Fold Strand NodeBasil Spence 2010

A !lm institute for Spike Island

Group 22

A Sarah FirthA Ben Morgan Jones

A Richard WinterE Jake Smith

03

Contents1 Analysis06 Brief / Response

07 Concept

08 Site Approaches

09 Timeline

10 Adaptive reuse

12 Fold

14 Node

15 Strand

2 Scheme19 Site Plan

20 Ground Floor Plan

21 First Floor Plan

22 Second Floor Plan

23 Roof Plan

24 Unfolded Elevations

26 Perspective Section

28 Elevations

32 Visualisations

48 Analysis of Strands

3 Detail58 Construction Section

60 Structural Strategy

62 Tectonics

66 Environmental Strategy

68 Model Photographs

70 Conclusion

05

Analysis

Let's start from the beginning again, Je!. Tell me everything you saw...and what...you think it means.Lisa Carol FremontRear Window, 1954

06 Brief / Response07 Concept

08 Site Approaches09 Timeline

10 Adaptive reuse12 Fold

14 Node16 Strand

06

Synopsis of Brief!e central endeavour of this project is to use the medium of "lm to investigate the implications of the modern condition.

Cinema - the seventh art - has many a#nities with architecture and engineering in that its very essence intertwines

technological invention, with the aspirations of ontological narrative... !e project also demands the development of an attitude

towards modern and historical cinema, and the moving image, through the themes of Darkness, Machine, Screen and Space.

ReactionTo us, Spike Island feels like an understated area, given its history and the wealth of creativity that it harbours

from internationally acclaimed artists and businesses. We did not want to overwhelm the islands unique

character, but promote it on an urban level and bring its energy into the public domain.

In Search of the Miraculous (Trinta anos despois)Bas Jan Adler

1975

07

Film as public art RediscoveryConnecting the city

Our approach is to !lm as a public art. Seeing it as an art form akin to painting or sculpture, and viewing it as a cultural record of our cities

and their development and not as an isolated experience.

Spike Island occupies an intermediary location within the city, a missing link between the areas of Bedminster and Southville and the city center. It acts not only as a destination but as a passage, a

permeable screen connecting multiple aspects.

From its industrial roots, Spike Island is developing a new cultural and urban agenda. "e activity of this era is !nding its place adapting and

reinventing the topography of the historic harbour.

08

Residential approach Cumberland Road forms a noisy bu!er between Southville and Spike Island. "e elevated rear end of the site a!ords city centre views, a strong opportunity for connecting with the city visually

City approach Spike Island from in front of the Arnol#ni. "e utilitarian aesthetic of the M Shed and the Stothert & Pitt cranes evoke a deep sense of industrial place, revealing the sites industrial past

Site Approaches

09

1838 SS Great Western - Brunell

1809 1st May - Official opening of the Floating Harbour 1843

SS Great Britain - Brunell

1833 Great Western Railway - Brunel

Linking Bristol and London, driven by the desire of Bristol merchants to maintaintheir city as the second port of the country, and its primary link to the USA.

1961 Arnolfini - Jeremy Rees

Arts center opens with a programme of music, exhibitions, !lm and literature. Relocated to Queens Square in 1970.

1908 Royal Edward Dock Avonmouth

"e shipping industry gradually relocated to Avonmouth and Bristol City Docks in the Floating Harbour became redundant as freight docks.

1804 Floating Harbour - William Jessop

"e construction began on the scheme proposed in 1802 with the installation of a dam and lock at Hotwells to create the harbour. "e Cumberland Basin provided a way to equalise levels in and outside the dock, maintaining #exibility and e$ciency of operations undisrupted by the huge tidal variations on the river Avon.

1976 Artspace Bristol

Established in the MacArthur warehouse, providing studio space and shared resources for local artists.

1988 Cinema Paradisio Giuseppe Tornatore

Academy Award winning in 1989 for the Best Foreign Film, Cinema Paradisio tells the story of young Salvatore as he develops his life long passion for !lm.

1925 Warner Bros

Pioneers of !lm with synchronised sound. Using their Vitaphone they began making movies with music and e%ects tracks in 1926.

1914 The Tramp - Charlie Chaplin

One of the most creative and in#uential personalities of the silent !lm era.

1896 34th St. New York City

First public exhibition of projected motion picture

1495 Discovery of the AmericasJohn Cabot

Historians generally assume that on arrival back in the UK Cabot went directly to Bristol to seek support. A royal patent dated 1496 stated all expeditions should be undertaken from the city.

1980s Harbourside regeneration begins

1809 1833 1980

1914

1999 Peros FootbridgeEilis OConnell

"e footbridge links the At-Bristol center and Canons Marsh to the city center.

Spike Island / Film Timeline

010

Adaptive ReuseHistorically, Spike Island was the site of working quays, shipyards, warehouses

and associated dockside industries. With the decline in heavy industry in

Britain there was a plentiful supply of disused warehouses and factories in

harbour areas. Groups of artists began to acquire these spaces as studios from

the 1960s and brought their creative energy to the UKs abandoned ports.

!e trend in artistic regeneration was in$uenced by the development

of SoHo, New York. Artists in"ltrated and took over the area known in the

19th century as Hells Hundred Acres, attracted to the cheap rents and large,

adaptable spaces they could use both to live and work.

Space, London, established in 1968, was one of the pioneering

examples of independent artists cooperatives in the UK, occupying warehouses

in the South Banks Old Docks. Landlords positively encouraged their tenancy.

Deterioration of properties and the increasing notoriety of dockside areas were

reduced, and gradually the variety of business and tenants increased, attracted

to the culture the artists had created. !is pattern of gentri"cation can be seen

throughout both the United States and Europe.

Caixa ForumHerzog & de Meuron!e building is conceived as an urban magnet, attracting people from a wide area to explore the building as well as the cultural program on o"er. Not only to its cultural program but the building itself. !e public realm is drawn beneath the mass of the former power station and up into the heart of the Forum.

precedent

011

M Shed1950 Transit Shed1974 - 2006 Bristol Industrial Museum2011 M Shed Museum telling the history of Bristol from pre-historic to 21st century

E-Shed1896 E-Shed cargo warehouse

1960s End of use as industrial storage2001 Watershed

!e Watershed media center promotes creativity, innovation and talent, comprising three cimena screens, exhibition space

and a cafe/bar.

SS Great Britain1843 Designed by Brunel to take passengers from

Bristol to New York1845 Maiden Trans-Atlantic voyage

1886 Out of service, a!er over 1 000 000 miles at sea1937 Abandoned in the Falkland Islands

1970 Salvaged and returned to the Bristol Dry Dock2005+ Between 150 000 and 170 000 visitors

annually a!er extensive reconstructive work to repair all surviving pre-1970 material

Brooke Bond Tea Warehouse

1960 Brooke Bond Tea packing warehouse1976 Spike Island Artspace took over as studios

1998 Lottery funded refurbishment

!e Spike Island Artspace is a place of production and exhibition of contemporary art and design. Spike Island

provides exhibition, studio and workshop space to artists, students and the general public. It is also home to many small

scale commercial creative buisnesses.

Fyffes Warehouse

1980 Banana ripening warehouse for Fy"es1995 Aardman Animation Studios

Aardman Animations are the world leading studio in model animation, creaters of Morph and Wallace and Gromit. !e studio has had seven Oscar nominations, and won four.

B Bond Warehouse1908 Built by William Cowlin

1995 Create Center and Bristol Records O#ce

Create is run by Bristol City Council as an environmental education center, hosting exhibitions,

workshops and is a home to several organizations working in the "eld of sustainable development.

Bush House1830s Tea WarehouseAcramans Engineering O#ces1970 Arnol$ni Arts Center

One of Europes leading centers for Contemporary Arts established in 1961. !e center houses exhibition spaces, a cinema screen, an auditorium, and light/dark studios.

012

Fold Our proposal takes the archetypal "gure of the industrial shed in its simplest

pitched roof form. As the pitch runs through the building it distorts; rising, falling, dividing

and merging, fusing the multiple program requirements beneath its continuous canopy.

Both roof and $oor planes work in parallel to guide the user through the building. !e

ground level rises, folding through the site from the Floating Harbour up to Cumberland

Road. It uni"es the buildings internal activities and connects them with the external

landscape and broader context.

Auditorium AtlantidaJosep Llinas!e complex bridges between the consolidated town of Vic and future expansion areas as a melted part of the urban fabric. !e public realm is folded into the building with varying levels of exposure. Above, the roof slopes down from the auditorium #y tower, spreading and folding over the remaining program and creating multiple entrances.

fold |fld|verb [ trans. ]: 1bend over on itself so that one part of it covers another

noun: a form or shape produced by the gentle draping of a loose garment or piece of clothORIGIN Old English falden, fealden, of Germanic origin

precedent

Old Gaol Stables Brooke BondedTea Warehouse

BondedWarehouse

Guinness Shed M Shed Fy!es Warehouse E Shed

014

Node!e objects found on the site act as nodes, anchored deeply within the industrial heritage of Spike Island. !ey are vessels through which the history of the site has been enacted, taking on multiple identities.

!e introduction of three cinema auditoria establish the Film Institutes position on the Island. !e nodes are orientated with relation to existing site forces and geometries, embedding its program within its historical surroundings.

node |nd|noun: 1a point at which lines or pathways intersect or branch; a central or connecting point

ORIGIN late Middle English (denoting a knotty swelling or a protuberance):

derived from Latin nodus knot

Gaol

Ferr

y Step

s

Museum

Street

Ropewalk

1

134

5

2

3. Guinness ShedBuilt in the post war era as a storage

and handling depot for Guinness. Since then it has gone through numerous reinventions, currently housing a framing workshop, gallery and tea rooms.

2. Old Gaol StablesFormerly the stables for the Old City

Gaol, built between 1855 and 1869. Currently used as storage unit for the Olive Shed restaurant restaurant on the harbourside.

1. Wapping Wharf Master PlanWapping Wharf Ltd. propose an intimate form of development... with a compact, intense character. Retail and commercial units at street level along Museum Street and Gaol Ferry Steps create an active street frontage, with residential units above.

Found objects:

015

strand |strand|noun: 1a thin length of something such as thread, %bre, or wire, esp. as twisted together with others2an element that forms part of a complex whole

ORIGIN late 15th cent.: of unknown origin

Strand!e buildings program is grouped and arranged in strands, whose functions respond to the city at an urban level. Anchored by the nodes of the cinemas, each strand has its own dynamic; drawing people across the Floating Harbour or from the local communities of residents and artists.

5. Stothert & Pitt electric cranesFour (of an original ten) electric

dock cranes dating back to

1951 can be found on the

quayside adjacent to the M Shed museum. !e cranes travel independently along a dedicated harbourside track

4. Railway Tracks!e original tracks serviced

warehouses along the dockside.

As part of the Wapping Wharf

master plan the inland track will be

reincorporated in to a light rail route,

connecting to the city centre

016

017

Scheme19 Site Plan

20 Ground Floor Plan21 First Floor Plan

22 Second Floor Plan23 Roof Plan

24 Unfolded Elevations26 Perspective Section

28 Elevations32 Visualisations

48 Analysis of Strands

I guess I thought the dream-space would be all about the visual, but it's more about the feeling. My question is what happens when you start messing with the physics of it.AriadneInception, 2010

018 Isometric overview of scheme in context

019

Site Plan0 4020 60 100m80

01

02

0304

06

05

07

08

09

10

11

12

13

Ground Floor Plan0 5 10 15 20m

01 Exhibition space02 Caf03 WC04 Kitchen05 Shop06 Cinema 1 (170 people)07 Box o!ce08 Cinema 3 (750 people)09 Central space10 Bar11 Snack bar12 WC13 Cinema 2 / luxury (150 people)

01

02

03

04

06

05

07

08

09

10

1112

13

First Floor Plan

01 Exhibition space02 Caf03 Exhibition space04 Cinema 1 (170 people)05 Cinema 3 (750 people)06 Restaurant07 WC08 Kitchen09 Cinema 2 / luxury (150 people)10 Mediathque / archive11 Historical archive12 Film library13 Independent creative business unit

0 5 10 15 20m

01

02

03

04

06

05

07 08

12

0606

09

01 Flexible studio / exhibition space02 Inhabited steps / education03 Cinema 3 upper tier (200 people) 04 Cinema 2 / luxury (150 people)05 Mediathque / screening area06 Recording studio07 O!ce08 Teaching space09 Independent creative business unit

Second Floor Plan0 5 10 15 20m

Roof Plan0 5 10 15 20m

024

Unfolded elevations

025

Perspective section through community and exhibition strands

027

Elevation along caf street, from New Cut to Floating Harbour

029

030

Front elevation from Floating Harbour showing public screening area and adapted Guinness Shed

031

Rear elevation along Cumberland Road

View from across $oating harbour

Nighttime view from across $oating harbour

Exhibition strand and Guinness Shed as a permeable threshold to the Film Institute

Development maquette and sketch of exploringbuilding intersection with Guinness shed

035

036

Integration of caf / restaurant strand in to public domain

Development maquette of elevation

038

View from balcony in to central space

Initial development model and sketch of central space

040

Internal view of cinema

Nevertheless there are plenty of examples to show that #lm is capable of better things; not a great many #rst-rate works

of art, complete, coherent, and highly #nished - the art is still too young for that, it is still too much in the experimental

stage - but there are enough #lms to show in individual scenes, individual inventions, in the e!orts of individual actors, what

might be, what still lies hidden and untapped.

And there is, in art, nothing to prevent ones clinging to the little that is good, instead of the great quantity that is bad.

Rudolf ArnheimFilm as Art, 1932

042

View looking up inhabited steps towards exhibition space

044

Classroom in community strand; views over New Cut towards Southville

Model showing projecting classroom window

"ings need to be ordinary and heroic at the same time.Peter and Alison Smithson

1985

046

Interior #nish!roughout the central space and inside the cinema, internal surfaces take on a

ribbed appearance. !is is achieved with layers of thin hardwood battens made from

timber thinnings. A relief is milled in to the battens, creating an abstract, near moir

e%ect. On closer inspection a selection of key "gures from "lm history can be seen.

Laid to a fabric backing, this "nish has noise attenuating properties, making

it suitable for large, open interior spaces. !e timber is also carried through

externally to window frames and points in the faade which denote key entrances

and openings to the building. Timber louvers and window frames in the facade

highlight entrances and openings, and allude to the internal atmosphere. Internally,

the material is also incorporated as a tactile "nish to key pieces of furniture such as

the ticketing o#ce and bar.

Sketch of timber-slatted ticketing o%ce

Faces from le7 to right:Carol Reed

Lumires BrothersWong Kar Wai

Kathryn BigelowJacques Audiard

Tim BurtonWim Wenders

Andrei TarkovskyGeorges Mlis

Alfred Hitchcock

Original image

Relief pattern in timber slats

047

Models exploring light qualities di!used by timber slats

048

049Strand Analysis

050 View of shed exhibition View of front courtyard View from waterfront

"e exhibition strand breaks through the Guinness Shed and connects the building to the city by means of a projected image on the glazed end screen of the

studio.

"e projecting studio de!nes an entrance on the waterfront, giving access to a public exhibition and

caf within the original shed. "e old station platform becomes a terrace, with the original train line being

retained as the building bridges over it. "e bridging structure creates an area of inhabited steps, an

informal area for both teaching and !lm screenings.

051

Exhibition space

Landscapedcourtyard

Roof lightFlexible studio

Exhibition space

Caf

Box o!ce / shop

"e bridging structure de!nes a threshold to an internal courtyard which acts as both an outdoor seating area as well as entry point to the institute. Reclaimed sleepers from the old railway are used to create benches, tables and raised planters.

052

View from central space to bar and restaurantView to restaurant terrace from Ropewalk

Elevation Openings"e louvered timber openings o#er a suggestion of the internal

!nish and serve as entrances.

"e end of each strand is highlighted with an individual box window. In the case of the exhibition strand the glazed end acts

as a !lm screen, projecting a moving image toward the city.

Large landscape openings relate more to internal spaces which demand a strong connection to the streetscape such as the bar

Other more regular rectangular windows are placed according to internal forces such as the spacing of tables in the restaurant.

Louvered opening

Box window

Landscape window

Conventional window

053

Elevation

Bar

Restaurant

Roof

Landscape

"e restaurant strand responds to the Old Gaol Steps which are both a destination within the Wapping

Wharf development for commercial and residential activity and thoroughfare for locals from the suburbs of

Bedminster and Southville, cutting through the site to reach the Floating Harbour.

"e ground $oor bar is accessible directly from the internal central space, and $ows out onto the street

terrace. "e entrance to this area is aligned with the end of Ropewalk, and St. Marys Church Redcli#e.

054 End of community strand viewed from central space Rear courtyard View from Gaol Ferry Bridge across Cumberland Road

055

Mediathque / Archive

Mediathque / Screening Area

Film Library

Courtyard

Old Gaol Stables Creative Business Unit

Historical Archive

Teaching Space

Meeting Room

Recording Studio

A sequence of library, archive, mediathques, studios and

professional and amateur artists and the general public, feeding in to and drawing inspiration from a growing wealth of information.

from the busy central area. A small courtyard to the rear acts

with its scattered benches, as well giving direct access to the community and education facilities of the building for the local communities of Bedminster and Southville.

E

"e community strand is accessed through a courtyard, framed by the original stone wall and Old Gaol Stables creative business unit. Large window openings in the faade make connections with the internal teaching and meeting spaces, with the courtyard acting as a continuation of these. Accessed o# the Cumberland Road the facilities can be used directly by locals and artist for research, workshops and teaching.

057

Detail

Buildings of this technological age usually deliberately aim at ageless perfection, and they do not incorporate the dimension of time, or the unavoidable and mentally signi#cant process of aging. "is fear of the traces of wear and age is related to our fear of death.Juhani PallasmaaEyes of the Skin, 2005

58 Construction Section60 Structural Strategy

62 Tectonics66 Environmental Strategy

68 Model Photographs

70 Conclusion

058

Detail 7

Detail 1

Material 4

Material 1Pre-patinated zincSourced from recycled material with an average energy consumption of 10% less than that sourced from ore.

Material 3Hardwood timber thinnings Sourced from 14 forestries that are within feasible proximity to the site. Using a resource that is otherwise considered waste.

Material 2In-situ concreteIn-situ poured concrete with $y ash cement and locally sourced aggregate.

Material 4Steel Structure Light and $exible structure with e#cient large spanning abilities.

Material 5Corrugated SteelExisting non structural skin of the Guinness Sheds.

Material 7StoneExisting material build up of Old Gaol Stables.

Material 6Red BrickExisting structural base of the Guinness Shed.

Material 8Industrial Steel skeletonStructure of Stowford press cranes

Detail 4

Detail 5

Detail 3

Material 1

Material 2

Material 3

1. Foundations!e majority of substantial structure has been allocated to the south of the site to minimize foundation loadings to the poor ground conditions to the north.

6. Tertiary Structure !e strand structure has a sti%, cross-braced roof that enables transfer of shear between the external faade of the connecting structure and the auditoria.

5. Floor PlanesSix in-situ composite concrete $oor panels are installed to provide lateral stability

2. Nodes!ree heavily braced auditoria act as as strong boxes, providing lateral stability to the surrounding strand structures.

Structural Strategy & Construction Process

061

4. Fold Structure !e roof structure consists of deep pitched beams, that re$ect the notion of the strands weaving their way through the nodes.

3. StrandsA light Steel frame is erected with the bridge attaining longitudinal and lateral stability from a large truss and rigid portal frames along the length.

7. Folds!e exterior warm, non-ventilated zinc skin is attached using a lightweight Metsec wall cladding system or alternatively laid straight on to steel decking.

8. Founds!e found objects are renovated with a refurbishment of the Guinness sheds exterior skin and the Old Gaol Stables roof.

062

1.00 Structure

1.01 Structural Steel Columns1.02 Primary Structural Steel Beams1.03 Secondary Structural Steel Beams1.04 Tertiary Structural Steel Beams 1.05 Truss

2.00 Walls

2.01 Kingspan Rigid Mineral Wool Insulation2.02 Breather Membrane2.03 Vapour Control Layer2.04 12mm Cement Particle Sheathing Board2.05 Metsec Stud2.06 12mm High Density Core Plasterboard2.07 VMZINC PLUS Standing Seam2.08 50mm x 50mm So&wood Battens 2.09 150mm x 25mm Hardwood/So&wood Timber !innings 2.10 Acoustic Damping Sheet2.11 Concrete Upstand2.12 L2L Insulation

3.00 Floors / Substructure

3.01 Com$or 100 Composite Floor Deck3.02 200mm In Situ Poured Concrete3.03 50mm Under$oor Heating Screed3.04 Under$oor Heating Pipes3.05 Foundations3.06 External Steel Rainwater Gutter3.07 Concrete Paving Slab3.08 200mm Kingspan Rigid Mineral Wool Insulation3.09 Vapour Control Layer

4.00 Ceilings

4.01 Suspended Ceiling

3.073.063.053.082.11

6.047.03

6.01

3.093.03

2.072.02

2.052.04

2.011.02

4.01

3.013.023.03

2.01

3.06

Detail 1Floor Structure

1.012.07

2.022.04

2.05

7.02

7.01

2.01

3.033.043.023.01

8.024.01

2.06

1.02

2.03

Detail 3Internal Acoustic Timber Walls

2.092.10

2.08

2.06

2.05

1.01

Detail 2Projecting Window DetailGlazed Unit - 2.20 W/m2K

Tectonics

063

5.00 Roof

5.01 VMZINC Standing Seam 5.02 150mm Kingspan Rigid Mineral Wool Insulation5.03 L2L Insulation 5.04 VMZINC Plus Gutter5.05 Corus D60 Structural Metal Roof Decking5.06 50mm x 25mm Hardwood Timber !innings 5.07 Precast Concrete Hollowcore Planks5.08 Breather Membrane5.09 Vapour Control Layer5.10 Metsec Hangers5.11 12mm High Density Core Plasterboard

6.00 Openings

6.01 Double Glazed PPC Aluminium Window6.02 Double Glazed PPC Aluminium Skylight6.03 Skylight Flashing and Sheet Clip in VMZINC PLUS6.04 Roof Boarding 6.05 PPC Aluminium Variable Ventilation Grill

7.00 Surface Finishes 7.01 So&wood Skirting7.02 Applied Floor Finish7.03 So&wood Window Cill

8.00 Other

8.01 Solar !ermal Panels8.02 Services

4.01

1.02

1.03

5.05

5.09

1.04

5.02

5.085.04

5.06

6.03

5.01

6.02

6.025.01

6.058.01

5.015.085.025.07

1.05

2.05

5.10

1.01

5.031.046.04

5.08

5.112.102.11

1.022.06

5.04

Detail 4Exploded Roof DiagramRoof - 0.12 W/m2K

Detail 5Ventilation Stack DetailAuditoria Roof - 0.06 W/m2K

064

3.073.06

3.05

2.01

3.02

3.093.043.037.027.012.062.11

5.04

2.072.022.12

1.011.042.05

2.04

5.015.085.02

5.09

5.051.02

5.042.122.05

1.012.07

4.01

2.062.032.012.052.042.012.02

1.03

If we bring a little joy into your humdrum lives, it makes us feel as though our hard work aint been in vain for nothin.Lina Lamont

Singin in the Rain

Detail 6Open Down Pipe DetailFoundation - 0.19W/m2K

Detail 7Hidden Gutter DetailWall - 0.22 W/m2K

Rainwater strategy

065

Roof drainage strategyFire strategy plan

Fire StrategyOutlined below is an initial working "re strategy. With the schemes complex plan ranging over several storeys, including three nodes (auditoria), three strands (various program) and a deep core, a very complex "re strategy would be required that could be developed through investigation from the initial set below.

Warning and escapet Heat and smoke alarms installed within all parts

of the building.t Traditional audible siren to warn of a "re, as well

as visual alarm (in the form of warning lights) for the hard of hearing.

t Sealed "re lobby connected to all three cinemas.t Appropriate emergency lighting installed in all

cinemas. t Doors to cores and cinemas to be "tted with

automatic closing device in case of "re.t Automatically opening skylights within core

space to allow ventilation in case of smoke penetration.

t All exits and routes to be at least 900mm wide.t Hand held "re extinguishers distributed

throughout building.

Internal !re spread - liningst Heavy installation of sprinklers within "lm

archive and core.t Kitchen and Film Archive to have 60mins "re

rating with automatically closing "re shutter on serving hatches.

t All internal timber "nished treated to resist $ame spread over surfaces.

t Fire-resistant glass used within core spaces.t Old Gaol Stables retro"tted to meet housing

standards.t Additional hand-held extinguishers provided

in higher risk areas: kitchen, "lm archive, plant, projection rooms.

Access for the !re service t Access and parking for "re vehicle provided on

both Cumberland Road and Ropewalk streets.t Min. 70% of perimeter to have vehicle accesst Water valves to be located in protected stairs for

"re service use.

Compartmented zones with 30/60min !re rating

Gutters

Downpipes

Run of water Means of escape from $oor above

Means of escape

066

Energy Generation

Stirling EngineA Stirling engine that utilises the waste heat from the heat exchanger, plant and a large bank of solar thermal panels covering the auditoria drives the mechanical ventilation. A Stirling engine can convert any available heat source di%erence into kinetic energy. !e theoretical e#ciency of a Stirling engine is limited by the Carnot cycle (40%) and directly proportional to the temperature di%erence between the two sides of the cylinder. !e pressure of the working $uid also contributes to the e#ciency of a Stirling engine. By increasing pressure and hence the thermal mass of the working $uid it may transfer more energy for a given volume. As we are working with a low temperature di%erence (600C) but a high volume (400kW gain from solar and plant) it is possible to attain 40kW of mechanical power. !is is a conservative calculation, as a 50% transmission loss has been assumed. !is level of mechanical power will be ample to drive the low velocity ventilation in the auditoria and recording spaces. !us resulting in all mechanical ventilation to be provided passively. !e engine will also be linked up to a generator so that when the ventilation demand is at a low the engine may generate a modest amount of electricity.

Alternative Generation!e Floating Harbour is $ushed regularly (to avoid stagnation) and is replenished by the river Frome. !e $ow rate of the Frome is given as 1.7m3/s at a station above Bristol. For these reasons it would not be possible to generate su#cient electricity to warrant installing a water turbine running from the harbour to the new cut. With insu#cient depth a tidal $ow turbine in the Avon would also prove ine%ective. On-site generation is almost always a compromised solution. As all generated power is fed in to the same energy grid it would make more sense to invest in an o%-site wind generation program in a more suitable location.

Reduce, Recover and Reuse

Reduce!e initial starting point is to reduce basic energy consumption. !is has been achieved through the buildings structural strategy and massing. Steel structures have the ability to use signi"cantly less material than concrete structures and are therefore lighter with less extensive foundations. With most of the substantial structure to the south of the site, the quantity and size of piles has been minimized, reducing cost and material usage. Lighting requirements will be limited to speci"c times, with Passive infrared (PIR) being used to illuminate public areas when a "lm is in progress. !e core space requires lower light levels to aid in the transition between foyer and a darkened cinema. To reduce demands on heating and cooling systems a high level of thermal insulation has been applied to all external walls and roo"ng surfaces.

RecoverTo make maximum use of energy within the scheme, a large proportion of usable high quality heat is to be recovered (50% e#ciency assumed from recovery systems). !ese high grade sources include plant (55,000 watts) and projectors (4,000 watts). A heat exchange ventilation systems shall also be used to recover any excess heat from the three auditoria, recording studios and kitchens. !is will then produce a realistic recovery assumption of around 59,000 watts for high grade heat and around 70% recovery through the heat exchange ventilation.

Reuse !e reuse of existing material and structure played a large part within the scheme. Wherever possible existing structures and objects have been incorporated and reused, reducing the initial embodied construction energy of the proposal. Key material choices were made on the availability and realistic sourcing of recycled material.

Natural Resources

Floating Harbour !e $oating harbour shall be incorporated in to an open loop heat exchange system, to be used as a heat source in the winter and combined with a Turbocore compressor in the summer to aid cooling. Although the "lm institute has a constant cooling demand for projectors, plant and mediathques all year round, an alternative passive strategy of heat recovery ventilation is developed to cool in the winter. Turbocore compressors are a highly e#cient system, being a third more e#cient than any conventional method. !is system enables an e#ciency of 1 unit of electricity equating to 5-15 units of cooling.

!ere are a number of constraints that need to be considered in the implementation of an open loop heat exchange system:

- "e inlet and outlet have to be a minimum of 20m apart.- "ere may only be 50C rise between inlet and outlet water temperatures. - A license with an associated yearly fee must be attained from the Council for the extraction of harbor water.- "e temperature of the harbor $uctuates from a minimum of 70C in the winter to 200C in summer

SolarA large bank of south facing solar thermal panels cover the large auditoria to the rear of the site. !ese solar panels can generate up to 330,000 watts (values obtained from SWTHA).

Rainwater Harvesting!e roof plane of the luxury cinema is to be used for rainwater harvesting. With an adequate surface area, roof falls and proximity to plant and service spaces, it provides a useful water source. !e downpipe and "ltration system has been incorporated into the form of the cinema block.

Identify and Ventilate

Identify As the service life energy consumption accounts for the vast majority of the total CO2 usage of a development (carbon footprint) the environmental design aims to create an extremely e#cient integrated system that reduces overall usage.

Ventilate !e auditoria and recording studios are mechanically ventilated using a low velocity displacement system. Due to the requirement for acoustic isolation and comfort, passive ventilation was considered inappropriate for these key areas. Ventilation is provided in large ducting at low speeds to minimise frictional losses and noise.

!e stands are passively ventilated using three suitable methods that take into consideration location within site, depth of zones and usage. Single sided and cross ventilation is achieved within the peripheral zones such as exhibition and classroom spaces. Stack ventilation has been e%ectively achieved within the deepest core of the plan, through the use of two ventilation chimneys that have been incorporated within the form of the small and large auditoria. !e largest of the stacks achieves a maximum di%erential height of 10m, and an adequate opening area of 225m2. !is shall be the main driving force for natural ventilation, with fresh air being brought in via under$oor vents that connect to the outside via ducting. To increase the e#ciency of the ventilation stack, a south-facing glazing strip has been incorporated in to the chimney detail, thus increasing the rate of ventilation through solar acceleration.

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Water into open loop heat exchange

Water out of open loop heat exchange

Rainwater recovery

Solar thermals

Stack ventilation

Heat exchange ventilation In$ow of fresh air

Cross ventilation

Integrated environmental strategy

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Entrance to caf strand View from Cumberland Road Intersection of exhibition strand and Guinness Shed

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Front courtyard view

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Conclusion

Our building was not designed to impose a new identity on to Spike Island, but deeply respond

to its existing condition and make public its unique creative wealth. Film was used as a platform

to ful"ll this urban and social agenda. We feel that our low key proposal works on a local as well

as on an urban level. Its responsive nature is evident through its form and materiality, balancing

historical and progressive forces, urban and sustainable, as it folds to establish its position within

the site.

!e idea of adaptive reuse could have been further investigated, developing an architecture more

responsive and $exible to the future demands of the community and city that it serves.

Our working process over nine weeks has been measured and coherent as we grew to understand

the intricacies of the locale and how the program could penetrate and heighten its complexion.