTION

0 2500 5000
0 2500 5000

17 18
 ELEVATIONS

NORTH ELEVATION SOUTH ELEVATION

0 2500 5000

0 2500 5000

19 20
 RENDERS AND SITE 2:MOVIE

CASINO ROYALE: PIAZZA SAN MARCO.

DARK MAZE ALL SENSE

VIEW
PLATFORM

PRIVATE
BEDROOM

Many spy films are set in Piazza San Marco. The building allows users to
be able to watch the piazza to inspire work or also allows the user to
work in solidarity.
SENSE COLOUR
ROOM ROOM

Movable bedrooms to each user

can decide to look at view of Shutter can open to allow or
have seclusion of view disallow view.

21 22
 ENVIRONMENTAL ANALYSIS AND DETAILING

SUMMER SUN-
Passive solar heat gain

GREEN ROOF- 16
Retains storm water, Improves the 10
WINTER SUN
ROOF MONITORS STACK EFFECT- termal mass of the building, Increases 30 27/ 28/29
When heat rises it can escape
through raised atrium through
bio-diversity.
9 11
vents 21
GREEN FACADE-
Captures air borne pollut-
7 5 25 26
ants from the busy road on
the south, 4 18
17 22 24
Shades sun from the south
3 15
of the site.
8 6 23
2 20

1 14 19
12 13

GRAY WATER SYSTEM- 1. Concrete Slab 400mm 12. Timber Cladding 18mm 17. Vine Plants 25. Rafter 200mmx 60mm
LARGER WINDOWS IN EXERCISE
Re-use of water and increased
AREA-
efficiency
Allows more cold air to enter 2. DMP 13. Timber Batton 60mm x60mm 18. Steel Wall Ties 26. Insulation 200mm
the room to keep room
comfortable for user
3. Insulation 100mm 14. Window Frame 30mm x50mm 19. Insulation 100mm 27. Waterproof Membrane
4. Screed 50mm 15. Double Glazing 30mm 20. Timber Batton 60mm x60mm 28. Drainage Layer
5. Sole Plate 16. Insulation 100mm 21. Plasterboard 10mm 29. Green Layer 50mm
6. Wall Stud 100mm x60mm 22. Floor Beam 200mmx 60mm 30. Parapet Flashing
7. Breather Membrane 23. Noggin 30mmx 30mm

8. Engineering Brickwork 100mm x60mm 24. Insulation 200mm

9. Timber Cladding 18mm

10. Timber Batton 30mm x30mm

23 24
11. Plasterboard 10mm
P ORTO
The visit to Porto in January allowed the group to see how the city
differed to the city of Bristol.

As a group we made a video to show a factor of the city, the

theme our group picked was rhythm.

PORTO

PORTUGAL

QR CODE FOR VIDEO

25 26
 CASA DE MUSICA
Plan with circulation routes Double skinned curved glass

PORTO METRO CASA DE MUSICA

Interior sketch Interior image

Station image
60 Minute sketch
Exterior sketch

Materiality charcoal rub Concept sketches

Interior image Station make up Concept with sun well

27 28
 PORTO SCHOOL OF ARCHITECTURE
PRACA DE LISBOA

Interior sketch

60 Minute sketch
Site plan

1.10 Detail

Interior image 1.10 Detail

Exterior sketch Image of architecture Section
school

29 30
 BRISTOL’S URBAN BACKGROUND

“Life without playing music is inconceivable to me. I live my

daydreams in music. I see my life in terms of music... I get most joy
in life out of music”- Albert Einstein

Bristol holds a rich and varied history which has shaped the culture it has today. The city values its art, sport, festivals, media, theatres and music. Bristol
has been voted the most musical city from PRS for Music with 41% of people going to a gig three times a month. An important element to Bristol is its
underground scene which is slightly apart from the mainstream view of the UK. This is reflected in the politics and of some of the artists and musicians
associated with it, such as Banksy’s urban graffiti.
This may be a massive benefit to the city however it is clear to see some of the problems this city has developed such as high levels of mental health issues
along with a rise in poverty and the number of the homeless.

31 32
 LOSS OF ECCLESIASTICAL CENTRE

Todays daily pattern is to travel to work then

home however previous generations we able
TODAY to make more connections though a shared
WORK HOME
ecclesiastical centre.

High depression rates in the UK with

governments struggling to help with mental
health, the solution has often been shown
to be less complex than anticipated. Many
scholars simply believe increasing levels of
social bonds.

I consider helping fix this forgotten social tie

with a newer alternative for social interaction
through music.
PREVIOUS DECADES COMMUNITY EVENT

NEW TIE

WORK HOME

Modern society has increasingly becoming further distanced from religious establishments towards more scientific outlook.
The consequence of this change in social culture has led to a lack of social interaction.
In previous decades religion has acted as a tie to bring people together through musical celebrations.

33 34
 CURRENT EVENTS IN THE UK:
How big events are watched

Observation platforms taking the typology of an Amphitheatre

CELEBRATION SPORTING EVENTS CARNIVAL STREET

NIGHTS PARADE FESTIVALS
Rugby matches
New Year Football matches Main city festivals
Bonfire night Local float festivals
Natural ways to
Natural ways to observe an event: Natural ways to
observe an event: Swansea castle square observe an event:
Porthcawl City street festivals
The square provides
Firework nights many passages of During the route
The pier acts stairs, this acts as a form of procession of a LIVE MUSIC:
as a natural of secondary seating street carnival the
amphitheatre with when there are busy streets act as a direct Free event
the two levels of match days focusing viewing platform Viewing live music freely
buildings acting on the main event. to the event. The is often only done at small
as further levels for buildings that wrap scale with small musicians
viewing. around the street act and buskers. The project aims
and create varied to merge the varying levels
levels. which make people feel
comfortable to sit and watch
larger performances.

35 36
EXAMINING RELIGIOUS COUNTRIES: MADEIRA

The small town of Camara De Lobos uses various levels and creates
a typology of an amphitheatre. With religion being an principal
focus in the society of the island and with the many festivals the
island has for its saints, there are many towns that accommodate
the celebrations.
It is interesting to analyse the role that music can undertake in
everyday lives and the link it has with its people and further to other
towns.
I will aim to adopt these elements into the design project and
create a similar connection to music.

There is large amounts of second-

The amphitheatre typology is helped ary seating used, this allows plenty of
from building using varying levels and places to sit and watch performances
balconies to sit and be able to watch without the worry of the area looking The town links to others to create a
the performances sparse and quiet when not used. larger network of music celebration

37 38
 PROJECT AIM PERFORMANCE EDUCATION

Progression of learning to join shared space

Linking existing features

The building
will mirror
PERFORMANCE + EDUCATION the typology
and add to
the existing
amphitheatre.
The project will incorporate transparent
spaces to watch and learn from informal
performances.
Combining performance centre with a development
facility for beginner musicians to supply a constant
stream of new talent for the main stage.

Public and private spaces will be created to

It will make use of the sunny days in Bristol as the allow comfortable learning.
educational building will have a constant supply of new
musicians to perform on the main stage.
39 40
Aim is to create a central hub for beginner musicians
THE PROBLEMS IN BRISTOL IN MUSIC EDUCATION

LONLINESS IN YOUTH RISE IN HOMLESSNESS COMPETITION FOR BUSKERS

A rise in loneliness has left many not meeting up and common Increasing levels in homelessness has created need for Increasing competition between buskers and harsh council
meeting places shutting down. skills development and for the homeless to potentially start legislation has created need to create more space for
busking. aspiring performers.

41 42
 FINAL USERS

GIVEN TO LIVE
EDUCATION PERFORMANCE

Beginner- Less Homeless- Busker- High levels General Public- walking

opportunities to take homelessness increase of restrictions in high and finding the
up learning music and to 128% in three years. streets and competition serendipitous moment
experience new music More skills needed to for spots is an issue. of finding music. Meeting with this charity allowed me to see the change music can have on many
possibly make money people lives and raise money to help the most vulnerable. I discussed my idea
with members of the charity which allowed me to see how creating music eventS
frequently and creating high end rehearsal rooms could allow bigger artist to
practice and help raise money and help the wider community.

43 44
 Sound Mapping

The site is close to a busy

area of the harbourside
so can make use of the
population and further
encourage the use of
music in the evenings to
making use of the free time
people have.
Main population of people

Main area of greenery

Main footfall route by busiest bars

Project site

Main area for residential housing

45 46
 Summer and winter sun
The site has good access to natural
sunlight and may use this as an ad-
The sites connection to other live venues vantage in it design

Views from the site

Summer and winter sun Views from the site Land use All view orientations have a pleasant
view. The view towards the water is
the best view to incorporate into the
design.

Land use
Colours show:
• Residential- Blue
The sites potential benefit to bars • Business- Orange
and restaurants • Pubs and Bars- Red
• Historic and Public buildings-
Brown
Pedestrian footfall Transport links The area around the site is among
mainly bars and restaurant and will
aim to accommodate these types of
users.

Pedestrian footfall
Much of the footfall in this area is
close to the site, this project hopes to
increase the number of users around
The area near the site has two main live music venues, having a new performance centre will aim The sites potential connection to the site and rejuvenate this area.
to link these while also trying to make use of the larger context from bars and restaurants and make
use of the public spaces for opportunities to perform.
public spaces
Transport links
The main transport link is shown in red
which helps with access to the site,
yellow shows the secondary but also
useful access route to the site.

47 48
MANIFESTO, A RESPONCE TO THE PROBLEM

CONCEPT OF THE PERFORMANCE BUILDING CONCEPT OF THE EDUCATIONAL HUB

INDIVIDUAL PATHS LINKING THE BUILDINGS

NATURAL
PROGRESSION OF
SOME

DIFFERENT
DEVELOPMENT
PATTERN

This model shows the different routes people will take in the building. The pins
signify the different rooms available along with the higher advancement level. The
different colour thread signifies the different users of the building.
The aim of the performance building aims to create the serendipitous moment of group
meeting through music and to create the maximum opportunity of creating places to stay As you can see from the diagram some may be content with their journey at the
and watch a music artist. This helps my focused users such a young people by giving an first pin as a beginner and end by the fourth pin at a small performance spaces.
opportunity to sit and watch rehearsals. Buskers and starting musicians will have a bigger Some journeys may be greater such as starting at the fourth pin, the model shows
range of development opportunities to showcase performances. the treads leaving the board as their journey establishing themselves has finished
Individuals specific path may need faster or slower development, this will require
and they may move on to bigger music venues.
different amounts of time spent in both buildings.
A mix of shared spaces will connect the performance building with the educational hub and
will create a combined hub which allows for a more board range of individual development.

49 50
 MAIN ROOMS OF ACCOMMODATION
Potential aesthetic for the
rooms of accommodation

PRIVATE
PUBLIC

Plant room Rehearsal rooms Recording studios Music classrooms Performance studios Music shop Café Pavilion Jazz bar Main inside stage Outside stage

51 52
 PRECEDENTS

CEDRIC PRICE, FUN PALACE NIKKEN SEKKEI, TOHOGAKUEN DILLER SCOFIDIO AND RENFRO, PRODUCTORA AND ISAAC BROID, MEXICAN MUSIC PALACE
SCHOOL OF MUSIC BARBICAN CONCERT HALL TRIANGULAR CONCERT HALL

Price states “choose what you want to Rehearsal rooms have been made Different gradients allow for various levels This building has the duel use of creating This building has the duel use of creating
do- or watch someone do it”. The varied uniquely with glass, this allows of inclusion or exclusion, this concert an amphitheatre for its public space an amphitheatre for its public space
levels create an interesting atmophere to connections to be made without being in hall used three main types of varied
encourage participation. the same room. transparency of glazing.

53 54
 FORM FINDING: MASSING

BUILDING CONCEPT

CENTRAL HUB

The concept of the building is to combine education with public
performance at a beginner to semi-professional level and create a
central hub at the start of a music career.
Massing version 1
The initial response was to create a building that
created a courtyard for interaction and life. This shape
allowed the ground floor to be for public use and the
first floor to be used for education.
Massing version 2
Creating a side of the building with steps allowed the
project to have the desired factors of the first massing
model however respond to the amphitheatre that is
already there.

55 56
 FORM FINDING: MASSING

Massing version 3
Re-thinking the way to separate the public use Massing version 5
from the education use meant splitting the Massing version 4
The final form swaps the
building into separate masses. The separate parts Enclosing these forms giving the spaces security
position of these masses and
were then looked at into their honest form as allowed the building to show a different and
allows more of a defined view
stacked pods. more final form.
from the courtyard.

57 58
 FORM FINDING: MASSING

FIVE FORMS OF THE FLOATING REHEARSAL ROOMS

Workings of the floating architecture

FORM OF THE FLOATING STAGE

59 Sketch of how the architecture will move along 60

the floating harbour
STORYBOARD LINKS IN SHARED SPACE BETWEEN EDUCATIONAL AND
PERFORMANCE BUILDING

JOURNEY THROUGH EDUCATIONAL BUILDING

User:
Young beginner
in music educa-
tion

Main floating stage

Rehearsal room Communal area with performance area Two rehearsal pods

User:
General public

Music pavilion

Indoor stage area Music shop Jazz bar

JOURNEY THROUGH PERFORMANCE BUILDING

Floating rehearsal room

61 62
 INTERIOR ROOM MODELLING: JAZZ BAR

NO LIGHT LIGHT STUDY

63 64
 DIAGRAMS
SITE PLAN
ACCESS SOLID AND VOID CIRCULATION STRUCTURE

Main access points are shown in red Solid spaces are shown in dark grey This diagram shows some of the most Elements labelled in red show the
for public use, secondary private while void spaces are shown in light common circulation routes. primary structural components.
access points are shown in orange. grey.

VIEWS
PUBLIC AND PRIVATE NATURAL LIGHT

VIEW

Building one has a large amount of glazing which allows for

a large amount of natural light. Building two has allowances
The public areas are shown in green, for extra solar shading such as roof overhang and shutters as
semi public areas are shown in orange visitor numbers are higher so temperature can be as a result Courtyard and building create a view to
and private areas are shown in red. of this. the floating harbour.
65 66
0 10,000 20,000
 15
GROUND FLOOR PLAN
0 5,000 10,000
1. Main Inside stage

2. Bathrooms
2 15 15
11 10 3.Bar
2 Section
Cut
1 4. Bar storage room
4
13 3 5. Music classroom 15
12
6. Small music performance spaces
14 9 15
5 7. Large recording room
15
8. Medium recording room
9 15
9. Individual rehearsal room
6
10. Music pavilion
9
6 11. Cafe

12. Music shop

7 13. Music storage room

14. Plant room

Section
8 Cut
15. Floating rehearsal rooms

16. Main stage

0 5,000 10,000

67 68
 FIRST FLOOR PLAN
0 5,000 10,000

1. Small classrooms
7
2. Small recording room
Section
6 Cut
3. Individual recording room

8 4. Small individual rehearsal rooms

5. Public performance space

9 4
1
6. Jazz bar

1
7. Bathrooms
4
8. Bar
2
9. Kirtchen
4 2

4
4
5 4 Section
Cut
4

0 5,000 10,000
69 70
NORTH ELEVATION

The building carries on The colonnade 0 5,000 10,000

the extension of the creates positive space
colonnade and aims to influencing the feeling
naturally extend the line of comfort and allowing
of main footfall. users loiter and possible
interact.

71 72
EAST ELEVATION

Building edge

The building edge is not

linear allowing areas and
Steps by the buildings opportunities to stop and lean.
edge line allow A building with a linear edge
possibilities of secondary cannot support life. The project
seating especially on incorporates a staggered
hotter days with a façade as it allows zones which
view out to the floating will provide shelter to look onto
harbour. life.
0 5,000 10,000

73 74
SOUTH ELEVATION

The typology adopted

for the project mirrors
the amphitheatre fur-
ther south of the site.
The building creates
different levels and
areas to allow to build-
ing to add to the am-
phitheatre for days of
big performance.

The pavilion opens into

the square to allow 0 5,000 10,000
days for performance
and music exhibitions
to create an active
courtyard.

75 76
WEST ELEVATION

To encourage
passers by the enter
the building to the
jazz bar the first
level on top of the
colonnade is fully
glass and is one of
the first views the
passers by see of the
building.

0 5,000 10,000
Plant and storage
rooms are located
on the west side of
the building as this
area are closest to
the road for ease of
access.

77 78
 MATERIALITY AND BUILDING SCHEDULE

The different acoustic tiles allow for various different sound qualities for the instruments

This shows a rough schedule leaving the educational hub open for large amounts of
time. As a result, on the weekends primarily the semi-professionals practicing, can have
an opportunity to perform. Tuned Bristol is an example name of the company that can
run the building which can create links with local schools/ collages and universities to
provide a constant stream of performers.

79 80
EAST SECTION WEST SECTION

0 5000 10,000 0 5000 10,000

81 82
 NORTH SECTION

0 5000 10,000

83 84
 PERSPECTIVE SECTION
MATERIALITY AND THE ARCHITECTURAL AMBITION

The materials chosen for this building reflect the close

relationship the people of Bristol have with their city. with 86%
of residence caring about the impact of climate change
and with the large number of events and groups held to
taking action with the sustainable future. The building aims to
use sustainable technology wherever it can.

The main structure of the building uses glulam beams and

columns and stud walling and cladding of timber also. The
beams have been placed in a sequence and change
rhythm in the main performance spaces. To draw the eye
into noticing inconsistencies and aim to allow individuals to
consider risk taking in their music progression.

The services are left unhidden in the main building allowing

students to see the honest workings of the building and
mirrors the interior of their instrument as they will get the
understand the true workings of the instrument they play.

The finish often used in the rooms for learning will often
imitate the instrument they are learning from and create
a relaxing unformal atmosphere for learning and initially
performing.

Image of Inside a guitar

85 86
 STRUCTURAL STRATEGY MODELLING

SERVICES AND THE ARCHITECTURAL 1.200 STRUCTURAL MODEL

AMBITION

To allow the buildings services to support

the architectural ambition I have
included a ground source heat pump.
This will allow for renewable energy CONCERT HALL
creation and illuminate more fossil fuels
to be released. As the site is by the
floating harbour, the large closed loop
system and is one of the most efficient
systems for heat pumps.
BUILDING 1

BUILDING 2

Building 1 Building 2 Concert hall

Dead and live loads are evenly distributed through the The live and dead loads are carried in the glulam The weight of the flat truss is placed on the blockwork
CLT panel then into the foundations. frame. which takes all the load. The smaller rooms attached
use a steel frame with takes the live and dead loads.

87 88
 STRUCTURAL STRATEGY
STEEL FRAME- BLOCK WORK WITH FLAT TRUSS FRAME-

Construction choice: Construction choice:

This area is at a much lower height than
the concert hall so only simply needs a
small steel frame.
Wind loading:
This area of the building can partially
rely on the shear walling close by how-
ever for better structural stability brac-
ings are added to the corners to add
extra stability.
A large celling height had to me met
for the main concert area, this meant
incorporating a flat truss frame (space
frame). This will then sit on blockwork
that will take the load.
Wind loading:
The blockwork will act as a shear wall
and the other sides will use a steel
frame, extra bracing can be added for
extra strength.

Dead load from the weight of the building itself and Live load, the weight of the interior
are transferred into the structural elements as shown in the section above. The load is
GLULAM FRAME- CLT BOXES- then transferred into the concrete foundations in the ground.
Construction choice: Construction choice:
The glulam frame uses timber stud wall- These individual pods incorporate thick
ing and includes thick insulation reduce insulation and rubber seal to enclose all
the sound transfer. sound transfer to other pods.
0 10,000 20,000
Wind loading: Wind loading:
Timber cladding is attached to the These prefabricated elements also act
frame. The OSB board act as a shear as a shear wall against wind loading.
wall (1) again wind loading.

89 90

R1
FC1
0 500 1000
ROOF- R1
Parapet flashing……………………………………………..5mm
Zinc standing seam covering………………………….....0.7mm
Structurally separating membrane ……………….........1mm
OSB boards …………………………………………………..10mm
Timber batons………………………………………………..100 x 70mm
Damp proof course…………………………………………1mm
Insulation ……………………………………………………..300mm
F1 Cross-laminated timber panels………………………......200mm
Vapour control layer……………………………………….1mm
Type of construction: CLT pre-fabricated Timber batons………………………………………………..38mm
Internal acoustic tiles……………………………………….40mm
91
0 500 1000
FLOOR TO CEILING CONNECTION- FC1
Internal acoustic floor tile……………………………….40mm
Timber batons…………………………………………….100 x 70mm
Sand………………………………………………………..10mm
Vapour control layer…………………………………….1mm
Cross-laminated timber panels………………………..200mm
Insulation…………………………………………………...200mm
Separation batons……………………………………….300 x 200mm
Cross-laminated timber panels………………………..200mm
Rubber room separator…………………………………10mm
Vapour control layer…………………………………….1mm
Timber batons…………………………………………….100 x 70mm
Ceiling acoustic tiles…………………………………….40mm
DETAILS: BUILDING 1
0 500 1000
FOUNDATION- F1
Reinforced concrete foundation……………………......1600 X 1300mm
Hard core……………………………………………………...600mm
Damp proof course…………………………………………1mm
Concrete slab………………………………………………..150mm
Insulation………………………………………………………200mm
Vapour control layer…………………………………….….1mm
Timber batons……………………………………………...…100 x 70mm
Internal flooring finish…………………………………….....40mm
Steel floor connection bracket…………………………...800 x 200mm
Glulam…………………………………………………..……..800mm
92

R2
B2
0 500 1000
ROOF- R2
Parapet flashing…………………………………………….5mm
Zinc standing seam covering…………………………....0.7mm
Structurally separating membrane ………………........1mm
Parapet baton……………………………………………...350 x 170mm
OSB boards ………………………………………………....10mm
Timber batons……………………………………………….160mm x 80mm
Ventilation gap……………………………………………..160mm
Damp proof course ..……………………………………...1mm
OSB boards ………………………………………………....10mm
Timber batons………………………………………….…...160mm x 80mm
F2 Type of construction: Glulam frame Insulation ...………………………………………………….160mm
OSB boards …………………………………..……………..10mm
Large timber batons…………………………………….....300 x 150mm
Insulation……………………………………………………..300mm
OSB boards …………………………………………………10mm
Vapour control layer……………………………………...1mm
Structural glulam beam……………………………….…..450 x 300mm
93
DETAILS: BUILDING 2
0 500 1000
0 500 1000
BALUSTRADE- B2 FOUNDATION- F2
Chippings and mastic asphalt……………………...…..10mm Reinforced concrete foundation…………………….. 1500 x 600mm
Fibre board and separating membrane………….......15mm Hard-core …………………………………………………. 350mm
Timber baton………………………………………….…….160 x 80mm Sand binding ………………………………………………20mm
OSB boards …………………………………………………10mm Damp proof course……………………………………… 1mm
Timber baton…………………………………………….….250 x 150mm Insulation ……………………………………………………300mm
OSB boards …………………………………………………10mm Concrete slab……………………………………………...200mm
Structural glulam beam………………………………..…450 x 300mm Vapour control layer……………………………………...1mm
Screed ………………………………………………………75mm
WALL Internal floor finish………………………………………….15mm
External vertical cladding………………………………..50mm
Timber batons……………………………………………....38mm
Damp proof course…………………………………..…...1mm
OSB boards ………………………………………………...10mm
Internal stud walling……………………………………….280 x 100mm
Insulation………………………………………………….…280mm
OSB boards ………………………………………………..,10mm
Vapour control layer……………………………………...1mm
Timber batons………………………………………………38mm
Internal plasterboard …………………………………..…20mm
94
 U VALUE CALCULATIONS

BUILDING 1 BUILDING 2

0 500 1000

0 500 1000

U VALUE CALCULATIONS U VALUE CALCULATIONS U VALUE CALCULATIONS U VALUE CALCULATIONS

BUILDING 1: WALL BUILDING 1: ROOF BUILDING 2: WALL BUILDING 2: ROOF

MATERIAL THICKNESS THERMAL CONDUCTIVITY THERMAL RESISTANCE MATERIAL THICKNESS THERMAL CONDUCTIVITY THERMAL RESISTANCE MATERIAL THICKNESS THERMAL CONDUCTIVITY THERMAL RESISTANCE MATERIAL THICKNESS THERMAL CONDUCTIVITY THERMAL RESISTANCE
Outside resistance 0.04 Outside resistance 0.10 Outside resistance 0.04 Outside resistance 0.10
Timber cladding 0.05 0.14 0.36 Zinc 0.007 35 0.00 Timber Cladding 0.05 0.14 0.36 Zinc roof 0.05 35 0.00
Timber baton 0.038 0.13 0.29 OSB board 0.01 0.13 0.08 Timber Batons 0.038 0.13 0.29 OSB board 0.01 0.13 0.08
Ventilation gap 0.038 0.29 0.13 Timber batons 0.038 0.13 0.29 Ventilation gap 0.038 0.29 0.13 Timber batons 0.16 0.13 1.23
Insulation 0.3 0.037 8.11 Insulation 0.3 0.037 8.11 OSB board 0.01 0.13 0.08 Ventilation 0.16 0.037 4.32
CLT panel 0.2 0.13 1.54 CLT 0.2 0.13 1.54 Stud walling 0.28 0.13 2.15 OSB board 0.01 0.13 0.08
Ventilation gap 0.038 0.29 0.13 Timber batons 0.038 0.13 0.29 Insulation 0.28 0.037 7.57 Timber batons 0.01 0.13 0.08
Timber baton 0.038 0.13 0.29 Acoustic tile 0.04 0.35 0.11 OSB board 0.01 0.13 0.08 Insulation 0.16 0.037 4.32
Plasterboard 0.02 0.25 0.08 0.04 Timber Batons 0.038 0.13 0.29 OSB board 0.01 0.13 0.08
Inside resistance 0.13 Plasterboard 0.02 0.25 0.08 0.04
10.56 Inside resistance 0.13
11.10 10.33
11.20
THERMAL RESISTANCE 1
THERMAL RESISTANCE 1 SUM OF THERMAL THERMAL RESISTANCE 1 THERMAL RESISTANCE 1
SUM OF THERMAL 0.090086869 RESISTANCE 0.094673715 SUM OF THERMAL 0.089301242 SUM OF THERMAL 0.096819117
RESISTANCE RESISTANCE RESISTANCE

ADDITION OF 10%
ADDITION OF 10% 0.099086869 FOR HEAT LOSS 0.103673715 ADDITION OF 10% ADDITION OF 10%
FOR HEAT LOSS FOR HEAT LOSS 0.098301242 FOR HEAT LOSS 0.105819117

TOTAL THERMAL
TOTAL THERMAL 0.099 W/mk RESISTANCE 0.103 TOTAL THERMAL TOTAL THERMAL
RESISTANCE RESISTANCE 0.098 W/mk RESISTANCE 0.106
95 96
 MATERIAL EXPERIMENT

One of the key elements in the project is to use transparency to observe others.
This enables user empathy for the experience which can help to inspire and
motivate others. (Mikulincer &Shaver,2014, p.81)
The issue with larger transparency next to multiple music rooms is acoustic
separation.
Using okalux glass allows for acoustic insulation however still allowing the
silhouettes to be seen especially showing the evening use.

The images shown give an example of what a large panel of glazing may look like using the okalux glass.
Sectional use of the Okalux glass

These images show the more realistic

scale of the glass using tiny holes to
97
create a silhouette. 98
 1.20 FACADE MODEL

FACADE SECTION FLOOR CONNECTION ROOF CONNECTION

99 100
 SOUTH SUN
63
O
WINTER SUN ENVIRONMENTAL STRATEGY
17
O

ALL BUILDINGS

COOLING
Both buildings can be cooled by the
use of a ground source heat pump.
The pump used will connect to the
floating harbour water which will be
the most energy efficient option. Heat
from the building will be extracted and FLOATING BUILDINGS
will travel down the pipes and through BUILDING 1
the pipes in the water. This heat will 9
then be released into the water and
cooled and brought back into the 2
building. (7) 9
4
ELECTRICITY 4
BUILDING 2
Large windows allow for the maximum
allowance for light and will allow for 1 3 4
more hours of electricity for lighting to 8
be used.
8
RAIN WATER SYSTEM. 6
A rain water system will collect rain
water and recirculate it through the 7
toilets and therefore reduction in the
amount of water used in the building.
SUMMER ENVIRONMENTAL STRATEGY WINTER ENVIRONMENTAL STRATEGY

FLOATING BUILDING BUILDING 1 BUILDING 2 HIGH LEVELS OF GLAZING SOLAR GAIN

SOLAR GAIN- SOLAR GAIN- SOLAR GAIN- Triple glazing is used to allow for heat Low level sun allows for a large amount
To reduce solar gain from the sun inter- In small buildings, roof overhang reduc- On the ground level roof overhang remain in rooms. (9) of solar gain in all buildings.
nal blinds are installed. es solar gain. (2) In the larger building, reduces the level of solar gain. The first
blind help to reduce the level of solar floor has movable timber shutters to GROUND SOURCE HEAT PUMP INSULATION
VENTILATION- gain enter the building. allow variable amounts of solar gain to The ground source heat pump can also Due to the crucial importance of main-
Large windows allow maximum effect enter the building (4). help by absorbing the low grade heat taining a high level of sound separation,
from cross ventilation (1). VENTILATION- Trees allow for extra solar shading (5). and then transport and concentrate thick insulation has been used. This has
Vents allow for maximum use of the it around rooms which need heating. a secondary benefit for allowing heat
stack effect allowing warm air to rise VENTILATION- (10) remain and not escape out through the
and leave through the vents (3). Large windows allow maximum effect envelope. (8)
from cross ventilation (6).
101 102
COSTING FIRE STRATEGY

CAN COMPARTMENTALISATION CAN’T COMPARTMENTALISATION BUILDING 1 BUILDING 2

BUILDING FUNCTION QUANTITY MEAN £/m2 TOTAL AREA (m2) COST (pounds)

Shop (small) 1 1483 131 £                194,273

Restaurants 1 2739 280 £                766,920
Café 1 2868 176.8 £                507,062
Kitchen 1 3017 64 £                193,088

Small Studios 7 1533 13.6 £                145,942

Medium Studios 7 1533 37.8 £                405,632
Large Studios  4 1533 76.8 £                470,938
Concert hall 1 6909 226.2 £             1,562,816
Teaching areas  2 2966 104 £                616,928
Pavillion/ Exhibition 1 3845 66.6 £                256,077

Links/Corridors  (Top Floor) 1 5512 72 £                396,864

Links/Corridors  (Bottom Floor)  1 5512 104 £                573,248
Stairs 3 4797 10 £                143,910
Toilets 3 3708 50 £                556,200
Plant room 1 4938 56 £                276,528

Total £                 7,066,425

These figures have been taken from the building cost information service regard- DISTANCE TO FIRE ESCAPES COMPARTMENTALISATION
ing average prices. Arrows in orange show to the maximum distance to the nearest fire Areas that cannot be compartmentalised have a sprinkler system in-
escape stairs. These are all under 18m. stalled in the areas of the atrium shown in red. Roof vents can be
opened to allow control of the fire . Building one will have extra fire pro-
POSITIONING OF FIRE ALARMS tection as there is a high number of people indoors this area.
The main circulation spaces will have fire alarms where they are more
likely to start. FIREPROOFING
Areas with high numbers of people such as in building one have extra fire
FIRE STAIR WIDTH protection. Extra fire protection has been added around high risk areas
All stairs have a width of 1050mm to allow visitor number to be a maxi- such as the plant room and the kitchen in building two.
mum of 220. Areas with extra fire protection has been shown in pink with an extra 60
minutes.
VEHICLE ACCESS TO BUILDING
Over 15% of the perimeter has been provided by the main road for FIRE ASSEMBLY POINT
access from a fire engine shown in blue. The fire assembly point is located in the courtyard which will accommo-
103 date all the users in the building this area has been shown in green. 104
 FEEDBACK: MOST INFLUENTIAL REVIEWS

BODY ARCHITECTURE
PERFORMANCE PERFORMANCE

Old concept

FEEDBACK CONSIDERED: INTERIM REVIEW

FEEDBACK CONSIDERED:
Concept executed well along with process
work and model making.
More context needed to be added to
my plans, sections and elevations and a
fictional site still needed to be chosen for the
narrative.
The connection to amphitheatre as an additional typology were liked
however the number of users the project was too general. The initial
idea was to incorporate all types of music genres to form a central hub.
The idea to move sites for the project was suggest however as the
project progressed to focus on mainly younger users, I decided to
remain in the site for the ease of access and popularity with young
people.
This review has changed my project the most significantly.
FEEDBACK CONSIDERED: FINAL REVIEW
Spaces for specific levels of development were
praised and room arrangement fitting the context
however the placement of the buildings still needed
development.
Further development of the courtyard was needed
and window shapes needed changing to fit the nar-
rative of the concept.

105 106
 FINAL MODEL

1.200 FINAL MODEL

107 108
 RENDERS

MUSICIANS BAR REHEARSAL SPACE REHEARSAL ROOM

EXTERNAL RENDER

109 110