Site Briefing+Technology FINAL

7/31/2019 Site Briefing+Technology FINAL

1/70

Isabelle Lalibert

Diploma Unit 15 | FT Y2 | ID: 515119School o Architecture | University o Greenwich

Site, Brieng + Technology Report


2/70

Table o Contents

INTRODUCTION 3

1. DESIGN CONCEPT (SITE+BRIEF) 4

1.1 The City v OccupyLondon 51.2 The site

1.2.1 Location 6

1.2.2 Urban context 71.2.3 The streetscape 81.2.4 21-29 Sun Street 91.2.5 Historical context 101.2.6 Conservation area 11

1.3 The wider context - access to the site 121.4 The City and the Occupy movement 131.5 Design strategy 141.6 Introduction to the new design 15

1.6.1 The Sun Street elevation 151.6.2 A revived Crown Place 161.6.3 A new courtyard 171.6.4 A new rooscape 18

1.7 Follies: rom the 18th to the 21st century 191.8 A building as a chess game 201.9 Organisation o the ollies in the urban parcscape 21

1.10 Dening the parcscape 22

2. STRUCTURE + CONSTRUCTION 23

2.1 Axonometric demolition schedule 242.2 New steel structure 252.3 Circulation 262.4 Lighting & Energy strategy 27

2.4.1 Maximizing natural light 272.4.2 Minimizing energy requirements 282.4.3 Energy sources 29

2.5 Ventilation strategy 302.6 Services 30

3.0 THE FOLLIES 31

3.1 Chaste Luxury: a monastic cell 323.1.1 Meditative light patterns 333.1.2 The monastic cell 343.1.3 A peaceul meditative space 353.1.4 Technical details 36

3.2 Diligent Sloth: a promenade architecturale 37 3.2.1 An architectural promenade through the building 38

3.2.2 Ramp construction detail 39

3.3 Patient Wrath: a dea mans dialogue 403.3.1 The debating chamber 413.3.2 The acoustics o an open debating chamber 42

3.4 Humble Pride: timidity on an epic scale 433.4.1 The internal belry 443.4.2 Technical details 45

3.5 Kind Envy: a giant Claude glass 473.5.1 The modern Claude glass 48

3.6 Generous Greed: a modern conessional 493.6.1 Displaying the conessions 50

3.7 Restrained Gluttony: the illusion o excess 51

4.0 GA DRAWINGS 52

4.1 Demolition plans4.1.1 South elevation demolition plan 534.1.2 East elevation demolition plan 544.1.3 North elevation demolition plan 554.1.4 Basement demolition plan 564.1.5 Ground oor demolition plan 574.1.6 Typical upper oor demolition plan (oors 1-3) 584.1.7 Roo demolition plan 594.1.8 Long section demolition plan 60

4.2 Proposed elevations + plans4.2.1 Proposed ront elevation - Sun Street 614.2.2 Proposed side elevation - Crown Place 624.2.3 Proposed rear elevation - the courtyard 634.2.4 Proposed basement plan 644.2.5 Proposed ground level plan, part 1: structural changes 654.2.6 Proposed ground level plan, part 2: ollies 66

4.2.7 Proposed top level plan 674.2.8 Proposed roo plan 684.2.9 Proposed long section 69

REFERENCES 70


3/70

3

Introduction

Conceptual illustration o some o the changes brought to the site.

The project originates in the wake o the nancial crisis o 2008, whichle the City o Londons banking industry reeling rom the resultingchaos. The client, the Soros Foundation, was keen to build a bridgewith the apparent enemy o the bankers, the OccupyLondon move-ment, which appeared on the scene in 2011.

The site in question is the start o the bridge: an abandoned ormerUBS Bank building, which physically sits across rom UBSs new head-quarters, and which was temporarily taken over by the OccupyLon-don movement, who declared it the Bank o Ideas.

As the building sits across the street rom the City o London, the clientelt it oered an excellent base to reect on the City, its values, and thecontrasts highlighted by OccupyLondons protests. This interventionintends to bridge the cultural divide between the bankers o the Cityand the sel-styled 99 pe rcent represented by Occupy, and explorethe values alleged to be represented by both sides.

The Soros Foundation strongly eels this is an innovative way to cri-tique the current controversies surrounding the nancial industry inthe United Kingdom, and hopes this paves the way or urther suchinitiatives in other key markets where the Foundation is present.

As such, the client wishes to provide an environment o the highestquality and will cover any budgetary concerns related to the project,so that only the best and most appropriate materials and methods o

construction will be considered.


4/70

1. DESIGN CONCEPT:

Site + Brie


5/70

5

1.1 The City v OccupyLondon

Its been our years since the nancial crisis hit. Governments have ailed cata-strophically to implement the economic change needed to prevent it happeningagain. They have ailed to protect their citizens interests against those o corpora-tions and the nancial markets. Ordinary people amilies, small businesses andcommunities are being orced to pay or a crisis they didnt cause. May marksan international call to act locally and globally against this injustice and to ghtor a sustainable economy that puts people and the environment we live in beorecorporate prots.

[www.occupylondon.org.uk]

The worldwide nancial crisis, which started in 2008, highlighted a dividebetween the nancial industry and the rest o the population. Both sides eelmisunderstood, and the divide grows ever wider. A series o protests, whichstarted on Wall Street in New York, eventually made it to London and dubbeditsel OccupyLSX (London Stock Exchange).

The Occupy movement managed to get much press, however, their demandsare not heard by the City, and a dea mans dialogue appears to continue. Themovement recognizes its own weaknesses - their website mentions as one othe top items to address is to clariy their demands, and communicate themmore eectively.

A dea-mans dialogue is ongoing between the two parties, and the intention othe Soros Foundation is to provide a physical site which can educate whilst be-ing un - an approach oen orgotten by the nancial world, but which the resto the world is more receptive to.

A woman walks in ront o the FTSE stock market indicator in London OccupyLSX tent city at St. Pauls Cathedral, London, 2011


6/70

6

1.2.1 The site - location

The site is in the eastern part o central London, just north o the City o London. Itoccupies the building at 21-29 Sun Street, which is on the corner o Sun Street andCrown Place.

The site is located next to the City o London, and adjacent key transport hubs, suchas Liverpool Street station. Its easy access both in terms o proximity rom the Cityand major transport hubs is a key advantage.

Fig. 4 Central London - area highlighted in red detailed in gure 5

Spitalelds MarketLiverpool Street StationSite

Finsbury Circus

Finsbury Square

Broadgate

Nindicates Borough limits

Fig. 5 Close-up o location o the site in central London


7/70

7

1.2.2 The site - urban context

As this building is intended to be both a reection on the City and as a placeto relax and reect, it was important to nd a location near the City, but notin it. The chosen building, located in the London Borough o Hackney, aces

the City o London across the street.

The Borough o Hackney has indicated in its 2002 development plan thatthis area o the borough (known as South Shoreditch) was one in which theywould encourage developments o interest. The Soros Foundation strong-ly believes that this proposal ts this description.

Finsbury

Square

FinsburyCircus

Broadgate

Liverpool

Street

Station

site

Aerial view o the site Political limits o the Boroughs o London

London Borough o Islington

London Borough o Hackney

City o London

Site

N

Islington Hackney

City


8/70

8

Front acade o the site at 21-29 Sun St.

1.2.3 The site - the streetscape

Sun Street, looking east: the site and the new UBS building

Fig. 8 The building at 21-29 Sun St. is a combination o ormer buildingswhich are nearly identical. The ground oor was previously extended (light grey).

N

Sun Street is a short street which runs approximately east-west. Crown Place, whichcontinues the border o the building, is now a pedestrian street with large maturetrees, and which is partly used as the outdoor terrace o a local cae.

Although the street is o easy access and is located between major trafc arteries(Commercial Street and Bishopsgate), and is adjacent to Liverpool Street Station, ithas very little thorough trafc, which makes it a pleasant area to be in.

The south side o the street, which is part o the City o London, is now occupiedby seven-storied, glazed curtain-walled, 20th century ofce buildings which do notrelate to the immediate urban context and create a departure rom the historical localvernacular. The Soros Foundation believes that the intervention planned or 21-29Sun Street will help create a link between the old and new vernacular o the area.

The site, looking west on Sun St.

SunStre

et

Crow

nPlac

e

EarlStreet

FinsburySquare

Wilson St.

N

The site, looking east on Sun St.

SunStre

et

CrownPlace

EarlS

treet

WilsonSt.

N


9/70

9

The building, which belongs to the UBS Bank, is now sitting empty. It was recently taken over temporarily by the Occupy London movement and renamed the Bank o Ideas.

1.2.4 The site - 21-29 Sun Street


10/70

10

1.2.5 The site - historical context

Ordnance Survey Map, 1948-1953.Yellow areas = empty sites as consequence o War damage

Ordnance Survey Map 1875 LCC Bomb Damage map, 1939-45Red = seriously damaged but repairable at a costGreen areas = site clearance

Purple = destroyed

Goads Fire insurance map 1958, detailing occupation type.The site at 21-29 Sun street was a warehouse or scientic equipment.

The site was ormed during the late 18th century, aeran Act o Parliament was passed or the establishmento a new link between Finsbury Square (just created)and Bishopsgate Street. Sun Street (then named

Crown Street) was built in a haphazard way with amixture o buildings. The entire street, renamed SunStreet aer the arrival o the trains in the 1860s (whichcut o the previous Crown/Sun Street) , was replacedduring the 19th century with a new build o more or-mal terraced houses.

During the late 19th century, most o the houses onSun Street were extended to the rear to house work-shops and small actories. The area became more in-dustrial and remained so until the 1970s when a con-version to ofces started appearing.

As per the maps to the right, the area suered con-

siderable bomb damage during World War II, eitherollowing direct hits, re, or structural damage whichthen required site clearance. This allowed a mish-mash o new builds to appear in the 1960s and 70s,which had little concern or the historical context andlocal vernacular. This explains the disparity in the aes-thetics o the area.


11/70

11

Site

Sun Street Conservation Area boundary

Buildings that make a positive contribution to the Sun StreetConservation Area

Buildings that are neutral in the Sun Street Conservation Area

Buildings that detract rom the Sun Street Conservation Area

Buildings o Townscape Merit

Buildings o local signicance (locally listed)

Statutorily listed buildings

1.2.6 The site - conservation area

The site sits in whats known as the Sun Street Conservation Area,however, several o the buildings in the conservation area aredeemed either neutral or as detracting rom the local area. TheLondon Borough o Hackney is keen to revitalise this area, par-ticularly due to its proximity to the City, and to ensure that it be-comes an architectural showcase or high quality projects drivingthe regeneration.

Hackney councils 2006 planning document (South ShoreditchSupplementary Planning Document) notes that the area is under-utilised and has an outmoded building stock.

The project is aiming to keep some o the current aspects o thechosen building, whilst adding and removing rom it, and that do-ing so will provide a bridge between the o lder building stock andthe newer architecture encountered in the surroundings.

N


12/70

12

1.3 The wider context - access to the site

Transport or London bicycling map (2007) - Site highlighted in red. Access to the site through public transportation

The site benets rom being in an excellent location to ease public ac-cess. This is the preerred method o transport encouraged by the Soros

Foundation in order to support low-carbon emissions activities, and assuch, no parking acilities will be oered on site. A community sharingbicycle stand or 35 Boris Bikes already exists in ront o the building,and it will be retained.

Boris Bike station in ront o the site


13/70

13

Reiser + Umemotos concept o Operating in a State o Poise.

1.4 The City and the Occupy movement: a dialectical relationship

In order to create an architectural response to this relationshipo apparent opposites, an analysis o values which are oen as-signed to each party was conducted, that is, the City versus theOccupy movement.

Reiser and Umemoto devised a concept o operating in a stateo poise, which evolved rom Aristotles concept o the mean,and which creates an ambiguous and dynamic point betweenthe two extremes values.

Chastity

Restraint

Generosity

Diligence

Patience

Kindness

Humility

State of dynamic tension between sin and virtue

Chaste Luxury

Restrained Gluttony

Generous Greed

Diligent Sloth

Patient Wrath

Kind Envy

Humble Pride

Luxuriance

Gluttony

Greed

Sloth

Wrath

Envy

Pride

Seven Deadly SinsSeven Heavenly Virtues(orces o capitalism/anti-capitalism)

Together, they create a dynamic tension that denesthe typology of follies set in the parcscape.

Seven Heavenly Virtues

(OccupyLSX)Seven Deadly Sins

(the City of London)


14/70

14

1.5 A design strategy in three parts

A park within a building

Setting about transorming a building into an urban parkrequires one to look at the building in the same way as apicturesque landscape. It is a setting or ollies, completelyman-made, ragmented and sculpted in a similar ashion towhat Capability Brown did to 18th century landscapes. Thebuilding becomes an enclosed parcscape.

Flooding the space with natural light

As the building already had a good level o natural lightthrough the existing acades on Sun Street and CrownPlace, it was decided to retain those elevations whilst notletting them hinder the development plans.

Minimising energy consumption

As well as introducing photovoltaic cells on the roo, astrategy o insulation and better glazing will help minimiseuctuactions in the ambient temperature o the building.Additional temperature control will be eected through

temperature zoning.


15/70

15

1.6.1 The Sun Street elevation

The new elevation on Sun Street retains the dressed stone a-cade o the 1930s, but the new structure punctures it, creat-ing a highly visible eye-catcher on a particularly drab existingstreetscape, thus highlighting the buildings new vocation.

The windows will retain their current appearance, but will bereplaced by highly efcient triple-glazed windows. A simplemechanism would allow the windows to open in the summerto naturally ventilate the building, but would be under a me-chanical control, as they would not be accessible otherwise.

The doors o the ront acade are unctional, though not usu-ally in use, as the main entrance is now moved to Crown Place.The le-most doors on the image at le are part o a new reescape route.

1.6 Introduction to the new design


16/70

16

1.6.2 A revived Crown Place

The entrance to the new building is located on Crown Place,thus giving the building a more dignied entrance atrium. It alsoallows or a disabled access ramp, which was inexistant in theprevious building, and which is equally close to the new li.

This east acade equally retains the rythmn o its previous appear-ance, however, above the new entrance sits one o the ollies,

The Crown Place elevation prior to our intervention The new entrance and elevation

the Claude Glass, bringing a new perception o the otherside through the use o convex glass. This new wall o glassallows even more o the morning light to enter the building.

A new re escape route exits to the right o the main entrance,providing a second means o escape to the building.


17/70

17

1.6.3 A new courtyard

The rear o the ormer building was in act acollage o 3 older buildings which had beenextended in an unsymmetrical manner overthe years, and thus did not enhance the space.The ground oor had been extended to thesame area as the basement, however, the pre-

vious rear-extensions did not ollow the samepatterns rom the 1st to 3rd oor.

The new courtyard is thus brought back toground level, providing a visual link withthe street, and eliminating the unnecessaryindentation to the upper oors. The newarrangement allows neutral northern lightto ood the internal space o the building.

The larger courtyard accomodates oneo the ollies and plays with the buildingsthreshold: the internal space continues to

the outside, whilst remaining an internalpart o the main building.

As this wall is north-acing, triple-glaz-ing will o course be in order, as thiswill ensure the thermal efciency o

the building. These glazed panels arexed, and they accomodate two open-ings where the ramp exits and re-entersthe main space o the building.

The existing courtyard The proposed plan


18/70

18

1.6.4 A new rooscape

One can clearly see here the impact o remov-ing the indentation in the back o the build-ing: it provides larger courtyard, which stillbenets rom direct sunlight, even i it is lo-

cated a oor lower than it used to b e.

As the surace area o the roo is now larger,it accomodates both a series o photovoltaiccells, which will provide more than enoughenergy to power the building: indeed, therewill be no heating system - it is a park aerall, and the new triple-glazing installed onthe three glazed elevations s hould provideenough thermal resistance in the winter.

The roo equally accomodates the engineroom or the li (grey box), as well as theopening o the cone o light that brings sun-light directly to the basement. A at trap door(which opens with hydrolic pistons) is locatedle o the li engine, in order to provide rooaccess or maintenance purposes.

Aerial view o the proposed building


19/70

19

Translating the themes o dynamic tension into a physical orm is explored throughthe concept o the olly.

Follies were an important part o the British country estate (or garden) o the 18thcentury. Although these buildings appeared to be un, nonsensical extravaganc-es which were randomly set into the landscape, ollies oen were a social com-mentary on certain values which the owner o the olly wanted to communicate.At Stowe Park, Lord Cobham built the Temple o Ancient Virtue in a classical style,and then built a mock ruin named the Temple o Modern Virtue. Neither wereactual temples, but the humour would not have been lost on his contemporaries:they illustrated his views on the ruin o modern virtue...

The ollies were meant to entertain and as such, were located along a very care-ully planned journey through the garden, intended to be discovered along theway - thus the origin o the phrase being led down the garden path.

Terunobu Fujimoris Beetle House Architects Build Small S paces,V&A, 2010

Stourhead Park

1.7 Follies: rom the 18th century country garden to the 21st century urban context

An urban parcscape

Using the concept o the olly within an urban setting, the site then becomes an ur-ban parcscape, where ollies may appear to be randomly set, but are in act careullyplanned to be discovered along a journey through the park.

The garden o the 18th century was about mastery o man over nature, the ability tocreate landscape in order or them to appear picturesque. Capability Brown, one oBritains most amous landscape architect o the time, was known or creating moun-tains and moving lakes. In this spirit, the abric o the building will be modied to cre-

ate journeys.

The building itsel then becomes a humorous critique and commentary on the City andits relationship to the rest o Britain: as it sits acing the city, it reects the City onto itsel.


20/70

20

The ollies o the parcscape are a dynamic point between oppositevalues. The building becomes a chess game where the two opposingsides (the bankers v the occupy people) can interact consciously or not.

The chess game becomes three-dimensional architecture, and involvesstrategy in more dimensions. Moving through a building becomes atype o 3D chess game.

Examples o 3D chess boards The Tri-D chess set was rst used on Star Trek in the 1960s

1.8 The building as a chess game


21/70

21

1.9 Organisation o the ollies in the urban parcscape

basement

ground foor

1st foor

2nd foor

3rd foor

roo Kind Envy: the Claude glass

Patient Wrath: a debating chamber

Restrained Gluttony: the trompe-loeil

Chaste Luxury: monastic opulence

Generous Greed: a modern conessional

Humble Pride: the bell o morality

Model o the existing structure o the building. View looking west rom Crown Place.

The site is a parcscape with ollies, which serve or debate, communication,relaxation, or art exhibitions/installations.

Using all the areas o the building at 21-29 Sun Street helps to determine the

seven ollies. It does not determine the exact location, however, it ties all thespaces o the building together - the ollies can be part o the abric o thebuilding, or set within the building.

It becomes quickly clear though, that the current internal structure preventsmoving through the building in a three-dimensional way. The demolition othe current internal structure becomes necessary.

In an 18th century garden, the ollies appeared to have been strewn around the land-scape randomly, but they were in act placed with much attention so they would bediscovered along the way.

A similar guiding principle is used in the parcscape:

- the space is divided in two zones:the darkness and quiet o the basement, and

the light and noise o the main foor

- the grid o the steel structure dictates the placement o the ollies

- the circulation is mainly done through a curvy ramp.

Layout o the ollies, structure and planes in the landscape o the building


22/70

22

1.10 Dening the parcscape

The use o bright colours or the ollies is deliberate: only the ol-lies are coloured, and their shape tends to be more curved or or-ganic. All o this emphasizes the parc-like atmosphere. The struc-ture is dened by its rectilinear orm, and its lack o colour (white).It provides clear visual cues as to the organisation o the space.

The choice o colours is also deliberate: only primary and sec-

ondary colours o a colour wheel were chosen, and they werechosen as they are the most intense o the colour spectrum.This intensity was important as it reects the intensity o the be-lies o the two parties involved in this project, the bankers andthe OccupyLondon people.

A cut-away o the building, showing the colourul chaos o the interior parcscape


23/70

2. Structure & Construction


24/70

24

2.1 Axonometric demolition schedule

Due to the complexity o the original building (which had been added to severaltimes in several dierent orms), it proved impossible to retain the various oors.

The intention was to create a spacious environment, and the orest o existing col-umns, which supported older short-span beams, was another deciding actor: newsteels would provide bracing or the remaining existing structure, as well as the sup-port structure or the new additions.

As the existing building has a Certicate o Immunity rom Listing, there were no re-strictions as to what could be don e to the abric o the structure.

The demolition will include the removal o all internal oors, all structural columns,the roo, the north wall, the staircase and the li.

The current oundations will be retained and re-inorced with the appropriate piling

where necessary, ie, under the new steel columns.

A detailed environmental study will completed prior to the start o works, in order todescribe the environmental and socio-economic impacts o the proposed changesto the building, as well as the impacts o the demolition, site preparation, construc-tion and subsequent operation o the building.

Amongst the various aspects to be studied, an analysis o the materials present in thebuilding will be done in order to assess the recyclability o materials, and where im-possible to recycle, a removal & disposal plan will be established. Once these mate-rials are known, precautions will be taken to avoid excessive dust generation on site.

As the site is in central London, a certain amount o trafc management will need tobe looked into: certain routes will need to be determined to ensure that the lorriesand equipment do not create trafc problems, and that they do not become stuck inrush-hour trafc and delay the demolition process. Equally, road closures will needto be agreed with in accordance to the Borough o Hackney and the City o London.

Exploded axonometric drawing o the demolition plan


25/70

25

2.2 New steel structure

In order to support the existing walls and prevent them romcollapsing, as well as to provide a ramework or the newspace, a new steel structure was designed in order to minimize the amount o steel necessary in construction whilstproviding enough strength.

The new wall at the back which replaces the previous in-dent, creates a harmonious link between the two city gridplans which appear to meet in this building: that o the Bor-ough o Hackney to the north, which is slightly slanted, andthe one o the City o London to the south, which is perectlyrectangular.

The size o steels were calculated due to the spans they wouldcover. Although they will not carry the normal oor-load, thesteels need to be strong enough to resist torsion as they areree-standing. Thereore, the steels were chosen to be slightlybigger to compensate or this. The maximum span in this struc-ture is eight meters, but it was calculated that in a normal oor-

load situation, it could stretch to 10 meters.

The 500x500mm I-beams and columns will be brought in tosite in sectionsv and welded on location. The new structurewill then be attached to the existing walls through a system owall braces bolted onto the steels. The beams are located inbetween the rows o windows, but at hal the interval o theprevious oors.Outline o new structure superimposed in red over existing structure

The new steel structure, looking east.

New courtyard

Crown Place

Sun st.

Perspective plan o the new steel structure (not to scale).

New courtyard

Sun street

Crown Place

N


26/70

26

Piranesis Carceri complex prison design

The complexity o Piranesis Carceri drawings and theirapparent impossibility, draws the interest o the ob-server.

Translating this concept to the parcscape, the intentis to provide many routes through the space whichwill bring complexity and surprise to the visitor, whilstmeeting health & saety and re regulations.

2.3 Circulation

New circulation viewed rom the courtyard (north)

basement

ground oor courtyard

The gradient o the ramp never exceeds 8 degrees. Building regulations allowup to 10 degrees incline.

A new ramp, which acts as a promenade architec-turale, moves around, as well as in and out o thebuilding. It connects all key areas in the main space,and it sits on the steel structure. It doe s not, howev-er, connect with the basement , which is accessibleonly through the stairs or the li. The two staircasescomply to the building regulations in order to makethem re escape routes, and as such, are located atopposite ends o the building.

N

Perspective plan view o the new circulation routes

Fire escape stairs

Ramp

Li

MAIN ENTRANCE

Doors/re exits

3

3

4

4

44 4

2

2

1

1

1

3

4


27/70

27

The intention is or the building to be completely lit by naturallight. In this eect, the building is only open during daylighthours, and as such, will be open longer in the summer than in

the winter in the same way that public parcs are accessible ol-lowing a timetable that changes with the seasons.

2.4 Lighting and Energy strategy

Because o the extensive glazing, most o the insulation will have tocome in the orm o triple-glazing or the windows, and super-insula-tion or the new roo and existing walls and oundations. Although

more costly at rst, the result will be a long-term energy saver, and willallow to maintain a relatively stable temperature throughout the year.

Typical illumination o the space in the aernoon o the spring and autumn equinoxes The late summer sun (7pm) still lights up the building at the summer solstice

The low sun o a typical aernoon sun doesnt quite reach inside, but enough lightis reected o the neighbouring buildings to keep the light levels acceptable

2.4.1 Maximizing natural light


28/70

28

2.4.2 Minimizing energy requirementsv

In order to urther minimise the energy require-

ments o the building, it is intended that heatingo the building in winter will be done throughzones.

The main zone will be temperate, to protect romthe elements, and maintain a comortable tem-perature or walking around the parcscape. Itmight be slightly cooler in the winter and thus thevisitors might keep their jackets on, the way onedoes visiting a gallery.

The cae and the mediation room will be heatedzones (in light red), and the power required orthis zone will be provided through the photo-

voltaic cells on the roo.

The rest o the building (in light orange) will ben-et rom super-insulation in the walls, roo andadded to the existing oundations. Although ex-pensive to install, all the windows will be triple-glazed to ensure that the new glass curtain walland the already extensive glazing will not be asource o heat loss/gain, and thus greatly dimin-ish the need or heating.

So due to the lack o heating system throughoutthe building, and the lack o major lighting sytem,the warm zones and the li are the only majorareas in the building consuming energy.

temperate zone

warm zone

Diagrammatical section illustrating the triple-glazed windows, superinsulation around the periphery o the building, and the various temperature zones in the building.


29/70

29

Cone o the internal belry is oriented tocapture the suns rays and provide lighting tothe basement.

Photovoltaics: Up to 3 rows o photovoltaiccells can be installed on the roo to provideenough energy to run the cae and the heatexchanger. Any extra power generated willbe sold back to the National Grid.

The extensive glazing on 3 sides o the build-ing means that there is enough light comingin the building or it to not require lighting i itopens ollowing sunrise and sunset patternsthroughout the year.

Triple-glazing will be implemented through-out the building, and the glass is to have ahigh Solar Heat Gain Coefcient (SHGC) to

minimize the need or heating.

A

B

C

2.4.3 Energy sources

The building is not completely overshadowed by thesurrounding buildings, and whilst the elevations doget overshadowed, the roo is not overshadowed atany point during the year, allowing or a three-pointstrategy:

A

B

C

E


30/70

30

2.5 Ventilation strategy

As the internal space o the building changes rom 5 dierent areas (4oors and the basement) to two (above and below ground), and as theintention o the building is to use as little energy as possible, a natural

ventilation strategy will be encouraged.

The resh air will come in rom inlets on the roo, and enter on the groundoor. As the stale air warms up, it will rise and be extracted out o thebuilding. In the winter, a heat exchanger will collect the heat rom thestale air, and use it to warm the incoming air. The power or the heat ex-changer will come rom the photovoltaic cells on the roo.

The basement is somewhat separate rom the rest o the space, and assuch, will need more mechanical help to circulate the air. Pipes will runalong the ceiling along the beams.

In the rest o the building, the pipes will run along the walls, and add tothe carceri eect o the ollies and circulation routes. In the summer, theventilation will be aided by the opening o the upper oor windows.

The cae and the meditation room are the only enclosed rooms and willbenet rom underoor heating, which will be powered by the photo-voltaic cells on the roo.

2.6 Services

Except or the cae on the upper level, there will be very little need or

services through the building. The loos will be situated on the groundlevel and the debating chamber level to minimise the need to movepipes through the building.

incoming water

soil pipe


31/70

3.0 The Follies


32/70

32

A quasi monastic space where the visitor can sit quietly with their thoughts. It isabout the extreme quality of craft, the selection of the highest quality materials.

John Pawson says o such spaces that the efects o light read as essentialcomponents o the abric o the architecture, being used variously to addprecision, drama and a sense o mystery to the experience o the spaces .

3.1 Chaste Luxury: the understated opulence o a monastery [ ]chastity castitas purity, knowledge, honesty, wisdomluxury luxuria lust, excessive thoughts o pleasure, o sex

Novy Dvur Monastery by John Pawson - a monastic opulence: high quality nishes and materials inthe utmost simplicity

Key elements to a peaceul environment in an early sketch o this olly

Uniorm, direct light:the space is a covered courtyard.

Controlled, indirect light:day and night lighting comesrom the same place

Controlled, indirect light:light bounces o the wall or

a diuse eect


33/70

33

3.1.1 Meditative light patterns

This space is made o a lightweight structure that is partially built o-site andbrought in to be integrated to the structure. The space hugs the visitor in thesame way that a monks cell provides a quiet place or contemplation and reec-tion. The visitor does not have views to the outside to distract him or to be ob-served, but benets rom daylight, either indirect & modulated,

Inside, a meditative state is encouraged by the way light embraces the walls: theaceted suraces reect light or create shadows depending on their angle.

The olly sits in the courtyard in the back o t he building, and bridges the inside/outside boundary. Lighting comes in through light wells and the aceted texture o the walls createshadows that articulate the space.

Steven Holls sketch shows the indirect light entering the galleryat Kiasma Museum in Helsinki. It is the light and shadows whichaccentuate the shape and texture o the space.

UN Studio YouTurn: One appreciates the texture o the wall bythe way the light hits the acets and creates a variety o shadows.

UN Studio Holiday Home: It is the way the light hits the wallso the olly that allows the visitor to appreciate the space.The light is modulated, indirect.


34/70

34

The shape ollows the intersection o selected stock market graphsand extrapolates between them. It is a visual representation o thepeaks and valleys o the stock market movements. The outside othe olly is o bright plum coloured perspex panels, however the in-side is completely white. It is thus possible to appreciate the spaceor what it is, but equally, it is possible to colour the light coming inby sliding a clear, coloured perspex panel at each opening. Someo the openings are extruded like oddly-shaped chimneys, othersare part o the skin o the olly.

The meditative space inside provides largers spaces to be quietlyshared with others, but equally a smaller space which is lit directlyrom above by a chimney painted with c olour on the inside, in o rderto colour the light coming in. In this case, the colour chosen was yel-

low, in order to continue raising the mood o the users o the space.

The meditation space hugs the orm o the ramp in order to maxi-mise its size in the limited ootprint o the courtyard.

3.1.2 The monastic cell


35/70

35

3.1.3 A peaceul medidative space

One corner oers an isolated quiet space lit by its own lightwell, whose internal walls havebeen painted a bright yellow, casting a sunny glow on the visitor even on a cloudy day.

The angled internal surace allows people to sit or recline along the walls and oors, and tobenet rom direct light. At certain times o the year, coloured transparent perspex sheetscan be slid in the lightwell openings to transorm the monochrome environment into acolourul one (above & below).

Although the monastic cell is located on the n orth side o the build-ing, it still benets rom sunlight early in the morning, at mid-dayand beore sunset. The varying intensity o light creates a varietyo shadows and moods inside the cell. The light that comes in iseither neutral (northern), indirect/bounced, or direct sunlight, andthis changes throughout the day and through the year.

The monastic cell lls the new ground oor courtyard and hugs the outside portion o the ramp.


36/70

36

show how the light comes in

Ventilation

lightweight steel trusses, custom made oreach section o the roo

Triple-glazed, low-e glass windows

Insulated window rame to reduce

cold-bridge eect

Ventilation outlet

Polyurethane resin-coated plywood sheet,40mm thickness

Thermaeece Original wool insulation,100mm thickness

UPE steel sections

Internal acades made out o plywood

sheets, 25mm-thick

Angular suraces made o plywood sheets,25mm thickness, and plaster nish

Underoor radiant heating system

Finished oor level, white Nora resin ooring

IPE steel sections with parallel anges ,400mm between centres

Sub-ooring, plywood 40mm thickness

UPE steel sections

3.1.4 Technical details

The monastic cell is mostly built as a normal orthogonal structure,and the angularity is added on aerwards. This simplies the struc-ture and does not change the experience o the user.

The glass used in the windows are are triple-glazed, and every gap

in the structure is lled with wool insulation, which has the addedbenet o acoustic insulation in addition to keeping the space warm.

not to scale


37/70

37

3.2 Diligent Sloth: make haste slowly(Festina Lente)

Being lazy, slothul, but with the utmost diligence and care. It is about minimizingthe eort required to get the best results.

The promenade architecturale denes the parcscape. It leads rom one olly tothe other, in the same way that the garden path led to the ollies in the picturesquegarden.

The promenade architecturale at Le Corbusiers Villa Savoye

diligence industria persistence, eort, ethics, rectitudesloth acedia laziness, indierence, ailure to utilise ones talents[ ]

The helix o a gastropod shell, cutaway to show its geometry

The ramp o the Guggenheim Museum in New York

Three representations o the ramp : top le, as a perspective looking south-west;top right, in plan; bottom, a perspective view looking east.


38/70

38

3.2.1 An architectural promenade through the building

View rom the outside o the ramp

Long section through the ramp

Short section through the ramp

Plan view(detail on the next page)

The ramp is supported by joining thesteel o the ramp to the buildings newsteel structure. This gives the illusion othe ramp oating through space.

The ramp sneaks inside and outside thebuilding, and helps to create a Carceri-like meandering through the building.

see 1:5 detail

on next page


39/70

39

3.2.2 Ramp construction detail

Clear laminated glass,back painted in red

Brushed stainless steelbespoke ironmongery

Plan view, Scale 1:5

A bespoke joint had to be specialised or this ramp dueto the shape o the ramp. (details o the joint below)

Clear laminated glass, back-painted red

Bespoke steel bracket & brushed stainlesssteel ironmongery

Clear laminated glass, back-painted red

Laminated non-slip saety glass, back-painted red

IPE steel section, connected to the main steelstructure o the building

Bespoke steel bracket & brushed stainlesssteel ironmongery


40/70

40

[ ]patience patientia peace, mercy, suerance, to do no harmwrath ira inordinate and uncontrolled eelings o hatred and angerNothing spells wrath that is sustained over years sometimes like the Houseso Parliament. One must display the qualities o patience to get anythingthrough, yet show re and wrath to awake the masses.

A debating chamber is all about achieving a dynamic tension, reaching theequilibrium to that state o poise.

As a true dialogue between the two camps is difcult (the Bankers & the Oc-cupy group), this quality is imbued in the architecture.

Using a traditional orm like an agora or greco-roman theatre, one obtainsa natural semi-circle which is conduc ive to exchange, however, by rotatingthe circles and osetting them slightly, it becomes much harder to have aproper dialogue: a dea mans dialogue ensues.

3.3 Patient Wrath: a dea mans dialogue

House o Commons, London By mirroring and rotating the orm o the Greco-Roman theatre, the new debating chamber emerges.


41/70

41

3.3.1 Patient Wrath: the debating chamber

Much like the Houses o Parliament, the debating chamber allows the opposing sides to engage in discussions.

However, as both parties tend to avoid listening to each other, this is reected in the architecture: the two hal roman

theatres are slightly turned against each other, so whilst it is still possible to hold a discussion between both sides, it isjust not very comortable to do so. The seating also does not ace each other, and it is located in an open environmentwhich brightens the cacophony o the debate.

The seating is constructed o simple plywood sheets covered with wood veneer (to smooth out the angles) and thewhole surace then covered in a polyurethane-resin compound.

Concept images the debating chamber in use. The seating does notace the opposing site directly, challenging the communication urther.

The debating chamber sits at the heart o the building.


42/70

42

3.3.2 The acoustics o an open debating chamber

One o the caracteristics o a debating chamber is the level o noise involved. In order to brighten the cacophony, the debating chamber was le open so that thedebates can permeate the entire building. As the debating chamber sits on an open platorm in the middle o the space, it not only inuence s the whole hall, but it

is equally inuenced by all movement and chatter around it. All the suraces o the main hall are hard, save but a ew plants, thus they all bounce the noise around thespace. Concrete, glass, resin, bronze and steel reverberate sound at dierent requencies and dierent speeds, thereore adding to the music o the hall.


43/70

43

Everything in the City is about appearances: trying to be bigger than onesneighbour. The building gains a kind of belfry which contains a small bell, butthe belfry is an internal one, thus it is a timid one. From the outside, one hasthe impression of grandeur, but the small bell represents the modesty and in-ner compass that the OccupyLSX is to the Bankers.

All stock exchanges around the world are opened and closed with a bell orgong of some kind. This bell reminds one of morality and opens and closesthe trading day within the building.

humility humilitas bravery, modesty, reverence, altruismpride superbia hubris, excessive love o sel, desire to be more important than others[ ]

3.4 Humble Pride: timidity on an epic scale

site

The opening and closing o stock markets is traditionally done with bells.

The belry holds the bell o morality, but contrary to a normal belry, the tower is absorbed by the building. The timidity becomes more powerul than the pride o the City.


44/70

44

3.4.1 Humble Pride: the internal belry

The basement appears like a near innite space lit only through the golden beam o lightThe cone o light draws daylight through the building to illuminate the basement. The inside othe cone is lined with gold in order to bring a warm light to the basement, even on gray days.

The internal belry takes the shape o a cone in order to gather as much light as possible. The

cone is made o thin sheets o bronze covered with gold-lea, both inside and out, castinga warm glow to both to the basement, and the main hall, even on cloudy days. The coneis suspended rom steels connected to the roo and steel structure, and as such, is not sup-ported by any means in the basement.

The walls and ceiling o the basement are lined with Thermaeece natural wool insulation,which is dyed black as it becomes the wall and ceiling nish, or the dual purpose o thermal

insulation o the basement, and also, as acoustic insulation. (The oor also has a layer o wool

insulation underneath the black marble oor nish.) The wool absorbs the ambient noise othe space and isolates it rom the rest o the building, but it also absorbs the sounds made bythe bell and the cone itsel ( which can also be used as a giant bell).

In this way, the bell o morality rung by the OccupyLondon people continues to go unheard bythe bankers. This creates a dark, quiet space or people to come and wander in. Such spacesare rare in the centre o London, and acts much like a grotto in a picturesque landscape.


45/70

45

3.4.1 Humble Pride: the internal belry

Bespoke triple-glazed, low-e, glass dome

Bespoke circular IPE steel section , 175x175

Bronze sheets, 1,000x2,900x5mm

Thermaeece Original natural wool insulation(in 1,200x1,000mm slabs)

Sealing joint

Lightweight steel to join with roo structureBespoke circular IPE steel section ,

250x250mm, to join the main steel structure

Gold-lea covering, 24k, 100x100x0.1mm sheets

Bespoke circular IPE steel section ,250x250mm, to join the main steel structure

Rubber ring hidden in oor thickness ormovement absorption

Thermaeece Original natural wool insulation,dyed black,(in 1,200x1,000mm slabs)

Black italian marble slabs, 600x600x20mm

Sub-oor structure

Ventilation outlet

IPE steel sections with parallel anges ,400mm between centres


46/70

46

A conceptual drawing o the internal belry.


47/70

47

A way to look at what others have in a kinder way, indirectly, and in doing so, gaining a dierent perspective on the object o ou r envy.

The Claude glass was a type o dark convex mirror used by Picturesque painters such as Claude in order to help them create their paintings.The painter would set up the mirror and they would observe the scene purely through the darkened mirror. Their perception was distortedbut it was interpreted as an enhanced version o reality.

This version o the Claude glass allows both the bankers and the OccupyLondon to become aware o how perception aects envy, and howthe same observer will perceive the other side dierently i it is severely distorted. This perception creates an ephemeral new reality, butequally gives the observer an awareness o the distortion and o this new reality.

kindness humanitas satisaction, loyalty, compassion, integrityenvy invidia insatiable desire or something possessed by another[ ]3.5 Kind Envy: a giant Claude glass

The Claude glass inserted in the existing structure. Diagram section o the Claude glass

An 18th century Claude glass


48/70

48

In creating a modern Claude glass, a convexmold needs to be devised in order to createthe right amount o distortions.

In order to maintain our energy efciencytargets, close work with the glass manuac-turers will be required in order to achieve atriple-glazing.

The glass will have a high Solar Heat GainCoefcient (SHGC) with a actor o 1 in or-der to let in as much heat as possible duringthe winter months. As the sun rises higherin the sky during the summer, it does not hitthe glass as directly as it does in the winterand the impact o the heat gain is thus mini-mized.

The pattern and size o the claude glass pan-els ollow the rythmn o the remaining exist-ing acade. Whilst it is relatively simple inconstruction, the Claude glass adds a subtleand interesting change to the Crown Placeelevation.

The intention is to produce a concave surace much likethe plaster one above, but in triple-glazed glass.

3.5.1 The modern Claude glass

IPE steel section, 200x200mm, boltedto the new steel rame structure, tothe addtional vertical steel, and thewindow rame

Individually molded triple-glazed, highSHGC actor 1 (Solar Heat Gain Coefcient)glass panels

Thermally insulated window rame,bolted onto the steel section

IPE steel section, 250x250mm,bolted into the existing wall, andonto the new steel structure.

Portland stone panels to bebolted onto the steel rame

East-west section acing north, through the Claude Glass.


49/70

49

3.6 Generous Greed: a modern conessional [ ]charity caritas generosity, will, benevolence, sacricegreed avaratia excessive desire/pursuit o wealth, status, power

Fig. 47 Murmur Study #1, by Christopher Baker. This installation prints out Facebook and Twitter updates onto ticker tapesThe glass conessional hangs rom a beam and is tted with a simple terminal, and onto which various conessions are projected.

Paraphrasing T.S. Elliot, generous greed indicates how one can think they are doing good,but as they are doing it or the wrong reasons, it amounts to selsh charity. Bankers andother inuentials members o society eel that by conessing their innermost thoughts, theyare being generous with the rest o the population whilst greedily promoting themselves.

In this regards, the newspapers, Twitter and Facebook are a orm o modern conessional,open to the world or all to see. These attributes are translated architecturally by glassbubbles, constructed out o hand-made Murano glass, where one nds a very simple ter-minal, linked to a central computer. The conessions are then displayed onto a clear dis-play superimposed onto the outside o the glass o any one o the capsules in the hall.The greedy sel-propaganda intended by the author is thus thwarted.

Concept drawing


50/70

50

admits

...joh

yeara

ial

.

..moneyi

...Mar

The capsules slightly opaque appearancecomes rom a clear electronic display thatprojects the various tweet-like conessions.As the pods are all interlinked, the conessions

do not necessarily appear on the same podthat the user is in, and in addition, it is possibleto log in remotely and post through a smart-phone app.

The display is akin to an iPad, and all the con-nections are done wirelessly. The only wiringis or the power connections, and this meansa simple wire that ollows the support cable (inthe case o the pods that are not inhabitable)and through the oor support in the case othe pods where users can enter. The powercomes rom the photovoltaic cells on the roo.

An example o the input screen, akin to an iPad.

)))))))

) ))))))

)

))))))

)

)

))

))

)

3.6.1 Displaying the conessions

)

))))

))

)))))))

)))))))


51/70

51

3.7 Restrained Gluttony: the illusion o excess [ ]Temperance temperentia restraint, sel-control, justice, honour, abstentionGluttony gula over-indulgence, over-consumption

Rem Koolhaas said: "Minimum is the ultimate ornament, the contemporary baroque. Minimum is the maximum in drag."

Although the trompe loeil has been around or centuries, it came into orce during the Baroque - a sometimes cost-eective way to obtain exuberance and the illusion o grandeur. The optical illusions are oen painted, and though theeye is never convinced by a trompe loeil, they remain popular and appreciated or the skill required in their construction.

The contemporary trompe loeil can be minimum in architectural construction, however not in eort or skill required toaccomplish it successully.

In this case, the illusion is visible only rom the entrance on the ground oor: an Escher-like entanglement o staircases ap-pear to the visitor, however, a very simple and straightorward staircase lies behind the glass. The staircases are printedonto an adhesive clear surace and applied on the inside o the staircase glass wall, in order to enhance the illusion.

The Painted Hall at the Old Royal Naval College, Greenwichwas painted by James Thornhill. He was instructed to display theimportance o the Navy in Britain.

Gloweka Rennies installation in the womens toilets at theV&A Museum, 2009.


52/70

4.0 GA drawingsdemolition plans + proposed plans


53/70

53

4.1.1 South elevation demolition plan

Scale 1:100

demolition retained

Sun Street


54/70

54

Sun Street

Crown Place

Scale 1:100

4.1.2 East elevation demolition plan

demolition retained


55/70

55

4.1.3 North elevation demolition plan

demolition retained

internal courtyard

party wall with 5 Crown Place

Crown Place

Scale 1:100

4 4 B i i


56/70

56

4.1.4 Basement demolition plan

demolition retained

NScale 1:100

Sun Street

Crown Place

4 1 5 Ground foor demolition plan


57/70

57

4.1.5 Ground foor demolition plan

demolition retained

NScale 1:100

Sun Street

Crown Place

4.1.6 Typical upper foor demolition plan


58/70

58

demolition retained

(Floors 1-3)

Sun Street

NScale 1:100

Crown Place

4.1.7 Roo demolition plan


59/70

59

4.1.7 Roo demolition plan

demolition retained

NScale 1:100

Sun Street

Crown Place

4.1.8 Long section demolition plan


60/70

60

4.1.8 Long section demolition plan

demolition retained

Not to scale


61/70

61

4.2.1 Proposed ront elevation

Scale 1:100

Sun Street

ollies new structures


62/70

62

4.2.2 Proposed side elevation

Scale 1:100

Sun Street

Crown Place

ollies new structures

Crown Place

4 2 3 Proposed rear elevation


63/70

63

4.2.3 Proposed rear elevation

Scale 1:100 ollies new structures

The courtyard

4.2.4 Proposed basement plan


64/70

64

NolliesScale 1:100

Cone opening(Humble Pride olly)

All support columns and beams arenew steel columns which span theheight o the building.Columns are 500mm x500mm,I-Beams are 300mmx500mm

New staircase(and re escape)

New glass li

New staircase(and re escape)

4.2.5 Proposed ground level plan


65/70

65

N not to scale

disabled access ramp

new entrance

new glass li

new staircase(and re escape)

New courtyard on theground level

Part 1: structural changes

new staircase(and re escape)

new glass-curtain wallreplaces the ormer brick wall

new steel structure

4.2.6 Proposed ground level plan


66/70

66

Chaste Luxury(meditative space)

Generous Greed(modern conessional)

Patient Wrath(debating chamber)

Kind Envy(the Claude glass)

Humble Pride(internal belry cone)

Part 2: ollies

Diligent sloth(promenade architecturale)

Nolliesnot to scale

4.2.7 Proposed top level plan


67/70

67

The Ca

4.2.7 Proposed top level plan

Kind Envy(the Claude glass)

RestrainedGluttony(trompe-loeil)

Nolliesnot to scale

4.2.8 Proposed roo plan


68/70

68

p p

New cone o light that leads directly tothe basement. Toped with a domedlaminated double-glazed glass, andinclined to ace south.

Nolliesnot to scale

Flat trap door or roo access

Li engine room

Photovoltaic cells

4.2.9 Proposed long section


69/70

69

Internal belry shaped like a cone to maximizethe amount o light coming into the basement

section cut through the ramp

re escape stairs

new ground oor beams and lightweight oor

new oundations and piling to supportthe new steel structure

enclosed ca, accessed by the rampand staircase/li

modern conessional hung rom steel structure,accessed by the ramp

debating chamber, open to the rest o the hall

p g

olliesnot to scale


70/70

Reerences

1.1 The City v OccupyLondon

- http://www.telegraph.co.uk/nance/comment/jeremy-warner/6786069/Credit-rating-agencies-the-untouchable-kings-o-nance.html- http://www.le-aneur.co.uk/2011/we-are-the-99/

1.2.1 The site - location- Google Maps- Ordnance Survey map 2012, illustrated by the author

1.2.2 The site - urban context

- Google Maps- Ordnance Survey map 2012, illustrated by the author

1.2.3 The site - the streetscape

- Ordnance Survey map 2012 illustrated by the author- Front acade o the site by Bing Maps

1.2.5 The site - historical context

- Ordnance Survey Map 1875, Donald Insall Associates, Historic Buildings Baseline Study,

London, 2009, p. 36- London City Council - bomb damage map, 1939-1945, Donald Insall Associates, HistoricBuildings Baseline Study, London, 2009, p.41- Ordnance Survey Map 1948-1953, Donald Insall Associates, Historic Buildings BaselineStudy, London, 2009, p.42- Goads re insurance map 1958, Donald I nsall Associates, Historic Buildings Baseline Study,London, 2009, p.39

1.2.6 The site - conservation area

- Donald Insall Associates, Historic Buildings Baseline Study, London, 2009, p. 86

1.3 The wider context - access to the site

- Bicycling map, Transport or London, 2007- Public transportation map based on the Ordnance Survey Map 2012.

1.4 The City and the Occupy movement: a dialectical relationship- Reiser + Umemoto, Folly o the Mean in Atlas o Novel Tectonics, Princeton ArchitecturalPress, New York, 2006, p. 83

1.7 Follies: rom the 18th century country garden to the 21st century urban context

- Terunobu Fujimoris, Beetles House. 1:1 Architects Build Small Spaces, V &A Publishing,London, 2010.- Stourhead Park. www.ollies.org.uk/pd/Foll-e%2008.pd

3.1 Chaste Luxury- Novy Dvur Monastery. www.johnpawson.com

3.1.1 Meditative light patterns

- UN Studio, Youturn Pavilion, Sao Paulo Art Biennale, Brazil, 2010http://www.unstudio.com/projects/youturn-pavilion- UN Studio, Holiday Home at the ICA Philadelphia, USA, 2006.http://www.unstudio.com/projects/holiday-home-ica- Steven Holl - Written in Water, Lars Mller Publisher, Baden, 2002 (no page numbers)

3.2 Diligent Sloth

- Picture o a gastropod shell. Alan Powers, Nature in Design, Conrad Octopus Ltd,London,1999, p.56- http://www.andymalanowski.com/Favorites/Images/guggenheim%20museum3.jpg

3.3 Patient Wrath

- http://projectbritain.com/government/index.htm- http://www.petersommer.com/gallery/theatre-miletus-turkey-photo/

3.4 Humble Pride

Ceremonial opening o the Tokyo Stock Exchange.New York Stock Exchange opening bell photo.

3.5 Kind Envy

http://physics.kenyon.edu/EarlyApparatus/Optics/Claude_Lorrain_Mirror/Claude_Lor-rain_Mirror.html

3.5.1 The modern Claude glass

http://gigroups.com/images/index/Convex.jpg

3.6 Generous Greed

http://vimeo.com/4464887

Site Briefing+Technology FINAL

Documents

Transcript of Site Briefing+Technology FINAL