CDP Report - Ink Alchemy

Neuberg Monastery Masterplan

Ink Alchemy

2011

Neil Taylor


The Writer’s Retreat

Neil Taylor

Nicola Toomey


Ink Alchemy

2011

Neil Taylor

Contents Contents

Chapter 1: Introduction

08-09 Introduction

10-17 Site

20-23 Scheme Outline

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: C

onte

nts

Chap

ter /

Pag

e: 0

.05

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Chapter 2: Research

26-27 Literature

28-33 Dimensions

34-43 Precedents

Chapter 3: Design

46-47 Philosophy

48-49 Schedule of Accommodation

51-55 Concept

56-63 Development

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: C

onte

nts

Chap

ter /

Pag

e: 0

.04

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Chapter 4: Technical Development

66-67 Environmental

68-69 Structural Strategy

70-71 Outline Specification

72-75 Materiality

76 Outline Costs

77 Energy Calculations

Chapter 5: Ink Alchemy

80-81 Narrative

82-85 Ink Alchemy

Chapter 1

Introduction

Introduction Introduction

The CDP will further develop the individual masterplan, with the main focus being the new building and the adjacent public square, the existing building facing the road and the central courtyard. The position and shape of the existing building makes it ideal for a linear production process. It has suitable access routes and can provide adequate floor space for any related machinery. As the initial brief was developed around the idea of a writer’s retreat this area would be dedicated to the production and storage of locally produced books. All aspects of the book will produced on-site.

In summary the project is a printing press dedicated to the production of books written by travelling authors. During the author’s stay he/she will produce a piece that will be printed within the press and archived in the public library, the book will become a unique product of Neuberg. The ink and paper will be made from the by-products of the local timber manufacturer making each copy and individual artefact. Visitors are invited to view the process at all stages in order to fully understand the story. The methods used will be adapted from traditional production processes and celebrated throughout. All machinery will act as functional sculptures promoting reading and writing. Each book produced will be alive.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: In

trod

uctio

n

Chap

ter /

Pag

e: 1

.09

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: In

trod

uctio

n

Ch

apte

r / P

age:

1.0

8

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Site Site

The defined areas of the masterplan where chosen for further individual development, the two outlined spaces have a clear relationship with the proposed tower and each area acts as a gateway into the site (from the transport hub and the main road respectively). To ensure the masterplan remained coherent and was not compromised in any way we continued to work closely during the individual development.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ite

Ch

apte

r / P

age:

1.1

1

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ite

Ch

apte

r / P

age:

1.1

0

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Site Site

My individual development proposal focuses on the North-East approach with the main agenda being improving the public interaction with the existing monastery and improving the square adjacent to the chapel. Within this area we have already introduced a new building which encloses the rear yard to create a new public square, thus improving the public realm around the chapel. The improved public realm will become an adaptable landscape providing a versatile square which will house a multitude of activities relating to the functions of the adjacent buildings.The existing buildings which front the main transport route will allow visitors to catch a glimpse of the new functions within and provide a starting point for the story. This route is also punctuated by the new and existing towers which act as a gateway into the large public square in front of the main entrance into the monastery courtyards.

Challenges of the site:

• The existing road runs extremely close to the monastery buildings and the public footpaths are very narrow. • The new square to the rear had not yet been resolved and a landscape design was needed to justify the proposal.

• Additional parking was need.

• Access from the main square needed to be resolved.

• The edge condition of the road needed to be addressed.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ite

Ch

apte

r / P

age:

1.1

3

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ite

Ch

apte

r / P

age:

1.1

2

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Site Main Axial Route

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ite

Chap

ter /

Pag

e: 1

.14

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ite

Chap

ter /

Pag

e: 1

.15

Auth

or: N

eil T

aylo

r

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Site Site

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ite

Chap

ter /

Pag

e: 1

.16

Auth

or: N

eil T

aylo

r

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ite

Ch

apte

r / P

age:

1.1

7

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Focused Plan Appraisal Focused Plan in Context

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: F

ocus

ed P

lan

App

rais

al

Chap

ter /

Pag

e:1.

18

Au

thor

: Nei

l Tay

lor

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: F

ocus

ed P

lan

in C

onte

xt

Ch

apte

r / P

age:

1.1

9

Au

thor

: Nei

l Tay

lor

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

The addition of a new public building creates a public square which improves the arrival point to the monastery. The new building will be a direct link to the existing out buildings of the monastery and helps reinforce the new square, demonstrating directly the relationship between old and new. Not only will the square be the main access point for visitors but the addition of an adaptable landscape will celebrate the paper making process all year round. During the autumn and winter months it can be transformed into a seasonal market square and during the spring and summer months the adaptable structures will be used to hang paper throughout the drying process. The main transport route has been altered slightly to allow the public to walk safely through the interactive facade. It is at this point that the public can catch a glimpse of the book making process and eventually view the final product within the archive.

The main axial route links all parts of the masterplan offering contemplation points along the way. The recycling tower guides you along the route and acts as a gateway into the production area, the three points of arrival are punctuated by the new tower. The production area houses the literature ‘factory’ and the two adjacent public squares will be used for the various production processes. The new public square not only celebrates the main entrance into the monastery, it also provides a more private space for visitors to interact with each other. Visitors can sit amongst the hanging landscape or use the improved facilities all year round. The routes are determined by the improved adaptable landscape.

Scheme Outline Scheme Outline

BriefThe challenge was to create a building that would sit within the existing context of the Monastery, providing the town with an essential resource. The Printing Press would not only be a unique addition to Neuberg but it would help promote the town and encourage more people to visit. The essence of the project is to design a building that will give Neuberg an identity beyond its existing realm through the production of hand crafted literature. Neuberg will have a bespoke product that can be marketed worldwide. Each manufacturing process will be celebrated, encouraging visitors to interact and understand. The story of timber by-product to hand crafted book will be told throughout demonstrating how a raw material can become an artefact. The story is entitled INK Alchemy.

Economic ViabilityAs the printing press will be a manufacturing facility the product made will help finance the scheme making it an extremely viable option for Neuberg. Not only will the books produced be on sale within the book store but the raw materials used to construct the book will also be on sale (paper and ink). Neuberg will have a series of unique hand crafted products available worldwide. In terms of scale the Printing Press will be constructed within a 3500m2 area and have 3 levels. Along with the manufacturing facilities there will be exhibition/learning areas a cafe, a book store and publishing offices. These will help maintain the project financially, helping the Printing Press generate a good profit. The construction of the Printing Press will also promote Neuberg as all of the materials used will be sourced locally. The use of a timber frame not only has its environmental advantages but also financial ones too (timber production being one of the main industries of Neuberg and the surrounding towns) as the materials would not need to be transported over large distances and most of the construction could be done within a 10 mile radius. This will help reduce construction costs and promote local trades.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

chem

e

Chap

ter /

Pag

e: 1

.21

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

chem

e O

utlin

e

Chap

ter /

Pag

e: 1

.20

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Scheme Outline Scheme Outline

ProcessThe creation of a hand crafted book is a fairly simple process starting with the delivery of timber by-product from the local timber manufacturer. The by-product then takes two different routes, one will be the paper production route and the other ink production.

PaperThe timber arrives from the local timber manufacturer in various states. The by-product of the manufacturing process must be chipped and any unwanted waste removed. The dried wood chippings are then soaked to soften the tissues and make the removal of the outer layers easier. Grindstones or revolving metal cogs are used to breakdown the wood chippings further. As the wood has been soaked prior to this the amount of energy needed is reduced significantly and there is also less dam-age (cutting) to the fibres. The final stages of the pulping process requires the wood chippings to pass through a machine with finer ‘cutting’ blades and it is then mixed with distilled water. After the liquid paper substance has been left to soak and thoroughly mixed paper forming frames are used to extract the sheets of paper. The paper at this stage is still full of moisture and must be pressed sufficiently to extract as much water as possible. The sheets of paper are then placed on hanging racks to dry, when dry the paper is cut to size.

InkThe timber by-product and the waste from the initial stages of the paper making process are placed in the ‘Ink’ furnaces and charred. The soot created by this process along with the charcoal is collected and ground down into a fine powder ready to be mixed. The ink powder is mixed with distilled water, pine tree sap and pine tree oil to create the liquid ink that will be used within the printing press. The ink mixture can also be used to create ink sticks which are used for calligraphy and art. This method requires the ink mixture to be slightly thicker and it is then pressed into a mould to form an ink stick. The sticks are then left to dry on racks and are then stored in boxes ready for use.

PrintThe machines used within the printing press will be similar to the Gutenberg press and be operated by hand. Firstly the type is arranged into pages and placed in a frame to make a forme, which itself is placed onto a flat stone or ‘bed’. The type is inked, and the paper is held between a frisket and tympan (two frames covered with paper or parchment). These are folded down, so that the paper lies on the surface of the inked type. The bed is rolled under the platen, using a windlass mechanism, and the impression is made with a screw that transmits pressure through the platen. Then the screw is reversed, the windlass turned again to move the bed back to its original position, the tympan and frisket raised and opened, and the printed sheet removed. It is possible to print up to 3,600 pages per machine in a day and this method requires no electricity since it is all hand powered. This method also relates to the way in which books were produced by hand within the scriptorium of the monastery.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

chem

e O

utlin

e

Chap

ter /

Pag

e: 1

.23

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

chem

e O

utlin

e

Chap

ter /

Pag

e: 1

.22

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Chapter 2

Research

Literature Literature

The history of books follows a suite of technological innovations for books. These improved the quality of text conservation, the access to information, portability, and the cost of production. This history has been linked to political and economical contingencies, the history of ideas, and the history of religion.From a political and religious point of view, books were censored very early: the works of Protagoras were burned because he was a proponent of agnosticism and argued that one could not know whether or not the gods existed. Generally, cultural conflicts led to important periods of book destruction: in 303, the emperor Diocletian ordered the burning of Christian texts. Some Christians later burned libraries, and especially heretical or non-canonical Christian texts. These practices are found throughout human history but have ended in many nations today. A few nations today still greatly censor and even burn books.

Books in monasteriesA number of Christian books were destroyed at the order of Diocletian in 304 AD. During the turbulent periods of the invasions, it was the monasteries that conserved religious texts and certain works of Antiquity for the West. But there would also be important copying centres in Byzantium. The role of monasteries in the conservation of books is not without some ambiguity: - Reading was an important activity in the lives of monks, which can be divided into prayer, intellectual work, and manual labour (in the Benedictine order, for example). It was therefore necessary to make copies of certain works. Accordingly, there existed scriptoria (the plural of scriptorium) in many monasteries, where monks copied and decorated manuscripts that had been preserved. - However, the conservation of books was not exclusively in order to preserve ancient culture; it was especially relevant to understanding religious texts with the aid of ancient knowledge. Some works were never recopied, having been judged too dangerous for the monks. Moreover, in need of blank media, the monks scraped off manuscripts, thereby destroying ancient works. The transmission of knowledge was centred primarily on sacred texts.

Printing PressThe invention of the printing press by Johannes Gutenberg around 1440 marks the entry of the book into the industrial age. The Western book was no longer a single object, written or reproduced by request. The publication of a book became an enterprise, requiring capital for its realization and a market for its distribution. The cost of each individual book (in a large edition) was lowered enormously, which in turn increased the distribution of books.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: L

itera

ture

Chap

ter /

Pag

e: 2

.27

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: L

itera

ture

Chap

ter /

Pag

e: 2

.26

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Dimensions Dimensions

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

imen

sion

s

Chap

ter /

Pag

e: 2

.29

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

imen

sion

s

Chap

ter /

Pag

e: 2

.28

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

...\Level 6\cdp\Ink alchemy.dgn 07/05/2011 21:20:13


3.2 m

2.0

m0.

9 m

3.1 m

2.7

m1.

8 m

Hollander Pulping Machine

Hammer Action PulperAll the machines within the printing press are based on the original designs of traditional machinery. Reverting back to traditional printing methods helps emphasise the notion that printing is an art rather than a business. Not only will the machines use less energy because they are mostly hand powered but they will enable people to run the printing press independently or in small groups due to the simplified printing methods. Visitors will be able to take a hands on approach and learn the various production methods with the ultimate goal being producing a book of their own.

Energy ApproachThe machines that do require additional power are very low voltage and can be powered by the biomass system ensuring the energy demands are kept to a minimum. It is possible that the printing press element of the project could be kept off the national grid and possibly be a generator rather than a user, producing energy for the rest of the town.


Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

imen

sion

s

Chap

ter /

Pag

e: 2

.31

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

imen

sion

s

Chap

ter /

Pag

e: 2

.30

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan


...\L

evel

6\c

dp\In

k al

chem

y.dg

n 0

7/05

/201

1 21

:11:

23

2.8 m

3.5

m1.

5 m

10.5

m

9.1 m

Paper Press Paper Production Layout

3.4

m1.

5 m

2.3 m 1.8 m

3.0

m



...\L

evel

6\c

dp\In

k al

chem

y.dg

n 0

9/05

/201

1 20

:26:

37


...\Level 6\cdp\Ink alchemy.dgn 09/05/2011 20:26:37...

\Lev

el 6

\cdp

\Ink

alch

emy.

dgn

09/

05/2

011

20:2

6:37


...\L

evel

6\c

dp\In

k al

chem

y.dg

n 0

9/05

/201

1 20

:26:

37

...\L

evel

6\c

dp\In

k al

chem

y.dg

n 0

9/05

/201

1 20

:26:

37


Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

imen

sion

s

Chap

ter /

Pag

e: 2

.33

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

imen

sion

s

Chap

ter /

Pag

e: 2

.32

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan



2.4 m

2.4

m2.

4 m

6.4 m

11.2

m

Printing Press Printing Press Layout

1.5 m

3.8 m

Precedents Precedents

Architect: Brasil Arquitetura – Francisco Fanucci and Marcelo Ferraz Location: Ilopolis, RS, Brasil

Project Year: 2007

Site Area: 1,011 sqm

The relationship of the two new buildings, housing the Bread Museum and the Baking Workshop, to the old Mill – its architecture, its materials, its machinery, the production and transformation – is a delicate yet harsh one. Without playing on words and without pursuing cheap mimicry, the new context highlights the Colognese Mill as a technical and poetic document of the past.

The joint ensemble shall be new! Within this process, museography and architecture arise simultaneously. The first exhibits are the museum and the workshop, both “contaminated” by the presence of the centenary construction, physically and symbolically: its craftsmanship, the use of local materials, its reference to the immigrant culture. The new and the existing, side by side, spell out the value of workmanship and heritage as an evidence of the human existence. Everything contributes as an artefact: the structure of the buildings, their relationship to the city, the timber walkways, the materials used, the way the light enters, the supports for the exhibits and, last but not least, the pieces on exhibition. The history of bread and bread-making, as well as the bread-history specific to the “Brazilian Veneto” in the Taquari Valley are documented in a thoroughly illustrated time line.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.35

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.34

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan


Architects: Malcotti Roussey Architectes

Location: Salins-les-Bains, France Project Year: 2009

Closed since 1962, the salt works in Salins-les-Bain have been an important productive site since the middle ages right in the centre of the French city in the Franche Comté. When the competition for restoration of the salt works was announced in 2006, the city authorities had already set the goal of transforming it into a monument to the history of local production with the aim of restoring its original central importance, not only symbolically but in the city’s urban layout: recently made a UNESCO World Heritage Site, the site is intended not so much as a museum of salt but an open-air museum of local history. This is why Malcotti-Roussey and Gheza’s project indissolubly links the goal of protecting the salt warehouses with the goal of revealing their symbolic importance for the city, which translates into a restoration to preserve the complex’s original architecture with declared modern additions. Following a study conducted by experts from the Laboratoire des Monuments Historiques of the state of conservation of the walls, which recommended avoiding covering the historic walls saturated with salt so that they could continue to breathe and thus be preserved, the museum project was kept separate from its context right from the start, creating an additional interior within the interior of the building containing the museum itinerary and filtering spaces for links between different levels.

Unlike conservation projects based on retaining the invisible functions of the original construction, Malcotti-Roussey and Gheza’s installation, with its 31 cm thick cement walls, wooden flooring and steel furnishings made by hand by local craftsmen, fits into its context with the same visual impact and dignity of design. This restoration philosophy is expressed on the outside in an irreverently attractive element: a new parallelepiped that juts far out of the northern wall, made of Indaten® construction steel sheeting, recommended for its protective surface patina that makes it particularly resistant to corrosion by atmospheric agents.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.37

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.36

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan


Architect: Francisco Izquierdo

Location: San Juan de Huinca, Leyda, Chile

Built Area: 1,360 sqm

Project Year: 2008

The assignment was to design a winery for White wines and Pinot Noir on a site already settled by a wind generator. The proposal was to create a winery which had the environmental and gravitational conditions required for wine-making, using self-generated energy, building with renewable materials, making use of the existing steep slope and giving the right sunlight control. The site is located on the highest point of the vineyard and connects the upper level with the creek that crosses the vineyard by a steep slope. The project is situated in this slope and creates four different levels, with a difference in altitude of 12,5 meters, offering the gravitational conditions required for wine-making.

The aim of the project was to create a nucleus within the vineyard in which the different areas of the winery would link up the wind generator as well as being interlinked. The generator imposed a scale on the site by settling it. It was important for the project to respect this scale to enable the different elements to work and connect together. The layout was divided up and some areas disappeared by using retaining walls, used to solve the steep slope issue. The layout was divided by spatial requirements and organized by the wine making process. The retaining volumes interior spaces represents the 50% of the total surface, and are different in appearance and exposure. They range from being completely exposed to completely hidden, buried. This creates different environmental conditions in terms of temperature, humidity and stability as required for the wine making process.

The roof of the upper volume (level 0) is the entrance plaza. Followed by level -1 which contains the winery deck and the upper volume layout (Technical equipment’s room, workshop, store, cold room and services).The deck ends over the middle volume looking over the level -2, the fermentation room (stainless steel fermentation barrels). Below the deck (level -2) is the fermentation room and the white wines cellar (Chardonnay, Riesling, Gewurstraminer) enabling the stainless steel barrels to be filled gravitationally. The main building is made of laminated wood structure and sits over the end of the winery deck and the fermentation room. The lower area (level -3) descends from the fermentation room and holds the red wine cellar (Pinot Noir) underground, and it emerges in the wine tasting room just above the creek.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.39

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.38

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan


Architects: Antonio Ravalli Architetti

Location: Migliarino, Ferrara, Italy Project area: 510 sqm

Project year: 2010

As a part of a program for the conversion of an old hemp factory into a new city center for the town of Migliarino, the project gains a youth hostel out of a 510 m2 portion of the building. The site position is barycentric to the touristic circuits which take place during the summer, thanks to the proximity of the Po River Delta Natural Park, but the project has to count on a reduced regional funding, 270.000 € including the furniture, and a doubtful management profitability. Thus the management aspects, both with the energetic and economic saving, are the principal matters.

The hostel is imagined as a ‘passive machine’, in which natural air fluxes are conveyed in order to obtain climatic benefits, while the systems distribution and the morphological disposition of the rooms, conceived as to minimize the utilized elements and technologies, allow an elastic hosting capacity: the highest during the spring and the summer, or in case of special events, reduced to the essential during the low seasons.

While the reception and the facilities are located on the ground floor, the second level presents a single big space with all the windows on just one side. Four rooms for 2-3 persons each, bathrooms and a staircase are disposed on two levels on the other side. These compose a volume which, compact and well-defined, can be air-conditioned with traditional tools. In the main space instead, the air conditioning is based on passive ventilation, eased by the position of the windows on the north side and by two ventilation tower located on the roof.

The impossibility of this space to be divided in more units, due to the uniqueness of light and air provenance, suggests an alternative solution to the dormitory: like an indoor camping, autonomous cells are placed, enfolded in light wrapping. Not just physically, but also climatically independent ‘rooms’: a punctual air-conditioning system permits to choose which ones to ‘turn on’. The entire system net is located under the inspectionable wood platform, which works as a connective tissue for the cells. The difference in height marks the transition from the more intimate space of the ‘rooms’ to the common daily area.

The movement of the platform perimeter creates occasions for sitting and relaxing, cosy niches in which to read or surf the net. The space remains fluid, though allowing a multiplicity of distinct uses, while its plasticity is enhanced by the monochromaticity of the introduced elements and furniture.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.41

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.40

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan


Architects: SARC Architects

Location: Joensuu, Finland Constructed Area: 7,650 sqm

Project Year: 2004

The construction of The Finnish Forest Research Institutes (METLA) new building to accommodate the Joensuu Forest Research Institutes expanding workforce started in April 2003 and was finished in October 2004. The building is situated at the Joensuu University campus-area, in the close vicinity of Joensuu city centre. The Metla Building stands out on the campus of the University of Joensuu due to its material and its concise form. From the exterior, the building appears to be a wood box. The forecourt, which is the gate to the building and which is demarcated by the walls made from logs from demolished houses. The offices and laboratory facilities of the research institute curl around the inner courtyard and the vestibule. The yard is dominated by the conference facilities, which resemble a boat that has been turned upside down, and the sloped columns of the vestibule, which have been inspired by the log booms from floating logs down rivers.

The primary goal of the construction project was to use Finnish wood in innovative ways. Hence, wood is the main material used throughout the building, from the post-beam-slab -system in the structural frame to the exterior cladding. The building fits in the cityscape in respect to its size, which is closely related to the adjoining buildings. However, the clear form and the uniform materiality achieved through the extensive use of wood make it a distinct entity. A flexible column-beam-slab system was created for the building in a 7.2 m module. For the structure and building technology, 1.2 m modules have been prepared for flexible conversion. This solution makes it possible to move partition walls and even change the façade. The columns, beams and box slabs of the frame are made from fir glulam. The height of the box slab intermediate floors is that of a concrete intermediate floor. The façade elements have been clad with vertical fir planks on the outside and plywood on the inside. The vertical ribs of the outer frame are made of fir glulam.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.43

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

rece

dent

s

Chap

ter /

Pag

e: 2

.42

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Chapter 3

Design

Philosophy Philosophy

The key exploration of this building is the significance of literature in our existing culture and the importance of the book as a physical artefact. It challenges the digitalization of literature and emphasises the need for literature to remain as an object accessible to all rather than a downloaded code.

Why I read what I readI am a book, I am read, I am written, I am understood yet confusing at times, I can take you on a trip upon a magic swirlin’ ship, dust bowl canyons are no match for my imagination, with punctuation I can keep the pace or slow things down for contemplation. Read at any speed I still make sense, read me at your leisure or don’t put me down till you’re done. Show me off on the train or hide me away beneath the secluded oak tree at the bottom of the field, keep me in solitary confinement or shout me from the roof tops. Reading is a gift and good writing is a talent together they complement each other and one cannot exist without the other. To write mindless drivel is a crime and one which we encounter everyday (pick up the Sun for an example of this but be sure to sanitise your mind and soul afterwards) without conscious effort we are bombarded with literary violation. The positives of a book are endless yet every book isn’t perfect to all, this is its beauty. Its uniqueness is its energy, its ability to encourage debate and the fact that everybody reads differently allows a book to be diverse. The power of the written word holds more weight than the spoken word, the written word is there for all to see and dissect yet the spoken word may only be heard by a handful of people at some two-bit club on Swanny Street. I’m not implying that every written word is accessible to all but I am saying it’s more accessible to many. If I’d have said all this out loud would you have listened? How would I have made it available to you? All the technology in the entire world will not be able to remove the book from my life. Why have a screen when a page can tell the story more successfully? The screen is just that, it is the partition preventing interaction. Don’t imitate beauty embrace it.

I read because I can and I can read because certain people took the time to teach me. This is also the beauty of the book, it is a mantle which can be passed from generation to generation. The power of reading and the book is monumental. Don’t make a book an ornament on the shelf, don’t allow the shelf to own it at all, keep it in your hands, by your bed, in your bag, on the kitchen table during breakfast but most of all keep the book alive. Reading isn’t dead and “a person who won’t read has no advantage over one who can’t read. “ (Mark Twain)

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

hilo

soph

y

Chap

ter /

Pag

e: 3

.47

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: P

hilo

soph

y

Chap

ter /

Pag

e: 3

.46

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Schedule of Accommodation Schedule of Accommodation

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ched

ule

of A

ccom

mod

atio

n

Chap

ter /

Pag

e: 3

.49

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

ched

ule

of A

ccom

mod

atio

n

Chap

ter /

Pag

e: 3

.48

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Printing Press

Paper Production - 730m2

Ink Production - 550m2

Printing Workshop - 340m2

Book Binding Workshop - 80m2

Publishing Offices - 170m2

Staff Rooms - 60m2

Biomass / Furnaces - 85m2

Delivery (including Yard) - 400m2

Wood Store - 100m2

Water Storage - 1000m3

Public Facilities

Central Atrium/Museum - 630m2

Book / Paper / Ink Shop - 200m2

Cafe / Canteen - 160m2

Toilets - 80m2

Outdoor Recreational Space - 360m2

Concept Concept

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: C

once

pt

Ch

apte

r / P

age:

3.5

1

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: C

once

pt

Ch

apte

r / P

age:

3.5

0

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Concept Concept

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: C

once

pt

Ch

apte

r / P

age:

3.5

3

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: C

once

pt

Ch

apte

r / P

age:

3.5

2

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Concept Concept

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: C

once

pt

Chap

ter /

Pag

e: 3

.55

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: C

once

pt

Ch

apte

r / P

age:

3.5

4

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Development Development

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

evel

opm

ent

Chap

ter /

Pag

e: 3

.57

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

evel

opm

ent

Chap

ter /

Pag

e: 3

.56

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Design 1The initial drawings focused on the interaction between the new public square and the printing press. Creating a front aspect that could be inhabited and used by the public was a viable notion and I continued to develop this throughout.

Design 2Introducing light and ventilation shafts into the central atrium helped unify the plan and also increase the flexibility. The shafts could become circulation routes or learning hubs accessed from the printing press and used to demonstrate the various production stages.

Design 3Concentrating on the structural layout and how it could act sculpturally as well as structurally. If the ‘arms’ began to fan out at certain points then the shafts could pierce the roof unhindered by the timber frame.

Design 4The uniform grid system determined exactly where every aspect of the printing press would be situated and how each would work together. The curved facade guides people along and into the building encouraging visitors to venture into the surrounding landscape.


Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

evel

opm

ent

Chap

ter /

Pag

e: 3

.59

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

evel

opm

ent

Ch

apte

r / P

age:

3.5

8

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Design 5This shows how each of the hubs will work with the printing press housed within the rear of the building and also suggests using the facade for drying paper. The delivery yard is located to the left of the plan nearest the road and has remained throughout.

Focused Plan (Delivery Yard)Trying to allocate sufficient space for two delivery trucks and staff parking was the next challenge. This part of the design became the private publishing offices and wood store.

Focused Plan (Delivery Yard)It became apparent at this stage that providing on-site parking may not be the best solution and unnecessary as there is a large transportation hub provided within the masterplan. There is the possibility of using the area opposite the delivery bays for parking but only during certain times when deliveries will not take place.

Focused Plan (Delivery Yard)The uniform grid system determined exactly where every aspect of the printing press would be situated and how each would work together. The curved facade guides people along and into the building encouraging visitors to venture into the surrounding landscape.


Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

evel

opm

ent

Ch

apte

r / P

age:

3.6

1

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

evel

opm

ent

Ch

apte

r / P

age:

3.6

0

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Sectional Study 1 Demonstrated how the central atrium will be inhabited and how the hubs could be used for circulation. A very conceptual option as it would be more appropriate to house all the lifts within one area reducing the need for 3 lift shafts hence reducing the costs and improving accessibility

Sectional Study 2The production area will incorporate a series of furnaces that will be used for both the ink and paper making processes. The furnaces will also act as the biomass heating system and be used to power the building. Although this diagram shows how the basement level could be serviced it became evident that increasing the amount of excavation needed to provide this was not a viable option. The number of levels within the printing press will remain at 3.

Sectional Study 3Testing the structural system via a sectional diagram improved the overall layout and proportions of the building. The manufacturing facilities had to be located to the rear of the building to improve the servicing access. The challenge was to unify the building using the central atrium.


Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

evel

opm

ent

Chap

ter /

Pag

e: 3

.63

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: D

evel

opm

ent

Chap

ter /

Pag

e:3.

62

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Chapter 4

Technical Development

Environmental Environmental

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: E

nviro

nmen

tal

Ch

apte

r / P

age:

4.6

7

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: E

nviro

nmen

tal

Ch

apte

r / P

age:

4.6

6

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Structural Strategy Structural Strategy

Structural ConceptAllowing the public to interact with the industrial processes at all stages is part of the overall design concept so the structural concept coincides with this and allows this to happen. Keeping all the processes separate would not encourage public interaction so I developed a suitable method to display and celebrate the paper and ink making techniques. My initial response was to dedicate the rear of the building to production using a central atrium to channel light down into the lower levels of the Printing Press. The atrium would also be used for circulation and interaction, encouraging the public to journey through the various workshops. Another structural feature is the paper drying system which will be situated on the back wall of the printing press and enable paper to travel to the upper levels . This system will be used to dry large sheets of paper during the final stages of production creating an ever changing kinetic dimension to the printing press. Due to the nature of the building the materials selected for construction must be hard wearing and able to withstand the constant motion/movement of all the production processes. Each aspect will require a unique design/structural strategy yet these must be tied together via the overall design/structural response. It mustn’t become an amalgamation of design/structural solutions but an elegant response to the aforementioned design concept.

Challenges • The use of a timber frame structure throughout may not be suitable for certain areas of the Printing press due to the nature of the activities that will take place within i.e. the structure of the printing rooms must be able to withstand the weight and constant vibrations of the machinery.

• Sufficient circulation space must be maintained in areas with a heavy production flow, corridor and room dimensions will vary according to the production processes which could prevent the use of a more regular structural grid system. Processes of a similar scale and space requirement will need to be situated accordingly whilst maintaining a coherent and rational production flow.

• The large span of the roof must be able to cope with heavy snowfall and the pitch of the roof should prevent the accumulation of large amounts of snow. A sufficient drainage solution is crucial.

• A hybrid frame seems a viable option but components should be simple to manufacture and be constructed from locally sourced materials using manufacturers within close proximity. Not only will this minimise delivery distances but also promote local trade.

• In order to hang paper on both the internal and external surfaces of the facade a structural grid must be developed to allow this. A sufficient circulation system on the facade must be implemented enabling workers and the public to interact with the process.

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

truc

tura

l Str

ateg

y

Chap

ter /

Pag

e: 4

.69

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: S

truc

tura

l Str

ateg

y

Chap

ter /

Pag

e: 4

.68

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

• The concept of hanging and transporting paper across the roof between the roof trusses is possible but what are the logistics of this. Will it be suitable to have the process continuing at ground level or should it be confined to the upper levels of the Printing Press?

• If the structure of the central atrium is load bearing how will this affect the overall structural grid and will this minimise the need for large spanning roof trusses? How will the light chamber within the central atrium be affected by this decision in terms of structure?

Structural ResponseThe structural system I developed is a hybrid glulam frame incorporating steel connecting joints, this structure allows for fairly large spans whilst remaining elegant and tactile. From the structural workshops with ARUP the key concern was the structural integrity of the timber frame within the manufacturing areas of the printing press. After researching viable options I have focused on including a concrete frame system for the entire manufacturing area. This not only solves any structural issues but also helps define the key areas of the printing press.The use of both a glulam frame and a concrete frame will reduce the overall span of the timber beams. Originally the timber beams would be spanning a distance of up to 15m but by introducing the secondary concrete structural system this span has been reduced to 8m. This not only strengthens the overall structural system but reinforces the roof to cope with the heavy snowfall. To the rear of the building I have introduced a large retaining wall to allow for a maintenance access route and dedicated an area for plant rooms. This channel will also allow for sufficient drainage and is a suitable area for the excess snow (roof snow load).Refining the design further I worked on the workshop layouts within the newly developed concrete frame. As mentioned previously there are varying space requirements for the numerous activities within the manufacturing area. Public and private circulation has been kept separate, with the manufacturing workshops placed in the centre. This not only prevents the overcrowding of access routes but allows me to treat both conditions separately i.e. the public routes become celebratory whilst the private routes are more functional. Responding to this challenge in such a way has influenced the overall design concept greatly, the manufacturing process is now celebrated along one continuous wall which will project into the central atrium.

Outline Specification Outline Specification

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: O

utlin

e Sp

ecifi

catio

n

Chap

ter /

Pag

e: 4

.71

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: O

utlin

e Sp

ecifi

catio

n

Chap

ter /

Pag

e: 4

.70

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

FoundationsConcrete raft foundations will be used which will sit on the bedrock

StructureA timber frame system will be used for the majority of the printing press, with all the timber sourced locally from the surrounding forests.

External WallsEco-crete panels will form the external walls, these panels are fully insulated and will be fabricated off-site

Internal WallsEco-crete panels with a smooth finish. These panels are 200mm thick compared to the 400mm external panels.

Intermediate FloorsWhere appropriate a timber flooring system will be used but in areas with heavy machinery concrete floors slabs will be in place. These slabs will be poured in-situ and be exposed with a powdered, fairfaced finish.

GlazingDouble glazing will be implemented with a curtain wall system. The upper windows will be connected to the ventilation system and be operated automatically to prevent over heating during the summer months.

Gutters and DrainageThe building will use the gutters to collect rainwater from the roof and the facade, which will be stored in a large tank situated at the rear of the printing press.

AccessVertical access for the public will be largely through the main two staircases and lifts in the central atrium. The staff have a separate lift hidden from public view, which also serves as a fire lift in the case of an emergency. There is also a public access route from the surrounding landscape.

Materiality Materiality

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: M

ater

ialit

y

Chap

ter /

Pag

e: 4

.73

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: M

ater

ialit

y

Chap

ter /

Pag

e: 4

.72

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Facade Treatment & MaterialsThe form of the building has been emphasised by the timber glulam frame used to support the roof system and the glazed/screen facade. Between each timber support is the secondary structure used to support either the glazing or timber screens. Certain areas of the timber screens can be used to hang paper during the drying process of paper production. The central atrium is defined by both the timber glulam frame and the concrete frame of the manufacturing workshops. Within the atrium are timber clad demonstration hubs which also serve as circulation routes and ventilation chambers. These hubs are accessible at all levels and encourage interaction between level changes. The central atrium also enables passive ventilation for both the public and private facilities. At ground level glazing is maximised to allow views into the printing press. The timber screens are multi-functional providing adequate shading and acting as a dramatic gesture for the public to interact with (walking through the hanging paper facade). The facade of the building is ever changing and seasonal.

MaterialsThe materials used are both hard wearing and tactile. Each serves its purpose as a building material and acts as a reference to the function.

- Pine Timber Glulam frame with steel connectors.- Concrete frame with shuttered concrete panels.- Large format Glazing at ground level

Timber Frame ExamplesVentolera WineryLeyda, Chile Francisco Izquierdo

Concrete ExamplesMaria-Magdalena Church, Freiburg, GermanyKister Scheithauer Gross

Timber Screen ExamplesNinetree VillageHangzhou, ChinaDavid Chipperfield

Timber Screen ConceptsVarious

Timber Screen & Structure ConceptVarious

Materiality Materiality

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: M

ater

ialit

y

Chap

ter /

Pag

e: 4

.75

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: M

ater

ialit

y

Chap

ter /

Pag

e: 4

.74

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Concrete Panel DetailNinetree VillageHangzhou, ChinaDavid Chipperfield

Roof Light DetailNinetree VillageHangzhou, ChinaDavid Chipperfield

Timber Frame DetailMaria-Magdalena Church, Freiburg, GermanyKister Scheithauer Gross

Staircase/Platform DetailHaifa Court HouseHaifa, Israel Chyutin Architects

Timber Cladding DetailBordeaux Law CourtsBordeaux, France Richard Rogers Partnership

Timber/Steel DetailKensington LighthouseMelbourne, Australia Tandem Design Studio

Facade Treatment & Materials

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: E

nerg

y D

eman

d

Chap

ter /

Pag

e: 4

.77

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Outline Costs Energy Demand

Preliminary Cost EstimateThe following cost estimate only gives an indication of the potential costs of the building and has been based on an average rate per square metre for the areas concerned. The cost plan has not allowed for furniture, as this would be included in the more detailed second cost plan, if the scheme were to progress.

The rate per m2 for a typical industrial building is around £365-£1150. The required plant in this building would not be expensive as much of the machinery is hand-powered and the architecture itself would mean that this building is in the mid-range of the cost bracket.

A. Main Building

GEFA (m2) = 3500

Rate per m2 = 800

Total outline cost per m2 = 3500 x 800 = 2,800,000

B. Publishing Offices

GEFA (m2) = 600

Rate per m2 = 400

Total outline cost per m2 = 600 x 400 = 240,000

C. Cafe/Canteen

GEFA (m2) = 500

Rate per m2 = 800


D. Book/Paper/Ink Shop

GEFA (m2) = 600

Rate per m2 = 600

Total outline cost per m2 =600 x 600 = 360,000

E. Wood Store

GEFA (m2) = 120

Rate per m2 = 200


F. Landscaping

GEFA (m2) = 3100

Rate per m2 = 300


Professional fees included at 11%Total (£)= 522,940

Contingencies included at 5%Total (£)= 237,700

Construction Cost EstimateTotal (£)= 5,514,640

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: O

utlin

e Co

sts

Ch

apte

r / P

age:

4.7

6

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Energy CalculationsThe building does not require much environmental control since the design has taken account of passiv haus standards, passive gains, solar shading, ventilation and heat recovery to account for all of its energy needs. The only requirements are the running of the machinery, which is minimal since most of the machines are hand powered and do not demand a great deal of energy and lighting during the winter period. The u values of the key insulated spaces, floor, facade and glazing are extremely efficient, aiming for U values of 0.1.

Internal Floors

200mm Concrete slab 0.2/1.35 = 0.14

100mm insulation 0.1/0.02 = 5

External surface resistance = 0.04

Internal surface resistance = 0.17

Total thermal resistance of floor = 5.35

U value = 1/5.35 = 0.19 W/m2K

Insulated Facade

400m Ecocrete Panel -

100mm Concrete 0.1/0.42= 0.24

300mm insulation = 0.3/0.02=15

External surface resistance = 0.04

Internal surface resistance = 0.17

Total thermal resistance = 15.45

U value = 1/15.45 = 0.06 W/m2K

Chapter 5

Ink Alchemy

Narrative Narrative

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: N

arra

tive

Chap

ter /

Pag

e: 5

.81

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: N

arra

tive

Chap

ter /

Pag

e: 5

.80

Au

thor

: Nei

l Tay

lor

Title

: N

eube

rg M

onas

tery

Mas

terp

lan

Ink AlchemyFiction and fact stand side-by-side in the world of literature, every day we are bombarded with both. Stories fill the tabloids and scenes play out on our screens, the modern day dramas of society entertain the nation. A wealth of information is available to us at the press of a button but will we remember what we see?With this freedom of information comes a choice, the choice of how to use it. Some people have the ability to transform a common substance, usually of little value, into a substance of great value. These are the storytellers. Theses great minds see wealth where others see poverty, they can convert the seemingly mundane into a masterpiece, they document their tales in great novels and they leave a legacy for all to enjoy. The storytellers hold and share the future.

Ink Alchemy Ink Alchemy

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: In

k A

lche

my

Ch

apte

r / P

age:

5.8

3

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: In

k A

lche

my

Ch

apte

r / P

age:

5.8

2

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Ink Alchemy Ink Alchemy

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: In

k A

lche

my

Ch

apte

r / P

age:

5.8

5

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

Subt

itle:

Ink

Alc

hem

y

Page

Titl

e: In

k A

lche

my

Ch

apte

r / P

age:

5.8

4

Auth

or: N

eil T

aylo

r

Ti

tle:

Neu

berg

Mon

aste

ry M

aste

rpla

n

2011

Neil Taylor

CDP Report - Ink Alchemy

Documents

Transcript of CDP Report - Ink Alchemy