Professional Documents
Culture Documents
SHEFFIELD
PROGRAM
MY DESIGN FOCUSES ON BRINGING A SMALL COMMUNITY OF
JEWELLERS TOGETHER, MAKING USE OF THE POTENTIAL
OFFERED BY FURNACE HILL AND TRYING TO ENHANCE THE USE
OF THE ZONE. THE FACILITIES INCLUDE A GALLERY FOR
JEWELLERY DISPLAY, THAT FEATURES A JEWELLERY SHOP AS
WELL AS ONE SHARED WORKSHOP AND 5 INDIVIDUAL
WORKSHOPS THAT SPECIALISE IN DIFFERENT TECHNIQUES OF
JEWELLERY MAKING. THE GALLERY AREA IS A FLEXIBLE SPACE,
THAT ALLOWS CONVERSION INTO A CONGREGATIONAL SPACE
WHEN NEEDED.
FURNACE HILLL
ALLEN
SITE
EET
Y STR
TRINIT
STREE
ROUTES
SITE FEATURES
BIKE ROUTES
ACCESSIBILITY
site
The site is located between trinity street, copper street and allen street (ringroad), being easily
accessible through car, bike or public transport (there is a bus stop 5 minutes walk from the
site). There are 2 car parks in close proximity to the ringroad, as well as several others on top of
trinity street, snow lane and copper street. The area is close to the city centre, making it a source
of potential development.
CURRENT SITUATION
BUILDINGS CLOSE TO SITE
garage:
rock school:
workshop
The existing building is owned by a mechanic who has maintained the traditional footprint of the
previous building and the supporting walls from the 1800s slum resedency. An architectural
curiosity; it is almost a peice of urban archaology. The owner has a progressionist attitude to
the past not seeing it through rose tinted spectacles the 1960s addition personifies this attitude
with its rough and ready non asthetic functionalist approach, which strangley has an enormous
degree of contextuality.
ELEVATION ON TRINITY STREET
car park
warehouse
workshop
SITE
ALLEN
T
STREE
EET
Y STR
TRINIT
CAR ROUTES
VIEWS
observation points of site
proximity along Allen Street
NOISE SOURCES
RAIN
FACTS: - site (orange) is far from the susceptible floodable area
--> low risk of flooding
PROBLEM: because the street is slopping, possible flooding
may occur on the lower part of the two streets (site not affected)
APPROACH: - rainwater could be harvested
- use of SUDs (sustainable drainage systems) reduction of water run-off and risk of flooding (therefore my
building could bring contribution to the area)
- use of vegetation (green roof)
SITE ACOUSTICS
NOISE MAPPING
DAY
LIGHT
NOISE MAPPING
NIGHT
metal 20-40%
DESIGN STRATEGY
I APPLIED THE LIGHTING, ACOUSTIC, HEATING AND VENTILATION STRATEGIES FOR
ONE OF MY KEY SPACES - ONE OF THE INDIVIDUAL WORKSHOPS + THE GALLERY
SPACE UNDERNEATH IT.
LIGHT STRATEGY
APPROACH:
- my intention is to use as much daylight as possible, especially for the workshops.
concrete: 10-35%
workshops
- during my research on jewellery making, the makers have emphasised the
importance of having natural daylight, as well as directional/task lighting, as the
process requires accuracy.
- desk lamps will be needed above the jewellers bench and desks (adjustable
task lighting)
ARTIFICIAL
STRATEGY
LIGHTING
DAYLIGHT DIAGRAM OF
WORKSHOPS
shared
workshop
Halogen equivalent
- the ground floor will mainly be a display area, and it is vital to have controlled
light fittings. The ground floor will be an open plan space, and it is important that
it be flexible, as it is intended to be a congregational space as well
- background lighting needs to be used, as well as track lighting
- for the gallery space, I am aiming for skylight instead of sunlight
- artificial light fitted along the long wall - hallogen downlighters
- there will be background light, as well as individual light fitting for each display
case
I was considering double skin faades for the glazing in the workshops, with controlled solar
shading in between the skins. For the glazed area (reception, entrance, circulation) I looked for
a more appropriate solution - similar results of a double skin facade can be obtained by using
conventional high performance, low-e windows (triple glazed in order to offer thermal/acoustic
insulation as well).
gallery
Where to use it
300+
50W
If you currently have a
few 50W halogens and you want to keep the same
brightness.
200+
35W
If you currently have
35W halogens, or lots of 50W and you could manage with
less light output
100+
20W
Usually
for
local
lighting such as display cabinets, rather than general lighting
Window glazing specification triple glazing gives greater comfort because its surface
temperature is closer to the internal air temperature. Consider triple glazing specifically on north,
east and west faades.
Window specification
triple glazing
Daylight transmission
77 - 80%
70%
Solar transmission
(Ug =direct heat from the sun)
6576%
4060%
USER CONTROL
For the gallery and reception space ,where the light is good , there could be an electric lighting
that is gradually dimmed and then switched off when not need it anymore (and when the building
is not used). Conversely, when the daylight factor drops under 5%, the light automatically
switches on. The existence of a manual override to operate the system is preferable and it
should be located next to the welcome desk / staff area.
images from S.
Pelsmakerss
book
http://ce.construction.com/article.ph
p?L=352&C=1090&P=3
DAYLIGHT FACTOR
Recommended daylight factor is between 2% - 5%. This achieves good daylighting standards
and reduces the need for electrical lighting in overcast conditions; may need supplementary
electric lighting if below 5.
GALLERY
DFave = 2.73%
http://openbuildings.com/buildin
gs/q1-building-thyssenkrupp-qua
rter-profile-5838/media
ACOUSTIC STRATEGY
noise from
gallery (visitors)
workshop 1
workshop 2
(90-99dB)
noise from
Allen Street
workshop 3
workshop 4
noise from
workshops
(70dB)
noise from
Copper Street
noise from
workshop
(70dB)
noise
from
Trinity Street
Inside the jewellery workshops there are polishing machines and extractors that produce noise,
but they are frequently used so enclosing them in a separate room was not an option. As a
result, there is a clear division between the two functions, but they interact visually.
In between the metal boxes (the workshops) and the gallery there is an acoustically insulated
glazed roof. Also, the bottom of the workshops is insulated using modular perforated steel
industrial acoustic panels. These panels allow you to obtain excellent sound reduction
combined with a tough durable perforated steel finish. Ideally suited for use in factories,
machine
rooms,
test
areas,
workshops.
(http://www.customaudiodesigns.co.uk/acoustison-perforated-steel-acoustic-absorbers.htm)
http://www.sae.edu/reference_material/pages/Reverberation%20Time%
20Calculator.htm
to calculate the reverberation time for one of the workshops
WORKSHOP
WORKSHOP
need to be careful
at
the
joists
between the roof
glazing and the
metal boxes
REVERBERATION
Using the Sabine formula : RT = 0,16 V / A , where A is the total absorption of room, and V is
the volume of the room, I applied it for one of the workshops. The value results is the same as
when using the table on the previous page.
Floor materials
125 Hz
250 Hz
500 Hz
1 kHz
2 kHz
4 kHz
Concrete
(unpainted,
rough finish)
0.01
0.02
0.04
0.06
0.08
0.1
Concrete
(sealed or
painted)
0.01
0.01
0.02
0.02
0.02
0.02
0.03
0.03
0.04
0.05
0.07
use
acoustic
laminated glass
GALLERY
0.03
Plaster (gypsum
or lime, on
masonry)
0.01
0.02
0.02
0.03
0.04
0.05
consider acoustic
treatment for the
workshops - flexible
membranes, sound
absorbing
wall
panels & spacers
between cladding
components
http://www.globalspec.com
/reference/41083/203279/c
hapter-2-sound-absorption
0.64
0.99
0.97
0.88
0.92
VENTILATION SCHEME
natural + mechanic
ventilation
inclusion of by-pass ducts
extractors in the workshops
Underfloor heating is suitable for the gallery area (concrete screed on top of the pipes), whereas
the workshops will be heated by water radiators, therefore the heating system will function on
similar principles. The boilers etc. will be situated in the plant room at the ground floor, which
should not be 1.1 - 1.4% of the total floor area which is 754.5 sqm, therefore area of plant room
should be 82 sqm.
The louvres and fins of the workshops prevent overheating during summer. Also, they allow
solar gain (concrete floor inside the individual workshops). The green roof on top of the east side
could act as solar shading, and might help diminishing energy needed for cooling the space.
HEAT LOSS
- can occur through the massive glazing
system on top of the gallery
- heat loss can also occur through the
glazing of the workshops
ducts in a jewelley
workshop
The building is intended to be used all year round, with a
clear distiction of what space is used by whom : the
gallery area is public, while the shared workshop and
facilities are for a more focused group of people possibly students, jewellery who are not from Sheffield
but want to come here for a worksop, people who want to
try jewellery making as a hobby. The 5 individual
workshops are used only by one jeweller each, so having
user control for both heating and ventilation is necessary.
Heating and ventilation controls fot the vistors facilities
are automatic, with possibility of being operated by the
staff when needed and are located in the plant room at
the first floor.
http://1.bp.blogspot.com/_tTod
Rl9tKu8/TCJj8QaTTkI/AAAAA
AAAALM/Siow7c5A284/s1600/
Two+soldering+stations.JPG
BIBLIOGRAPHY