VIEWS

observation points of site proximity along Allen Street arriving by car on site

view from top of Trinity Street

SITE ACOUSTICS

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 enclosed by 3 streets- most buildings around site are works or workshops --> noisy environment

PROBLEM: - noise from traffic (ring road is intensely circulated, Trinity Street and Copper Street are more quiet, being used mostly by people who work in the area) - one of the main industrial areas of the Sheffield (although every time I went on site I was quite surprised that it was not as noisy as one would expect; probably people working there carried out most of the activities)

APPROACH: - consider noise barriers and adequate sound insulation - pay attention to the large glazed surfaces (might turn into weak links to external traffic - http://www.architecture.com/SustainabilityHub/Designstrategies/Life/1-5-3-9-Noisecontrol.aspx) - could use acoustic windows

NOISE SOURCES

soundscape of noisy ring-road

loading wood into the warehousebackground noise in the garage

SUN PATH - APRIL

SUN PATH - DECEMBER

LIGHT

Most buildings on site are up to a maximum of 3 storeys high. Also, site is located at the bottom of a slope, so it gets good daylight all year round (as in light does not get blocked by buildings adjacent to site). The main elevation will be facing north, as the south side of the site is enclosed by a building. That means that the workshops and apertures facing north will not be receiving direct sunlight.

SHADOW PROFILE - MARCH

NOISE MAPPING DAY

NOISE MAPPING NIGHT

DESIGN STRATEGY

LIGHT STRATEGY

APPROACH:- my intention is to use as much daylight as possible, especially for the workshops. 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) gallery - 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).

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.

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 double glazing single glazing triple glazing Daylight transmission 77 - 80% 70%

Solar transmission 6576% 4060%(Ug =direct heat from the sun)

Matching lumens to Watts for halogen downlighters

The amount of Lumen to look for on LED packaging is different to CFL energy saving bulbs, especially when replacing halogen downlighters. Halogens are often fitted in large numbers and may be giving off more light than is needed. This means that an LED with a significantly lower Lumen output may be used as a replacement bulb.

Lumens Halogen equivalent 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 output100+ 20W Usually for local lighting such as display cabinets, rather than general lighting

daylight is maximised in the reception and gallery area (shallow plan --> natural daylighting and natural ventilation can be achieved with oor plan depths up to 2 oor-to-ceiling height, if the faade width is fully glazed. This means the depth of plan should be 6 m maximum with asingle-sided window and faade fully glazed (based on a 3 m oor-to-ceiling height).

height - 3m depth of plan - 5m < 3x2=6

The gallery has openings on two sides, depth should not exceed 12 m.

PROBLEM: it is 19m longSOLUTION: - mechanical ventilation - articial lighting (preferred anyway, as it is an exhibition space) - solution may consist in the actual roof, which is glazed and permit a generous quantity of daylight to enter

ARTIFICIAL LIGHTING STRATEGY

ground floor plan

green roof - 30% reflection

SOLAR REFLECTION OF DIFFERENT SURFACE MATERIALS

concrete: 10-35%

metal 20-40%

shared workshop

first floor plan

DAYLIGHT DIAGRAM OF WORKSHOPS

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.

- gallery (surface/ surface area in sqm / material / reflectance / area x reflectance)

north wall - 4,2 x19 =79,8sqm / brick / 0.2 / 15.96south wall - 4,2 x 20 = 84 sqm / concrete / 0,3 / 25,2 west wall - 3 x 3 = 9sqm / brick / 0.2 / 1.8west wall glazing - 3 x 6 = 18 / glass / 0.1 / 1.8floor - 9 x 20 = 180 sqm / concrete / 0.3 / 54bottom of workshops 4.5 x 5+4.2 x 5.5 + 5.3 x 4.2 + 4.6 x 4 +4.3 x 4 = 103.46 / metal / 0.5 / 51.73ceiling - 180 - 51.73 = 128.27 / glass / 0.1 / 12.827

Total surface area: 163,317Triple glazing transmittance: 0.7Average reflectance: 0,24

- workshop no.3

south wall - 3 x 4.2 = 12.6 sqm / metal / 0.5 / 6.3east wall + west wall - 2 x 5.3 x 3 = 31.8 sqm / metal / 0.5 / 15.9ceiling - 0.7 / 16floor - 5.3 x 4.2 = 22.26 sqm / 0.7 / 15.58north glazing 12.6 sqm / glass / 0.1 / 1.26

Total surface area: 55,04Triple glazing transmittance: 0.7Average reflectance: 0,24

All the workshop have got controlled solar shading on the glazed surface, allowing the people working there to adjust light as needed.

PROBLEM: the mechanism is eective for solar shading, but it can reduce daylighting and winter solar gain

SOUTH: deep reveal windows and horizontal shading. The total shading depth should be around 50% of the window height and maximum 1.5 m to allow winter solar gain. EAST/WEST: vertical moveable shutters/louvres. Lockable shutters allow secure night time cooling. SE/SW: combination of horizontal overhangs and vertical fins. External shading devices are the most effective as they deflect solar radiation before it enters the building. South faades are the easiest to provide with solar shading without compromising daylight. Louvres can be utilised. On east/west faades, external movable louvred shutters provide the best solar shading, while also providing good solar gain during winter. The louvres allow for ventilation and some daylight penetration. If they are closed at night, they also provide best night-time winter heat loss reduction. Shutters for reducing heat loss should be 40 mm thick and insulated. (S. Pelsmakers)

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.

CONTROLLED SOLAR SHADINGSection is facing South --> the louvres will be situated on the North side of the workshop (one fully glazed wall) --> vertical louvres

WORKSHOP

GALLERY

RI = 4,6 x 5/1(4,6+5) = 2,39Uf = 0,63LLF=0.5

reflectances - ceiling 70%; walls 30-70%; floor 10-20%

CLIMATE WALL-SOLAR TRACKING

http://ce.construction.com/article.php?L=352&C=1090&P=3

DFave = 2.6%

DFave = 2.73%

Both DFave meet the requirements for the specific spaces

http://openbuildings.com/buildings/q1-building-thyssenkrupp-quarter-profile-5838/mediaLIGHT FITTING PRECEDENTS

- JEWELLERY SHOPS

display case with lighting tubes - Clarkson's Jewellery, Edinburgh

< jewellery display in Milan

It is important for the gallery area to be well - lit in order to enhance the display of the jewels. Background as well as directional light will be needed. Some display cabinets come with fitted lights.

triple glazed tunnel running between the workshops

images from S. P e l s m a k e r s s book

display area looking towards the foundry wall

holes where the joists sat --> potential place for light fittings

ACOUSTIC STRATEGY

The gallery area could make use of positive sound (background sound / music) to enhance the quality of the space. As the workshops are individual metal boxes, with an area of maximum 30 sqm, and some of them are double - height spaces, vibration might occur. Also, consideration must be given to the gallery area, which is a bih open space (around 200sqm) , which in conjuction with the glass circulation above and the metal boxe might produce echoes, which is not desire. The building has a regular, rectangular shape, so unwanted sound reflection not likely to occur.

the gallery

noise from Trinity Street

noise from Allen Street

workshop 1

workshop 2

workshop 3

noise from workshops

noise from gallery (visitors)

noise from workshop

workshop 4

noise from Copper Street

The scheme requires a series of acoustic separations. Firstly, it needs to be acoustically insulated from traffic noise. Secondly, the public and more quiet area (the gallery) is completely separated from the noisy area (the workshops) which are located on top of the gallery.

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)

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.

(70dB)

(70dB)

(90-99dB)

SOUND SEPARATION - GALLERY V WORKSHOPS

first floor plan

noisy workshops

circulation areas

I used this table available at:

http://www.sae.edu/reference_material/pages/Reverberation%20Time%20Calculator.htm

to calculate the reverberation time for one of the workshops

concrete slab could insulate and provide an acoustic separation of the spaces

WORKSHOP

High specification, multi-perforated galvanised pre-lacquered acoustic panel with holes of different sizes. These panels are designed to reduce noise and reverberation problems in factories, plant rooms, workshops, test bays, sports halls, swimming pools and other industrial or sports type environments that require hard wearing surfaces. These panels are very durable and resistant to impact, as well as being simple and quick to install. All component parts of the system can be modified on site to suit easy installation.These panels comprise of a 70kg/m mineral wool core, faced with a black film and then enclosed in an acoustic perforated steel tray sheet. This forms and acoustic panel which is both decorative and durable. All fixing channels are of light gauge steel . (http://www.customaudiodesigns.co.uk/acoustison-perforated-steel-acoustic-absorbers.htm)

INSULATING THE METAL BOXES - ACOUSTIPHON

glazed flooring needs to provide a noise barrier between quiet and noisy parts of the building

use acoustic laminated glass

consider impact sound --> this is a working environment, heavy object may drop on the floor --> could have extra insulating membrane for the flooring, although the Acoustiphon panels should absorb the noise

need to be careful at the joists between the roof glazing and the metal boxesREVERBERATION

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.

concrete screed / floor and concrete wall on south side of ground floor are effective regarding acoustic qualities

As people will be walking on this roof, it needs to be acoustically insulated in order to avoid disturbing the quiet gallery area --> use sound absorbers --> either use an air gap or micro-perforated absorbers

Old brick wall, 60 cm thick, provides noise barrier against traffic noise on ring road

consider acoustic treatment for the workshops - flexible membranes, sound absorbing wall panels & spacers between cladding components

http://www.globalspec.com/reference/41083/203279/chapter-2-sound-absorption

use acoustic absorbers - ACOUSTIPHON

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

Reflective wall materials

Brick (natural) 0.03 0.03 0.03 0.04 0.05 0.07

Plaster (gypsumor lime, on masonry) 0.01 0.02 0.02 0.03 0.04 0.05

Absorptive wall materials

Performated metal (13% open, over 50mm(2") fiberglass) 0.25 0.64 0.99 0.97 0.88 0.92

Barnard Castle - the Hub

GALLERY

WORKSHOP

HEATING AND VENTILATION STRATEGY

The method of ventilation as well as the type and location of the openings will affect the overall sound insulation of the building envelope. When external noise levels are higher that 60 dB, simple natural ventilation solutions may not be appropriate as the ventilation openings also let in noise. However, it is possible to use acoustically attenuated natural ventilation rather than full mechanical ventilation when external noise levels are high but do not exceed 70 dB. (Building Bulletin 93 - Acoustic Designs of Schools). It is possible to have natural ventilation at the upper floor, in the workshops and in the circulation area (the glazed tunnel). The ground floor will rely mostly on solar gain (massive glazed ceiling/roof).

First floor plan

Ground floor plan

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.

Good ventilation is necessary especially in the workshops. Apart from natural ventilation, the workshops will be serviced by mechanical ventilation as well- there will be extractors above the messy area (polishing desks) to take out the dust resulted in the process of manufacturing. The mechanical ventilation will be opperated directly by the users who work there (the jewellers). Natural ventilation will be paired with ventilation ensured with by by-pass ducts located underneath the flooring and concealed by a suspended ceiling

VENTILATION SCHEME

natural + mechanic ventilation

inclusion of by-pass ducts

extractors in the workshops

http://1.bp.blogspot.com/_tTodRl9tKu8/TCJj8QaTTkI/AAAAAAAAALM/Siow7c5A284/s1600/Two+soldering+stations.JPG

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.

proposed arrangement of spaces, and possible routes of piping

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

BIBLIOGRAPHY

- The Environmental Design Pocketbook Sophie Pelsmakers; London: RIBA c2012

- Architectural Acoustics, chapter 2 - Egan

- Architects Data (4th edition) Ernst Neufert, Chichester, West Sussex, UK; Ames, Iowa: Wiley, 2012

- The Artistic Crafts series of technical handbook. SILVERWORK AND JEWELLERY. A textbook for students and workers in metal H.WinstonAn illustrated Dictionary of Jewellery Thames and Hudson

- Concrete Design Sarah Gaventa; London : Mitchell Beazley, 2001

- Building Bulletin 93 Acoustic Design for Schools

-http://www.architecture.com/SustainabilityHub/Designstrategies/Life/1-5-3-9-Noisecontrol.aspx

http://www.sunearthtools.com/

http://www.freesound.org/

http://www.energysavingtrust.org.uk/Electricity/Lighting/Lighting-output-and-colour

http://www.customaudiodesigns.co.uk/

http://www.iqglassuk.com/h/case-studies/iq-glass-floors-and-roof-lights/307/

http://www.sae.edu/reference_material/pages/Coefficient%20Chart.htm

IMAGES:

http://ce.construction.com/article.php?L=352&C=1090&P=3

http://openbuildings.com/buildings/q1-building-thyssenkrupp-quarter-profile-5838/media

http://mindfuldesignconsulting.com/jewelry-store-design-milan-commercial-interior/Egans book

http://www.globalspec.com/reference/41083/203279/chapter-2-sound-absorption

http://1.bp.blogspot.com/_tTodRl9tKu8/TCJj8QaTTkI/AAAAAAAAALM/Siow7c5A284/s1600/Two+soldering+stations.JPG