2020/21
Jana Senberga Portfolio 3.2 CIA / BA3
STUDIO 3.2 / Jana Senberga
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2020/21
task and the client
TASK
To design dynamic individual sets of spaces for three clients - Assembly, who provide co-working spaces, FUSE volunteer led art gallery and Bradford Civid Society.
LOCATION
The ever evolving edge of Bradford City Centre, re-imagining the Top of Town
ACTION
Design proposals are developed based on site analysis of the city and location, and of series of design research exercises ‘tasklets’.
CLIENTS
STUDIO 3.2 / Jana Senberga
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2020/21
introduction to overarching themes
‘The ultimate meaning of any building is beyond architecture; it directs our consciousness back to the world and towards our own sense of self and being. Profound architecture makes us experience ourselves as complete embodied and spiritual beings.’ (Pallasmaa, 1996: 13)
D E T A I L S T H E
T O U C H, T H E
The joint, that is the detail, is the place of meeting of the mental construing and the actual construction. (Frascari, 1983)
V I S I O N
Vision reveals what the touch already knows. We could think of the sense of touch as the unconscious of vision. Our eyes stroke distant surfaces, contours and edges, and the unconscious tactile sensation determines the agreeableness or unpleasantness of the experience. (Pallasmaa, 1996: 46)
T H E
N A T U R A L
Wright wrote, “Ornament is to architecture what efflorescence of a tree or plant is to its struc - ture. . . . the character of structure revealed and enhanced.” (Ford, 2011:97)
E X P E R I E N C E I experience myself in the city, and the city exists through my embodied experience. (Pallasmaa, 1996: 43)
T H E
C O N T E X T
‘Not to see finishing as the final moment of construction but to see the unending deterioration of a finish that results from weathering, the continuous metamorphosis of the building itself, as part of its beginning(s) and its ever-changing "finish"’ ( Leatherbarrow and Mostafavi, 1993)
STUDIO 3.2 / Jana Senberga
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2020/21
the big pebble
MOVEMENT The buildings are created to direct a path, as their rounder façades direct the way of the gallery wall, thus inviting people into the building. Assembly building on the right has a circular movement through the building to obtain most sunlight for seating area in all available façades.
The Assembly co-working building is positioned to not overtake the view of the Rawson’s hotel, creating a path.
STUDIO 3.2 / Jana Senberga
Circle showing an accumulation points from all directions
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technical position
EXPOSED GLULAM BEAMS To integrate into the site, between the sandstone buildings, wark yellow toned gluglam beam structure would be used for the building. Moreover, in order to make the building seem more natural, the wooden structure would be exposed.
Berluti Manufacture / Barthélémy Griño Architectes
GREEN ROOFS The site is quite far away from any parks, thus to respond to climate change and create a greener area, green roofs will be implemented. It woul also have a small balcony, to therefore create the area more enjoyable and usable.
Arkadia / DKO Architecture + Breathe Architecture
FITTING INTO THE SITE The site has Grade II listed building - Rawson’s hotel. Thus, to incorporate a fitting design, the building woul have sandstone tiles, to feel like a newer extension, rather than stand out and overtake the beauty of Rawson’s hotel. Um- und Zubau Bezirksgericht Deutschlandsberg
STUDIO 3.2 / Jana Senberga
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2020/21
heating, lighting, cooling and ventilation
2. 5.
1.
3.
4.
7.
PLANT ROOM
PLANT ROOM
PLANT ROOM
6.
1.
2.
Natural ventilation
Rainwater collection
Passive ventilation with window openings and atrium, used in combination with mechanical ventilation. This will save energy use in the summer, and provide fresh air.
Because the high amount of days in Bradford, rainwater be collected in tanks with the of green roof and re-used as water in the building.
3.
rain will help grey
4.
5.
6. 7.
Mechanical ventilation
Underfloor heating
Green roof
Ground source water pump
Especially in the gallery area and archive, there will be mechanical ventilation in order to preserve art.Ventilation vents will be in the ceiling gap.
The building will be heated up by underfloor heating, the heating pipes running in the floor gap with hot water extracted from the plant room.
Green roof provides additional insulation levels, noise control and helps with urban heat island.
Water is sourced from the Bradford cities water supplier, later goes through a heat pump, and maintained in the plant room for further usage with a water heater pump so all levels have hot water.
STUDIO 3.2 / Jana Senberga
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2020/21
regulatory documents PART H : Drainage and Waste Disposal An adequate system of drainage has to be provided to carry foul water from appliences withing the building to a public sewer, which is moved through the walls (service gap) in the service riser.
PART B - Fire Safety In case of a fire, there must be a satisfactory means of sounding an alarm, which will be implemented by fire alarms in every room and satisfactory means of escape for people.
1 / The foul water drainage system has to convey the flow of foul water to its outfall, thus it must be large enoug to carry any unexpected flows. 2 / It has to minimise the risk of blockage and leakage and be accessible for clearign blockages 3 / All point of dishcharge into the system is fitter with a water seal trap to decrease escape of foul air. 4 / Because the building has an implemented rainwater collection and re-use, it must have tanks that are prevented from leakage, have an anti-backflow device and has to have an access for emptying and cleaning. 5 / Locations of storage of solid waste are specified in the building, that can be accessed by all occupiers of the building, which is placed on the street with an access of a waste collector.
1 / Escape routes are suitably located, sufficient in number and of adequate capacity, in the larger building there are two fire escape stairs and in the smaller - one. The stair width is 1100mm, which is the allowed minimum in assembly/office buildings. Furthermore, because the building has more than one direction of escape, the travel distance is 22m, which is by regulations for assembly/office buildings. 2 / Where necessary, escape routes are sufficiently protected, especially if besides with an external wall of the building, from the effects of fire and smoke by fire resistant construction.
PART K : Protection from Falling, Collision and Impact
3 / Every protected stairway leads to a final exit, either directly or via an exit passageway, all being seperated by doors from the main area and have a clear path to escape to the outside.
1 / Rise for general access stair is 160mm, goin is 250mm, which is stated by the regulations. 2 / The building will not use open risers to ensure safety of tripping, etc. 3 / Flights between landings have a maximum number of 10 risers on general and utility stairs. 4 / The size of the landing for utility sstairs is 700mm and general stairs is 1000mm. 5 / Handrails are in accordance to regulations, the top of a handrail is 900mm from the ground on each side of the stairs. 6 / Stairs, balcony, atrium and void (1100mm from the ground) are provided with barriers to protect people from falling.
4 / An electrically operated fire alarm system will be provided in every room as there is a possibility of fire breaking out in unoccupide rooms. The alarm will be operated by a fire detection system. 5 / Self-closing fire doors will be fitted with an automatic release mechanism, to avoid breakadge and therefore Refuges and evacuation lifts should be clearly identified. 6 / The escape doors cannot be fitted with a lock or fastening, as it has to be operable from the inside out. Doors have to be fitter with panic fastenings in accordance with BS EN 1125. In regulations, it is allowed to lock the doors with hardware only when rooms are empty (ensure security during the night).
PART M : Access to and use of Building
7 / The escape doors open to the oitside, towards the direction of the escape. And must end in an area, where poeple are able to rapidly leave the area around the building, which in this case is on a pedestrian street with larger accumulation area (not near traffic).
fire escape stairs
rainwater collection / reuse
8 / Escape route floor finishes should minimise their slipperiness when sprinklers are in use.
disabled access toilets
solid waste collection
STUDIO 3.2 / Jana Senberga
1 / The difference in level between the enterence storey and the site is 0, for easy wheelchair access. 2 / All routes in the building are accessible and cleared of any potential hazards. Auditorium is adjustable in seating size. 3 / The enterance doors are 2m wide and interior doors vary between 1000-800mm, according to regulations. 4 / Lifts are designed to fit all purposes and will have raised buttons to faciliate tactile reading 5 / All wheelchair accessible toilets open outwards, there is always available one disabled access toilet in each toilet area. 2 or 1 on each floor.
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climate emergency GREEN ROOF /
PRECEDENTS
There are little to no parks close to the site, thus to create a more natural feeling within a city, a green roof could be designed. Benefits : - reduces urban heat island effect - additional insulation - noise cancelation - reduces greenhouse gas emissions - reduce energy use RAINWATER COLLECTION / Green roof, Norway expo Green roof can be integrated into rainwater harvesting system. Benefits: - water can be re-used in the building - reduces storm runoff - decrease costs
GREEN ROOF
RAINWATER COLLECTION
SUSTAINABLE MATERIAL CHOICES
1. 2. 3.
SECOND FLOOR
FOURTH FLOOR
ROOF Open areas on the roof, between the green roof would be occupied as balconies, so people can also enjoy the outside, with a feeling of nature. Different biodiversity plants could be integrated in the design, possibly also creating a pattern, so the balconies are used more as a roof garden.
1 / TIMBER STRUCTURE / renewable material, recyclable and natural, carbon positive, low energy production, natural insulation. 2 / CELLULOSE INSULATION / made of recycled materials, great thermal performance 3 / SANDSTONE / low carbon footprint, durable, low maintenance costs, creates almost no chemical waste
STUDIO 3.2 / Jana Senberga
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Structural Strategy
PRECEDENTS :
Half of the building would be of sandstone cladding.
Wall build-up
Larger spans between columns to create an open area Sines Center for the Arts / Aires Mateus
Main structure will be of glulam beams. Spans are mostly 4m, 325x200 mm
Mass CLT panels as part of the structure. Glass roof structure
Berluti Manufacture / Barthélémy Griño Architectes
STUDIO 3.2 / Jana Senberga
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material selection
PRECEDENTS MATERIALS ON SITE
Wood exposed columns and beams, thus creating a natural feeling, also appears to be lighter than concrete or steel columns.
GLASS Glass and wood integrating, thus creating an outside feeling inside. Lo-Reninge Town Hall
SANDSTONE
Based on already prominent colours on the site, wood would fit in between the warm yellow tones of the sandstone
WOOD
GLASS
The main enterance would be glass to attract visitors
SANDSTONE Manchester Central Library Walk The Rawson’s Hotel next to the Fuse art gallery and BCS is of sandstone, thus to integrate the building, it must have sandstone material. Assembly building in the Rawson’s Square should integrate into the surroundings Gallery facade of glass to open a look into the gallery.
Natural materials – stone, brick and wood – allow our vision to penetrate their surfaces and enable us to become convinced of the veracity of matter. Natural materials express their age, as well as the story of their origins and their history of human use. (Pallasmaa, 1996: 34)
STUDIO 3.2 / Jana Senberga
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2020/21
design development / creating a void
Sketch models
main enterance
main enterance
sisters, not twins A play between solid and glass, creating a distinctive difference.
Interior view
Balcony to create a distinction between the enterance and the rest of the building Main enterance
Opening a void so large sulptures, etc. could be seen from the top. Creating a void
STUDIO 3.2 / Jana Senberga
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2020/21
gallery walk / glazing explorations
Sketch models
Glulam beams every 4m, creates a larger view point.
Glulam beams every 2m, simple, creates repetition that can be overbearing.
Facade facing the public square, that also allows views of the gallery wall to bring art outside to the public square. Glass facade also creates a feeling of a smaller structure / larger public square.
Criss-cross glulam beams, create a pattern on the facade.
STUDIO 3.2 / Jana Senberga
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2020/21
glazing explorations / detail study
initial
proposed
Interior - exposed timber columns, exterior - spider curtain wall
By fixating the glass windows as spider curtain wall on the exterior of the timber columns rather than the interior, it is possible to obtain and effect of the walkway being filled/solid on the exterior, rather than split by columns.
CFT ARAUCO DUOCUC / GDN Architects
STUDIO 3.2 / Jana Senberga
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2020/21
where both buildings meet / distinguishing the enterance
SERIAL VISION WALKING THROUGH THE SITE / PRECEDENT
The Summer House restaurant, DBALP
‘A building is encountered; it is approached, confronted, related to one’s body, moved through, utilised as a condition for other things. architecture initiates, directs and organises behaviour and movement.’ (Pallasmaa, 1996: 68)
STUDIO 3.2 / Jana Senberga
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enterance / collage iterations
The main entrance is chosen to have a visually appealing look, so people are interested to see what more the building brings, thus iterations with possible entrance designs are created. 1 / Melted metal/mirror The entrance would have melted metal detailing, similar to the precedent of Manchester Library Walkway. Although the mirror effect would brighten the area, the metal would feel colder compared to the exposed timber columns. 2 / Wood triangles Choosing the same material that the building already has in its design creates a sense of connection. However, it can seem too similar. 3 / Flowing wood Similarly to the melted metal,the ceiling creates an organic shape and connects with the exposed glulam columns of the building. 4 / Greenery To further keep the green roofs in relation to the building design, greenery could also be implemented into the interior look of the building. Bringing nature within the building.
STUDIO 3.2 / Jana Senberga
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2020/21
enterance / visualization
The main entrance is created by wooden pieces attached to the ceiling, recreating waves of movement. To exaggerate the gallery ticket/information desk, the waves ‘hit the wall’, going behind the desk. The wooden wave-like elements mirror the roundness of the building and keep up with the wooden elements.
STUDIO 3.2 / Jana Senberga
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interior / the art cafe
‘Images are converted into endless commodities manufactured to postpone boredom; humans in turn are commodified, consuming themselves nonchalantly without having the courage or even the possibility of confronting their very existential reality. We are made to live in a fabricated dream world.’ (Pallasmaa, 1996: 37)
PRECEDENTS
Latvia’s National Museum of Art, Latvia
Because of a need of an archive in the gallery, similar to the precedent of the Latvia’s National Museum of Art, the archives would be in glass surrounding room, thus allowing people to look into the archives. Implementing this idea, the Fuse art gallery would have a cafe, where it feels like the art is surrounding a person even while drinking coffee.
STUDIO 3.2 / Jana Senberga
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Rawson’s square facade development / design drivers BUILDINGS ON SITE
PRECEDENTS
Historische Mitte Köln, Durisch + Nolli Architetti
Gallery of ARC, Koichi Takada Architects Most of the buildings around the Rawson’s square have double height windows, making the building seem taller than it is. A common theme of the windows are a combination of round and rectangle windows.
Furthermore, many buildings have rounder elements although the building itself has rectangular windows. All of the buildings also have dimensinsions to the windows by creating ‘framework’ around it.
STUDIO 3.2 / Jana Senberga
In order to miror the style of the buildings and fit into the site, the facade would have a mix of windows and to give facade depth, the windows would have ‘framework’ around them similar to the precedents.
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2020/21
factory visit
DARWEN TERRACOTTA CASTING PROCESS /
For restoration purposes, the first task is to create models of profiles (plaster, or polystyrene hot machines, 3D) from drawings and sections to obtain exact shape.
For new build, protorypes are created to obtain a physical model to learn about the shape. Glazing and colour development to obtain the wanted look (rather than matching for restoration).
After obtaining a model, a reverse mould is created, to later cast the details. The moulds have opening to let the air out, thus not having air bubbles.
POSSIBLE WINDOW FRAMEWORK OUT OF TERRACOTTA, PATTERN TO GIVE DEPTH TO THE FACADE / After the cast is left for drying for 1 week (<1% moisture), small details are added by hand to obtain most accurate details.
If the details are created out of terracotta, glaze is applied to obtain a glossy layer and set. Later the details are placed in kiln fires, slowly bringing temperature down so there is no thermal shock.
After kiln firing, the details go through quality control, measuring and packing, later transported to the site and installed.
STUDIO 3.2 / Jana Senberga
The introduction to terracotta casting provided an example to make a prototype, which was made inspired by the mentioned example of the Floral street, Covent garden by Brimelow architects. The small tile with the rounded shapes could be used to create framework around the windows, thus creating depth to the building facade.
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Rawson’s square facade development / iterations
Firstly, the building itself would be of sandstone, thus fitting into the context of the site and not overbear the Rawson’s hotel next to it, keeping it as a focal point of view. The iterations show a play of arcs and rectangular shape, as those are most common around the Rawson’s square. The double height windows create a feeling of a taller building, and framing around the windows create depth to the facade.
STUDIO 3.2 / Jana Senberga
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facade / section, elevation, plan Detail A
ROOF, TERRACE / 1. 2. 3. 4. 5. 6.
terrace descking metal pedastals roofing membrane celuloce insulation clt slab 5-plu internal finish
INTERMEDIATE FLOOR /
Detail A
Detail B
1. 2. 2. 3. 4. 5. 6. 7. 8.
vinyl flooring plywood sheating metal pedastals underfloor heating service gap clt slabs 5-ply glulam beams callulose insulation 150mm internal finish
WALL BUILD UP / 1. 2. 3. 4. 5. 6. 7. 8. 9.
plywood sheating 22mm cellulose insulation 250mm gypsum board 25mm glulam beams weatherproof layer damp proof layer air cavity bendheim wall systems coloured glass
OR 8. steel rainscreen system 9. sandstone tile rainscreen Detail C WINDOW / 1. aluminium window frame 2. triple glazed windows GROUND FLOOR / 1. Vinyl flooring 2. plywood sheating 22mm 3. metal pedastals 4. underfloor heating 5. service gap 6. screed 150mm 7. cellulose insulation 8. damp proof membrane 9. concrete 10. concrete piles
Detail B
Detail C
STUDIO 3.2 / Jana Senberga
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50mm 2020/21 Dark Walnut Wood
LED light handrail
Aluminium profile
‘Th e H and sha ke’ ’
Plastic cover
Aluminium intermediate handrail bracket
Light underneath the handrail creates a visual path of direction
LED light strip
STUDIO 3.2 / Jana Senberga
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‘The Handshake’
‘The door handle is the handshake of the building. the tactile sense connects us with time and tradition: through impressions of touch we shake the hands of countless generations.’ (Pallasmaa, 1996: 62)
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1:50 corner model
Initial exploration of the corner model with 3D modelling software.
STUDIO 3.2 / Jana Senberga
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1:50 corner model / exterior atmosphere
The corner model was made to physically recreate the atmosphere that the building would convey. The open gallery walk can visibly decrease the sizing of the building because of its glass envelope and allows plenty of the views to the inside where the artwork would be placed.
STUDIO 3.2 / Jana Senberga
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1:50 corner model / interior atmosphere
The atmosphere inside largerly depends on the exposed woood of the columns, therefore creating a feeling of a walk outside, rather inside. Moreover, the large open area allows plenty of light, thus creating an inviting feeling.
STUDIO 3.2 / Jana Senberga
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landscape strategy
Pedestrian street seperation in Bradford center - Hustlergate
Pavement types around the site
By walking through the Bradford centre, it can be seen that pedestrian streets are split into two zones - faster and slower zones next to the shop windows. Because of the gallery walk, the slower zone must be inviting, distinctive to create an understanding of a passer-by. ZONES TO ADDRESS : fast movement zone slow movement zone surrounding pavement
Map showing on-site zones
F A S T
S L O W
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landscape development FINAL CONCEPT IDEA seating area in the middle of the oval shape with a planter box trees seperating slower and faster movement zones + reduce urban heat island
The Voyageby BCA Landscape, UK
Seperation of the zones with trees and seating area, thus creating a distinction between the slower and the faster zone. In ‘The Voyageby’ precedent, the striped pavement introduces the enterance of the building, which can be used to introduce the enterance of the Gallery and the Assembly offices.
Federal environmental agency, Dessau, Germany
prolonged lines at the entrances to emphasise the access
CONCEPT DEVELOPMENT / Creating distinction between the high traffic area in the Rawson’s square, a transition to the pedestrian street Rawson’s place to the Godwin street, which is a traffic street leading to the Bradford’s pedestrian city central. 1.
1 / Taking a simple site and distinguishing boundaries fro surrounding landscape and the created oval shaped square 2 / Main traffic zones from three sides approaching the site 3 / Main enerances (triangles) and smaller entrances (lines) 2.
3.
4.
STUDIO 3.2 / Jana Senberga
4 / Main slow movdfement zones in red 5 / Posibble stripped pattern for slower zones to blend into the pavement pattern 6 / Slow movement zone and Fast movement zone split by greenery as simillar to The Voyahebye precedent, with circular seating the the accumulating point of the oval. 5.
6.
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location plan 1:1250
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landscape plan 1:500
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3.
4. 5. 1.
5. 9.
3. 6.
4. 1. 5.
ground floor plan
10.
11.
2.
1:200 @ A2 8. 1 / reception 2 / lockers 3 / cafe 4 / kitchen 5 / toilets 6 / archives 7 / souvenir shop 8 / storage 9 / service riser 10 / plant room 11 / gallery
9. 7.
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12. 4. 5.
13.
9.
5.
10.
5.
first floor plan 1:200 @ A2
14. 11.
4 / kitchen 5 / toilets 9 / service riser 10 / gallery exhibition hall 11 / gallery 12 / open plan offices 13 / balcony 14 / void
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14.
4. 5.
9.
13.
9.
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16. 10.
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second floor plan 1:200 @ A2 4 / kitchen 5 / toilets 9 / service riser 10 / studio stage 13 / balcony 14 / open plan offices 15 / rooftop balcony 16 / storage
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4.
17. 9. 5.
13.
9.
5.
4.
8. 16.
third floor plan 1:200 @ A2 4 / kitchen 5 / toilets 8 / storage 9 / service riser 13 / balcony 16 / BCS offices 17 / private work cubicles
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20.
19.
9.
5.
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8. 18.
fourth floor plan 1:200 @ A2 5 / toilets 8 / storage 9 / service riser 18 / BSC library 19 / roof terrace 20 / plant room 21 / library archives
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Building section 1:200
10. 9.
11.
7.
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5.
8.
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3.
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SW - NE SECTION OF THE GALLERY / 1 / reception 2 / cafe 3 / lockers 4 / storage 5 / gallery shop 6 / gallery 7 / gallery hall 8 / auditorium 9 / BSC offices 10 / BSC library 11 / roof terrace STUDIO 3.2 / Jana Senberga
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Building sections 1:200
5. 4. 10. 9.
3.
8.
3. 7. 2.
1.
6.
NORTH - WEST OFFICE SECTION / 1 / reception 2 / cafe 3 / open plan offices 4 / private office space 5 / roof terrace 6 / archives 7 / gallery hall 8 / auditorium 9 / BSC offices 10 / BSC library
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Contextual section 1:500
NORTH - WEST CONTEXTUAL SECTION /
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Elevation 1:100
WEST - EAST ELEVATION /
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Elevation 1:100
SE - NW ELEVATION OF THE GALLERY /
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Contextual Elevation
SE - NW CONTEXTUAL ELEVATION /
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