The Vulnerable Empire Part II

Design Realisation Report

Kaowen HoUnit 22

Contents

1.0 Context

1.1. Project Introduction1.2. Project Agenda1.3. Brief and Programme1.4. Users1.5 Planning Policy Context1.6 Proposal change of visibility1.7 Background History1.8 Site and Context1.9 Environmental Analysis1.10 Site Photographs1.11 Design Concepts1.12 Design Process

2.0 Building Form and Systems

2.1. First Floor Plan2.2. Third Floor Plan2.3. Long Section2.4 Section AA2.5 Section BB2.6 Section CC2.7 User Circulation 2.8 User Accessibility2.9. Fire Safety2.10 Mechanical, Electrical and Sanitary systems

3.0 Specialist Topic Construction

3.1. Building structures concept3.2. Structural Concept3.3. Building materials3.4. Life Expectancy of materials and environmental impact of construction

3.5. Foundation Analysis3.6. Screw Piles3.7. Cores and Concrete shear walls3.8. Master Control Room construction3.9. Studio Capsule Construction3.10. Aluminium Frame Construction

3.11. Capsule and MCR fabric3.12. Visitor Wall structure3.13 Walkway system3.14 Screen construction3.15 Digital LED screen construction3.16 Vehicle Display structure3.17 Construction process

4.0 Performance

4.1. Building envelope:Water ingress and intersti-tual condensation4.2. Roof structure4.3. Thermal Insulation4.4. Glass as a building envelope4.5. Water strategy4.6. Acoustic Strategy4.7. Energy Stategy4.8 Ventilation strategy4.9 Solar Gain and Natural Light

5.0 Building Delivery

5.1. Planning policy context and project develop-ment plan5.2. English Heritage5.3. Identifying the Client5.4. Role of the Client5.5. Procurement Strategy5.6. Funding Strategy and Benefactors5.7. Role of the Architect5.8. Role of the Consultants5.9. Role of the Main Contractor5.10 Risks and Difficulties

Section 6: Drawings Appendix (see attached A2 docu-ment)

Section 7: Bibliography

1.0 Context

1.1 Project Introduction

The Vulnerable Empire Part II

The project looks at the state of the Queens relationship with the media and modern per-ceptions of her Family within British society. The position that the Queen finds herself in these days is still one of considerable social power yet there has been a simultaneous trade-in with regards to her appearance and public status that has shown how vulnerable the Royals can be in modern society. As if having made a deal with the devil, she retains her status but as a result every move she makes is documented by the hordes of media working for tabloid papers across the country, every event she hosts garners huge atten-tion and speculation from not only domestic but international news agencies, the public demands from her a leadership role in times of disaster (Diana) yet fail to understand or accept her own private needs, every penny spent by the Royal household is publicly disclosed in order to quell republican anti-monarchist sentiments regarding her fortunes and class status, and finally, at the age of 85 she finds herself in the unfortunate posi-tion of having to work every single day of her life without rest, even on Christmas day.

The Queens relationship with the media is symbiotic. They garner her for front page sales and her fame and popularity is maintained by the image they choose to portray of her. Either may not be able to exist so fervently without the other. Taking all of this into account, the project is both a reflection of the royals media rela-tionship and an allegory to the exhibitionist lifestyle that her and her family have had to adopt and carry with them in a continued and somewhat laboured service of their country.

Princess Dianas death was largely blamed on the media for their excessive harassment.

1.2 Project Agenda

You have mosquitoes, I have the media. - Prince Philip, Duke of Edinburgh

The issue that the project addresses is the amusing fascination people have with the royal family. The role that has been pushed onto HRM and her constitutional role to serve her country is both a testament to peoples desire for idols and a need for figureheads on which they embellish ideas of patriotism and national identity. For me it is a complete mystery yet it is fascinat-ingly exuberant and tacky in many of the outcomes. Scenes of people crying and in complete ecstasy over the marriage of Will and Kate, outpouring of anger at why the Queen didnt return from Balmoral following Dianas death, the amount of tack, paraphernalia and junk that appears with every single royal event, the idolisation (even deification?) of royals in contempo-rary society and most importantly, the assumed embodiment of patriotism and nationalism that people invest in the royals (the pride of the British empire that, it seems, people are unwilling to acknowledge has long become a thing of the past.)

With this in mind, my project sets out with the following goals:

- To emphasise the symbiotic (at times strained) relationship between HRM and the press.

- To address the act of viewing and observing the Queens carefully choreographed royal schedule

- To feed the continual fascination with the Royal Family and augment the aura of mystery and intrigue of the private spaces behind the wall encircling Buckingham Palace.

- To allow the public to gain a feeling of supposed entry into the Queens private space. The experience of voyeurism in provid-ing a continued interest and speculation on the events behind the curtains of HRMs palace.

1.3 Brief and Programme

Her Royal Majestys Motor Depot, Royal Correspondents Media and Visitor Centre.An investigation into the media fascination of the Royal Family, delineation of public and private boundaries as epitomised by the wall and security methods.

1. Boundaries, Thresholds and Territories2. Security3. Voyeurism, Views

Located on the wall of Buckingham Palace, the project is principally about boundaries and thresholds. It is about the shifting territories of media vs. private royal spaces, with the public as the tertiary member. The proposal redefines the route of the cur-rent encircling Buckingham Palace Wall into a series of building strips accomodating the media, the public and HRMs prized state vehicles that merge between each other, creating moments of intrigue between the respective parties.

The project also represents the filtered, or even bastardised semblance of royalty that people believe they are witnessing via the media and how that has become the new wall both encaging or restricting the Queen and at the same time protecting her from total transparency.

The tearing down of the old wall and the invasion into the Queens gardens by the media and the public can metaphorically be seen as an act for disassembling the class barrier but in a mocking way, gestures towards the idea of treating the royal family as an entity or performance act for our amusements.

It is also about voyeurism, of peeking unsuspected into a private space, all the while unbeknownst to the subject. Voyeurism requires a sense of camouflage or hidden agenda where pleasure is derived from knowing that ones presence is unknown. This relationship to the media attention received by the Royal Family transforms the architectural programme into a continu-ous performance where physical barriers of the Queens private space are broken down, and her own image becoming both transparent and the focus of the public via the media.

Furthermore, the Queens transportation, a common highlight of the medias attention, is vividly put on show. The vehicles and their continual refurbishment/replacement and updating means that they are not only another medium through which people perceive the Queen, but act as a representation of how the Queen is progressively modernising/evolving her transportation with environmental and economic concerns.

Programme Quantity Dimensions / Aprrox. area (m2) Description

HRM Vehicle Display - Vehicle Cabs 8 Storing and maintaining HRMs Rolls Royce

and state cars - RR Phantom IV 1 6 x 2 x 1.8 - RR Phantom VI 1 6 x 2 x 1.8 - Bentley State Limousine 3 6.2 x 2 x 1.8 - Bentley Daimler 3 5.8 x 1.9 x 1.6 - Exhibition Coach Cabs 8 Displaying and maintaining HRMs Ceremonial

Coaches - Golden State Coach 1 7.3 x 3 x 3.7 - State Coach Britannia 1 5.5 x 2.2 x 3.4 - Irish State Coach 1 6 x 2 x 3 - Scottish State Coach 1 5 x 2 x 2.8 - Australian State Coach 1 5 x 2 x 2.4 - Queen Alexandra Coach 1 3.8 x 2 x 2.1 - Edward VII Town Coach 1 4.2 x 2 x 2.1 - Glass Coach 1 3.8 x 2 x 2.1 - Maintenance Bay 2 6.5 x 4 (26) - Mechanics common area 1 7 x 4 (28) - BOH machinery 1 8 x 7 (56) - Washroom 2 1.6 x 1 (1.6)Royal Correspondents Media Centre A space for various UKs newspaper agencies

and their royal correspondents to keep track and document the lives of HRM The Queen and the Royal Family members

- Television studio capsules 4 9 x 8 (72) - Dressing/Make-up Rooms 4-6 4 x 5 (20) - Camera equipment storeroom 2 2 x 3 (6) - Production Control Room 4 22 x 8 (176) - Master-control room 1 3 - Reception / Green room 1 40 - Radio Studios 6 - Broadcasting room 1Visitor Centre and Viewing Wall A tourist/visitor path through the media centre

giving the chance to experience behind-the-scene views of the medias preparation in documenting and filming the Queen. Also in-cludes a sloped lawn for watching live updates and media information regarding the Queens activities.

- Picnic Area 1 - - Tea Room / Cafeteria 1 26 x 9 - Restrooms 3 - Lobby and Reception 1

1.4 Users

The three main parties that the building addresses are:

1. The Queen2. The Media3. The Public

Their relationship is the driving concept of the building design. Moreover, it is the shifting dependance on one another that is of interest to the project. The symbiotic relationship with the media is a powerful too for projecting the image of the Monarchy to the public, which in turn feeds national identity, one of my key initial agendas.

I must be seen to be believed. - Queen Elizabeth II

1.5 Planning Policy Context: Preserving Views of Buckingham Palace

Before any proposition is made with regards to building close to Buckingham Palace, care must be taken not to block any pro-tected views that are of importance under the Revised Supplementary Planning Guidanc; London View Management Frame-work document.

Presented here are extracts from Section 7 Management Plans: Linear Views of the London Plan concerning Buckingham Pal-ace. As one can see, despite not blocking or depreciating the visual integrity down The Mall towards the Aston Webb screen, there are no other visual planning restrictions that concern the Northern wing of the Palace directly next to Constitution Hill Road.

July 2010

Revised Supplementary Planning GuidanceLondon View Management Framework

The London Plan (Spatial Development Strategy for Greater London)

72 London View Management Framework Management Plans: Linear Views

7 Linear View: The Mall to Buckingham Palace

148 The Mall is Londons principal ceremonial route used by royal processions on many state occasions. It was originally laid out for Charles II in the 1660s, forming part of the landscape design for St Jamess Park, was formalised by John Nash in 1827 and had signicant enhancements made in the early 1900s.

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Panorama from Assessment Point 7A.1 The Mall: at Admiralty Arch axial view

Viewing Location 7A The Mall: at Admiralty Arch

N.B for key to symbols refer to image 1

76 London View Management Framework 7 Linear View: The Mall to Buckingham Palace

Landmarks include:Buckingham Palace (I)

Also in the view:Queen Victoria Memorial (I)

( ) Grade of Listed Building

Description of the Views149 The Viewing Location on The Mall is immediately south-

west of the central arch of Admiralty Arch. The symmetry of the view to Buckingham Palace demands that this position be used for Assessment Point 7A.1.

150 The foreground is a large expanse of red tarmac with the fortied Citadel of the Admiralty building beyond, on the south side. The avenue of trees forms a deep middle ground, and leads the eye to the Victoria Memorial and Buckingham Palace. Flagpoles seasonally contribute to the perspective of the view.

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Visual Management GuidanceForeground and Middle Ground

151 The view towards Buckingham Palace would be diminished by any intrusion above the foreground landscaping. Management of the front and middle ground should be considered in conjunction with the management of trees on The Mall.

Background152 Buckingham Palace is the London residence of the Monarch. Its dominance

in the view emphasises its status. For this reason, it would be inappropriate for any development in the background to become visible above the palace.

Management of the Viewing Location 153 This view is experienced from the centre of The Mall, the axial position

having been chosen for its symmetry. It is not expected that the place can be managed like other Viewing Locations that are more easily accessible to public. The Assessment Point should remain accessible, however, to those required to assess development falling in the foreground, middle ground or background of Buckingham Palace.

View from Assessment Point 7A.1 The Mall: at Admiralty Arch axial view (On traffic island outside central arch). 529964.3E 180301.8N. Camera height 9.20m AOD. Aiming at Buckingham Palace (Central axis of the East Front). Bearing 235.2, distance 1.1km.

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1.6 Proposed change of visibility on site

The change in visibility of Buckingham Palace may be a difficult issue to push through the planning process. Due to the actual land ownership of the site being under the State Constitutional Monarchy (the Sovereign) and not the Queen herself, consulta-tion must be held with a range of departments concerning the appropriateness of the proposal:

- The Crown Estates- English Heritage (regulatory body for changes made to the Grade 1 Listed building and its future status)- Governments Commons Select Committee (who fund changes made to Buckingham Palace Estate)- Westminster City Council

Views before proposal Projected views following proposal

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Controlled views into the gardens

North facade open to controlled views

New line of the Wall

1.7 Background History

1215 - Present day

One of the most interesting and unique pieces of history that underpins the British Royal Family is that the condition they find themselves today has been the result of the gradual evolution of many centuries of power shifts that have taken place between the ruling government and the now purely constitutional role of the Monarchy.

The process of change started with the Magna Carta in 1215 which saw the first enactment of any type of restrictions placed upon the Monarch. For King John at the time, the restriction was imposed so that he could not raise taxes without first consulting a great council beforehand, thus sowing the first seeds for a Parliament to be formed and relieving the King of an absolute control over the law of the land.

Since this first advocation of a public voice through the form of Parliament, the Monarchy has gradually (and possibly unwillingly) seceded more and more of its power. It seems that any attempt to go back on this shift of power, as in the case of Charles I in 1640 who, under his reign, started the English Civil War between Monarchy and Parliament only results in an unfortunate end for the former (King Charles was beheaded by Oliver Cromwell following a humiliating defeat).

However it wasnt until 1689 when Parliament, determined to never again allow such an uprising to occur, passed the Bill of Rights. Surviving to this day, it meant that the Monarchy could not pass any law whatsoever again without consent of the Parliament. This is perhaps the most decisive moment in the downfall of the British Monarchy as it can be assumed that from then on, the role of the Royals became truly constitutional.

This law, along with the Act of Settlement in 1701 that excluded any immediate Catholic members of the Royal Family from attaining the Monarchy has led to the current state of affairs we find ourselves in today.

The Royal Family of the 21st Century differs very little in role and activity in the last 300 years. With Par-liament having relieved them of any real political power, the role of the Monarchy is, for most of the time, presented at face value. They represent the image of Britain. Spearheaded by Queen Elizabeth II, the organi-sation of the Royal Family travel the world to spread the word and image of British culture and in turn are perportedly educated on the affairs happening both domestically and abroad. It has become rather like a trav-elling show, a series of performances and scripted setpieces masterfully crafted annd executed with perfection after (in 2012) 60 years of constant live rehearsals.

This has inevitably led them directly into the paths of the media, more specifically the press; and the tumultu-ous history of this relationship has become the focus, inspiration and metaphor for this project.

1.8 Site and Context

What happens on the other side of a wall is always an intriguing question and when the wall is in the middle of London and encloses the garden of Buckingham Palace, it is positively tantalising. - Prince Philip, Duke of Edinburgh

Buckingham Palace North Wall

The North Wall is the closest segment of the wall to Buckingham Palace proper. It is interestingly also the same wing that holds the Queens private residences, including members of her family. Whilst the palaces state rooms and other key performance areas are available for public visits and tours, HRMs private quarters are strictly off limits, and with good reason.

As much as tourists and the media acknowledge the importance of being able to see the interior of the palace in order to gain an understanding of the British Monarchy, a more coveted experience would be to actually witness the Queen in action or in her most natural state.

These two conflicting attitudes of privacy against public attraction is the main reason that the North Wall is the most appropriate site for my intervention.

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Constitution Hill RoadThe Mall

Buckingham Palace Gardens

The Quandrangle

Queen Victoria Memorial

Green Park

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Site Plan

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1.8.1 Site Plan and Section

Prince Philips Bedroom

Prince Philips Writing Room

Pages Vestibule

The Queens Bedroom

The Queens Dressing Room

The Queens Audience Room

The Queens Dining Room

Gift RoomThe Queens Study

The Kings Stairs (exit to Gardens)

Prince Philips Dressing Room

Prince Philips Music Room

Prince Edwards Bedroom

The Nursery Prince Edwards Living Room

The Queens Wardrobe

Macdonalds Suite

Prince Edwards Bathoom

1.8.2 Site Analysis

North Elevation: Location of private residences

The North wing of Buckingham Palace is possibly the most private yet exposed part of the palace. At its closest point, this face of Buckingham Palace lies just over 50m from the wall and therefore the public, yet it is where the Queen, Prince Philip, Prince Edward and guests of honour to the palace are housed. It is also the leat photographed wing of the palace and therefore is a perfect site location with regards to my agenda and building programme.

1.8.3 User Views Diagram

It is very important to begin by analysing the potential views gained or lost by each party on the site.

By locating key views into the windows along the facade of the North wing, sight lines can be made in order to determine where there is naturally the greatest transparency into the interior of the palace, and in contrast, where one can be directly observed by the Queen.

The following studies are directly inspired by the movie Rear Window by Alfred Hitchcock where the facade of a building becomes a screen on which a narrative is played out through a series of voyeuristic moments captured by an unseen observer,.

Similarly, I imagine the facade of the North Wing as a three dimensional screen where the action of the narrative moves out from the facade and is projected through the intervention of the media for the viewing delights of the unseen observer, in this case, the public.

The Queens views outComposition of public and private views into the site

Model of the set from Rear Window The facade as a narrative screen - Rear Window

The publics view in

1.8.4 Studies of voyeuristic moments within pal-ace interior

The following study is initially conducted using archive photographs courtesy of English Heritage of the interi-ors of the Queens residence inside Buckingham Palace. Through these photographs, a series of interior plans can be approximately deduced and a narrative of the Queens movements formed.

The low level of accuracy is obvious, yet it is precisely this that yeilds the greatest intrigue as to whether a view of the Queen can actually be made, and if a moment in the narrative of her daily schedule can be captured.

The Queens Suite

The Queens Audience Room

The Queens Study

The Queens Dressing Room

The Queens Bedroom

Prince Philips Suite

Prince Philips Writing Suite

Prince Philips Bedroom/Dressing Room

Prince Philips Music Room

1.8.4 Studies of voyeuristic moments within pal-ace interior

The same procedure is repeated for Prince Philips quar-ters, who shares many of the rooms and spaces with the Queen.

According to the layout of the interior rooms (whose ar-rangement has been assumed from the archival photo-graphs) and the location of the windows looking out into the garden, a series of sight lines looking into the rooms can be delineated. The objective is to allow, within a min-ute window of opportunity, the chance to see a framed view of either the Queen or Prince Philip in a specific ac-tion or position that reflects who they are and what roles they play; An example being the precise moment Prince Philip or the Queen receives guests in their Music Room.

Air Pollution

Alongside noise pollution, air quality along the site is not good either, though it has significanly dropped since 2003 according to the research shown here conducted by London Air Group.

1.9 Environmental Analysis

Noise Pollution

The following study is taken from DEFRAs noise analysis model for Greater London. Noise pol-lution and prevention is an important part of the design for two reasons:

1. To protect the Queen from disturbance

2. To provide a quiet setting for the filming and documentation the Queen.

As one can see, the site is located close to Consitution Hill Road which is a major source of noise pollution. The 65 - 80 dB range of noise pollution that the site suffers must be taken into account and reduced in order to provide (as a benchmark) the 20dB maximum level of noise for an aver-age television studio

1 http://www.londonair.org.uk/london/asp/virtualmaps.asp?view=mapshttp://services.defra.gov.uk/wps/portal/noise

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Summer solstice sunrise: 04.43

Summer solstice sunrise: 21.22

Winter solstice sunrise: 08.04

Winter solstice sunset: 15.53

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1.9 Environmental Analysis

Daylight study

The site will be predominantly shadowed by the wing of Buckingham Palace to the south.

This creates a good shadowed environment for filming as there will be little backlighting but is relatively poor for direct lighting. The disadvantage is also that the public space planned for the north of the site will not receive much sunlight, especially as there is also significant tree coverage on the site too.

This must be taken into account when designing the public picnic and park space in order that they benefit from the greatest sunlight exposure when enjoying their leisurely park time.

Shadows cast on the site during midday summer

Shadows cast on the site during midday winter

Shadows cast on the site during midday winter

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1.10 Site Photographs

As explained earlier, it is very difficult to find photographs for the site as it is home to the Queen, her family and her guests. The folloiwng is an assortment of photographs garnered from my own personal trips, the internet and books on Buckingham Palace.

Buckingham Palace Perimeter wall

Panoramic view from Northern edge of Buckingham Palace. Note the high intensity security wall stretching to the right.

View of the North West lawn and a portion of the facade Garden Follies. The gardens have acquired various gifts and ornaments that stretch back the duration of the Pal-ace being used as a royal residence. The pieces themselves thus represent the changing attitudes reflected on and by the royals on an international scope.

Aerial overview of the siteThe gardens offer an almost exclusive private micro habi-tat for various exotic forms of flower and fauna. Due to the unspoilt nature and privacy of the gardens, it is the largest and most diverse park in the Central London area, yet is completely invisible to the public.

SiteNorth West facade that is to be the new screen for the performance of the royal rituals.

1.11 Design concepts

The following sketches explore the idea of dissloving the idea of the wall into a series of overlapping screens that gradually blur the boundary between public and private spaces, moreover, between the Queen, the media and the public.

Visibility is another key design issue and is directly linked eith the heirarchy of viewing that the building negotiates. Whoe has the better view of the Queen and in what order? The traditional order of territories (Queen -> Media -> Public) could be subverted in moments of the building so that each individual user acquires their own unique perspective.

1.12 Design Process

The following experimental models maps the circulation and movement of the public, media and the Queen across the site. Modeled as a series of vertical and horizontal wireframe planes, they explore the previous sketches concerning screens, boundaries and territories as an overlapping series of platforms and vertical walls that dissolve and fan out from public to private domains.

1.12 Previous Design Models and concepts

The following are a collection of models and drawings documenting the change in the design of the building, all exploring different evolutions of the above conept.

This iteration looks at the site as a series of three theatrical sets which enclose a central public space. There is a horse performance stage, a stage whereby the queen exits Buckingham Palace and a third vehicle stage where the royal vehicles are maintained.

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1.12 Further Design Models and concepts

The following scheme is another iteration around the similar idea of screens and pavilions/sstages of interest set within an artificla landscape that is delineated from the real gardens of Buckingham palace.

[Academic use only]

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2.0 Building Form and Systems

01.Studio Capsules02. Production Control Rooms (PCR)03. Visitors Viewing Wall04. Master Control Room (MCR)05.Vehicle Display gantry system

The concept of the building is derived from the idea of layers of boundaries and territorial spaces that exist when viewing or perceiving the Queen. By taking the boundaries of which members of society are allowed close or remain far away from HRM, and weaving them together, the outcome is a less clearly delineated hierar-chy of people who are privelaged enough to be able to glance into the private life of the Royal Family.

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Studio Capsules

The role of the Studio capsules is to capture live footage of members of the Royal family as they leave or enter Buckingham Palace through their private North entrance. More-over, it is to act as a location from which royal correspondants are able to report daily royal updates with a privelaged view over Bucking-ham Palace gardens as their backdrop.

Public Wall

The public wall is a visitor accessible void that stretches between the PCR and MCR allowing the public to traverse the entire interior of the media centre and in effect, gain a behind the scenes vantage into the live premises of HRM Palace.

Media Centre - Production Control Room

The PCR is where the TV director normally directs the actions of the reporters. It is also the room from which sound levels, raw footage and the manual re-cording of video into a digital format is performed. Both the PCR and Studio capsule requires a low noise level environment.

Media Centre - Master Control Rooms

The MCR is where the final broadcasted footage and images are distributed to the public. Noise interference is not a big deal here and in fact the atmosphere is one of liveliness and action as di-rection for the switching between cameras as well as final sound editing is conducted here.

Vehicle Display

The Vehicle Display is a constantly shifting and reor-ganising steel structure that hangs on display the work-ing and exhibition vehicles used by the Royal Family. Individual vehicle cabs modelled after container crates are hoisted into storage positions high on the truss struc-ture and drop down to be worked on in workshops on the factory floor below.

[Academic use only]

2.1 Level 1 GA Plan

[Academic use only]

2.2 Level 3 GA Plan

Long Section 1:250 @ A2

1. Production Control Room2. Production Control Room Access Core3. Production Control Room Entrance4. Master Control Room Entrance5. Polyurethan coated fabric skin of MCR6. Visitor route7. Visitor access stair to upper viewing platforms8. Media screen cranes9. Vehicle display unit10. Vehicle hanging gantry for moving crane11. Visitor centre and viewing corridor for vehicle maintenance area and vehicle displays12. Media Screen13. Ramp to Visitor entrance14. Vehicle Display unit steel superstructure.

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2.3 Long Section

2.4 Short Section AA

2.5 Short Section BB

2.6 Short Section CC

2.7 User Circulation Diagrams

Circulation through the building is important for blurring the boundaries of what is public, the media or private royal territories.

Firstly, public circulation will be an extension of the pavement already existing running alongside Buckingham Palace Wall.

The public will have the chance to access behind the media screen at certain points directly facing the facade of the north wing, creating interesting moments where the public may get a better view than the media or vice versa.

The focus of all these circualtion points is directly opposite the pick up or drop off location of the Queen. This sensitive location where the Queen is at her most vulnerable (neither in her car no in the palace) is where all the circulation overlap or come together.

User territories Media spaces Public access and spaces Royal spaces

Main circulation strategy

Convergence of all three territories

Public circulationRoyal members circulationMedia circulation

Media spaces Royal land

Royal spaces Public spaces

Public land

2.7 User Circulation Diagrams

The following diagrams show the circulation of the various people who use the building.

2.8 User Accessability

According to Part M of Building Regulations, as the building is predominantly used by the public, all available areas of access for visitors also need to comply with disabled access standards in order not to discriminate on the basis of disabilities. The following cat-egories were considered when analysing accessibility regulations:

Approach

The intention is to provide an easy means of access for visitors into the buildin whilst at the same time, maintaining a level of mystery and intrigue as to which direction to take. The approach into the main visitor Wall is via a series of ramps on the ground floor ap-proaching the Wall at either ends. All ramps and circulation platforms must comply with section M2 from Part M Building Regulations stating that the widths of corridors and passageways should be wide enough to allow for buggies and wheelchairs.

Stairs and Vertical access

After approaching into the building via the ramps, the internal vertical circulation for the visitors is either via a series of steel gantry stairways or for disabled people, a small lift constructed against the steel superstructure. There are two of these located at either ends of the Wall in order for access to all levels of viewing platforms. As for the media staff, they access the building through the same ap-proach but take a seperate series of staircases located between the concrete shear walls to their respective studios. Walkways also lead from these levels into the MCR. As for the studio capsule, these may only be accessed when the capsules are lowered down to ground level. The point of entry is from the ground floor underneath the PCR.

Sanitary accomodation

In order to comply with sanitary standards for disabled visitors, the ground floor of the visitor Wall will have access to a disabled WC located within the PCR circulation core. This is detailed below and must be suited to maximum dimensions of a wheelchair as well as all other provisions as detailed in M3 of the Part M document.

Public Wall circulation

The public are able to walk along the whole perimeter of their boundary on the ground floor before climbing a series of steel gantry stairs to viewing platforms within the steel structural lattice

Media staff circulation

The media staff access both the PCR and MCR using the two main concrete core shaft and along corridors running the length of the building

Vehicle Display maintenance staff circulation

The Vehicle maintenance staff access the maintenance workshop along the western edge of the building via a ramped access. Their movements are almost directly alongside that of the public, allowing the latter to gain an insight into the maintenance and preparation of the vehicles.

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1.5m width wheelchair accessible WC

Platform width minimum width of 1.4m for two way circulation

Lift dimensions to comply with Part M Building Regulations

Angled ramp access no more than 1 in 12

degrees.

2.9 Fire Safety

The building fire strategy takes into account measures preventing both internal and external fire spread. As the building is developed for public use and has multiple occupancy, fire strategies will have to comply with Building Regulations Part B, Volume 2 Buildings other than Dwellinghouse.

Means of Warning and Detection

The building will be provided with a suitable electronically operated fire warning system with additional manual call points located adjacent to exit doors. These are in turn connected to sounders (bells) or a PA system to ensure that all members throughout the building are aware of the situation. The electronically oper-ated fire warning system should comply with all categories given under the BS 5839-1:2002 Fire detection and alarm systems for buildings as found in the Part B Building Regulations document. In addition to this, as the building will have a large amount of people visiting or working in it, the need for a discrete staff alarm system may be considered (BS 5839-1) and staff adequately trained in pre-planned evacuation procedures.

Vertical Escape

There are four main escape cores located throughout the length of the building which give relief to both the public and media workers. Two cores either end of the building evacuate the public from the Wall whilst the two central cores evacuate the media teams from both the PCR and MCR. There are also fire resistant lobbies which seperate the cores from the rest of the building as well as automated fire doors that compartmentalise the building to stop fire spread.

Horizontal Escape

As this is a multi-storey mixed use building, there exists the need for both seperated means of escape as well as multiple alternative routes of escape . Therefore due to the fact that the building is relatively long compared to its width, there are 2 escape cores serving both ends of the building, thereby increasing the escape distance allowance according to Part B Building Regulations. Horizontal escape for the public will be along the steel gantry walkways. The steel is coated with fire retardant intumescent paint in order to comply with building regulations and must be tested to reach the maximum 1 hour evacuation time. All routes are to be clearly signed adequately lit to ensure efficient evacuation.

Escape Distances

Escape distances must comply with regulations as stated in Part B of the Building Regulations. the 18/ 45m. required escape distance (A maximum escape distance of 18m is allowed when there is only one escape core accessible, and 45m for when there are two escape cores available. As the diagram shows on the right, all areas of the building are covered under these regulations. It is important to also acknowledge that there will be a large number of people who use the building and the right amount of exits designed to take the evacua-tion procedure. It is expected that there will be between 60-600 people using the building at any given time therefore the minimum number of escape routes and exits is 2 as given in section 3.8 of the Part B, Volume 2 document.

Smoke ventilation

Smoke control is incredibly important when designing for fire safety. Smoke and fire doors which automati-cally close and stop the spread of fire and smoke from one space to the next will be installed in the stairwells . These doors will be in compliance with Building Standards EN 13501-2:2003. In addition, natural ventilation of the smoke is important and can be accomplished by installing operable smoke outlets in the roof of the main visitor Wall. As this space is essentially a hollow void, it can be used as the main smoke outlet. By way of the natural stack effect, it can relieve all levels of the building of smoke.

Fire overview strategy

Designated evacuation point

Designated evacuation point

Media Staff escape routePublic escape route

Level 1 and Ground Floor compos-ite fire rescue strategy

Level 3 Fire escape strategy plan

Designated evacuation point

Fire fighting staircase / Escape core

Shortest escape route

Rescure services route

Closest approach perimeter of fire engines

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Central automated water pump for sprinkler system

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Relative Risk and Compartmentalisation diagram

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Concrete fire escape and firefighting cores

Exposed steel structure requiring intumescent paint coating

Glass foam fire resistant insulation Spray on intumescent paint Centralised fire alarm system Automated firelock doors

2.9 Fire Safety

Fire Regulations General Provisions

According to B1 Section 5 of Building Regulations Part B Vol. 2 document, all elements of the building will need to comply with certain fire standards and fire ratings. These are listed below and must be acknowledged within both the material and structural design of the building:- Where there are glazed elements, these cannot form part of the enclosure that make up the protected cire shaft due to their relative weakness and fire protection integrity.- All doors fitted with simply operated fastenings so they can be operated from the side approached by people making an escape. - Stairwells for the public are in the form of a steel gantry that is to be coated with intumescent paint in order that they are fire proof for an extended period of time. Due to the further distance needed to escape from the building, the media staff stairwells are located within a concrete fire proofed shaft .- The ramps located within the section of the visitors centre at the Vehicle Display end of the building will need to comply with Document M Access and Use of the Building - Protection of power circuits is also important to ensure that the automated electronic fire warning system remains active in the event of fire.- The design of mechanical ventilation and air conditioning systems must be done so as to NOT spread the fire from one space to another eithe via ductwork or any other means. Therefore, in relation to smoke ventilation, seperate ductwork and exhaust points for fire should be designed seperately from other mechanical and fresh air ventilation systems.

Compartmentalisation and Sprinkler systems

Due to single loading of the corridor spaces throughout the majority of the public wall, the entire wall space will be fitted with an automated sprinkler system activated by the buildings central active fire management system. The building is zoned as a series of fire compartments in relation to the risk of fire in each compart-ment. With the studio and PCR areas being at risk from high intensity filament lights and other electrical equipment, their escape via the concrete cores are fitted with fire doors and automated smoke shutters.

Fire proofing of Steel lattice

The main public Wall is essentially an exposed steel lattice with a glazed skin that fits between the MCR and PCR. As a result of the exposed steel structure, it is essential that a coating of fire resistant paint is applied to all areas. The steel truss system of the Vehicle Display is another example of an exposed area of the building requiring fire resistant paint. Both sections of the building will strive for a fire rating of 60 minutes in compli-ance to Part B Building Regulations.

Fire proofing of MCR and Studios

The MCR and Studio capsules have extensive amounts of fireproofing in them as they are potentially the most susceptible to fire. The fabric that forms the skin of the capsules and the MCR is relatively poor for fire protection and so there is a much thicker 180mm layering of fire insulating foam underneath that protects the internal GRP lining. Like the exposed steel, aluminium is susceptible to fire and in fact will spread fire far quicker than steel. Therefore, it too needs to be coated heavily with intumescent paint in order for it to retain the 1 hour fire rating. Furthermore, the internal GRP layer must comply to European class c-32 standards for interior linings.

2.10 Mechanical, Electrical and Sanitary Systems

The need for a large amount of electrical equipment and back up machinary in the MCR, PCR and Studio capsules means that electrical systems are of great importance when designing the building. Likewise, mechanical and sanitary systems must comply with Parts F/J and G of Building regula-tions respectively in order that they perform according to standard.

Plant rooms

The plant rooms for the building exist on the ground floor beneath the PCR. This means that they are relatively in a centralised position down the axis of the building and can therefore efficiently provide service to both sides of the building. Moreover, as they are located on the ground floor, they are easily accessed and maintained. However, due to their proximity to the live studios, extensive sound insulation must be present to minimise disturbance to the recording spaces.

Electrical strategy

The building is designed with regards to layers of media data transfer. In essence, the studio must be electronically connected to the PCR which in turns needs to be connected to the MCR. However, where there needs to be visual contact between the capsules and PCR, the MCR must be kept seper-ate from the rest as it contains most of the noisy machinary that is totally unwanted in the other live recording areas. In order to bridge the gap between the PCR and MCR that is inhabited by the pub-lic, all wiring and electronic transfer ductwork will pass down the concrete cores of the PCR, along the composite steel and concrete deck of the building and up into the MCR.

Mechanical systems

Servicing of the building will be problematic in terms of noise pollution. As the plant rooms are lo-cated so close to the live recording studios, the heavier the noise insulation the better. Air ductwork, made from galvanised steel sheets will run between the floor slab and dropped ceiling of the PCR and MCR as well as the studio capsules.

Sanitary systems

Sanitary systems exist in the form of sanitation risers running the height of the building and enclosed within the concrete cores of the PCR. All WCs are located on top of one another to ensure efficient pipework for disposal of sanitary waste.

Maintenance workshop and Heavy machinary

The addition of the Vehicle Display Units proposes a challenge for the design in terms of levels of disturbance that such heavy machinary create, as well as the mechanical systems required to main-tain an adequate climate for storage of the vehicles as well as for those members of the Royal house-hold who maintain them. As with the mechanical and electrical systems throughout the rest of the building, the ductwork for all air ventilation pipes (used for air conditioning the Display Unit cabs) and electrical wire are embedded within the stell gantry structure intself and run towards the me-chanical suspension arm. The hanger arm acts as a M&E socket onto which the cab is plugged into when it needs to be suspended, and thereby connecting it to the air ventilation and electrical systems.

Mechanical ductwork outlet

Main ventilation duct for public Wall

Larger wattage needed for monitors and video recording equipment

High wattage sudio lights

Lower voltage for computer systems

High power rating used for LED screens

Lower voltage for computer systems

Electrical system socket

Electricity wiring

Larger mechanical duct and pipework

Vehicle Cab disconnected whilst loading/unloading

Electrical systems (blue) turned on upon raising/lowering

Mechanical air ventilation systems activated when in Storage position

3.1 Building structures concept

Floors

The structural steel lattice frame of the main visitor building is comprised of floorplates construct-ed as an open web steel joist frame. This keeps the floorplates relatively lightweight. Moreover, the construction process is much faster than pre-cast concrete floorplates which means less distur-bance on site to the Queen. As a back-of-house space, the aesthetic of industrial like walkways is also a positive characteristic. The floorplates of both the capsules and MCR are prefabricated during construction of the aluminium semi-monocoque forms and finally, the PCR floorplates are constructed as a composite steel and concrete deck supported off the concrete core shear walls.

Walls

The main structural backbone of the building comes from the steel structural lattice and concrete shear walls. The lattice wall acts in tension to support the cantilevering capsules as well as n compression, with the help of the concrete core walls. The Similarly metal stud wall framing is used as the main vertical element. The benefit of a steel lattice frame is that it may be used as load bearing or non load bearing infill panels within a steel or concrete structural frame. Furthermore, this system is normally used in conjuncture with the intended lightgage metal floor and roof sys-tems.

Steel Gantry structure

The principle structural strategy for supporting the dead load of the studio capsules is highlighted in the section below. By using pre stressed tensile screw piles and embedding them deep into the alluvium, the entire structure acts as a vertical cantilever whereby the steel superstructure between the visitor Wall and PCR is in constant tension whilst the structural rails on which the capsules move are in compression. This results in the use of compression piles and a large concrete footing beneath the earth. It must be noted also that the concrete shear wall (dotted) provides additional compressive and tensile load bearing qualities due to its tapered form, further strengthening the structural capabilities of hanging off the aluminium and fabric capsules.

3.0 Building Structure and Materials

Vertical loads exerted on steel lattice columns

Horizontal shear forces taken by concrete shear walls

Cantilevering dead load from studio capsule

Longitudinal forces exerted on the steel lattice resisted by cross bracing elements

10.2m 8.7m

As the studio capsule moves vertically along the facade, it exerts a continuously changing set of forces on the rest of the building structure. As the capsule is cantilevering off the building, there will also be a difference in the shear and moment forces exerted on the bracing armature that the capsule hangs from that is equivalent to whether there is a point load or a distributed load inside the capsule (for ease, we will use assume a distributed load).The dead load from the cantilevered capsule is transferred into the rest of the building structure which must be of a greater dimension than the cantilever distance. At the same time, the Master Control Room (MCR) is also slightly cantilvered off the central steel structure and, almost like a see-saw, slightly balancing out the moment exterted on the structure from the capsule.

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01. Live studio02. Media centre staff stair access03. Production Control Room (PCR)04. Public inhabited wall void05. Master Control room (MCR)

01. Red elements indicate compressive forces occurring during loading of the capsuleBlue elements indicate tension forces as the structure stretches to hang the capsule

The central gap seperating the PCR from the MCR, functions as the main thoroughfare for public access through the building. It also functions as the main core of the building, and is designed as a steel lattice system (such as those found in rock-climbing wall con-struction) that not only hangs off the curtain glazed facade, but with the help of concrete wall elements, is able to also withstand the shear and compressive forces enacted upon it

from the cantilevering capsules.

02. To overcome shear forces ating on the main structure over which the capsules move, cocnrete shear walls will be used in order to strenghten the building. Likewise, steel joists

throughout the height of the building do the same job.

01. The overall structural concept is of two cantilevering masses that hang off a central core that is a combination of steel lattice and concrete structure.

Load path

Dead load

3.2 Structural Concept

3.3 Building materials

The building utilises an array of materials that are derived from the function of the different components and their overall perfor-mance strategy. A key design procedure for the project is one that closely links the building construction process with the overall choice of procurement strategy and thus ultimately also the choices for buiding materials. This relationship is one of pre-fabrica-tion , speed of building erection and quality of finish where a high budget and control from the architect is prolonged through the building process, all of which will be discussed more in depth with regards to the building construction process.

However, with regards to the building material selection, a great priority was put on ensuring quality of the outcome finish as well as choosing materials that could be pre fabricated and bought on site to be assembled in a short amount of time. Moreover, as the project is doubtlessly dealing with a higher than nomral budget (being the Queen and all!) it is expected that the chosen materials will perform and last a greater amount of time and in fact cutting the costs of maintenance and/or constant repair. Finally, care must be taken to source all materials with the lowest amount of environmental impact; this also applies to the construction method and the energies wasted during their fabrication.

Exterior weather resistant fabric

Semi monocoque aluminium frame as used in the aircraft industry

Vehicle Display and Visitor Wall steel lattice

Visitor Wall glazing

Steel structural framework holding up central backbone of the building

Mullioned glass screen exposing inte-rior walkways

Sectional perspective

Taught stretched fabric over space frame

Aluminium is light and extremely stiff

Steel as a climbing or circulation frame for the public to explore

Glass walls allowing visual transpar-ency 3

Interior glass fibre reinforced gypsum used as interior wall lining 1

PTFE stretched over aluminium rail frame 2

Steel scaffolding as used in movie and film industries for set construction

Support structure for facade glazing

1from Zaha Hadids Guangzhou Opera House2from Zaha Hadids Chicago Burnham Pavilion3from Daniel Libeskinds Dresden Museum

Studio Ca

psule and

MCR fabr

ic skin

Studio Ca

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MCR al

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frame stru

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3.4 Life Expectancy of material and Environmental impact of construction

The project will aim to ensure that all construction methods and material selection also considers carefully the environmental effects and life ex-pectancy of the building.

Material selection

The aim is to choose and manufacture building materials that perform consistently over a long life span. Moreover, a stress on prefabrication and the use of modular components was made to reflect the concept that the building will adapt and change according to the situation of the royal family or the nature of their relationship with the media and public. For example, during 2012 Diamond Jubilee, the building will be at almost full capacity and all systems working. All four studio capsules will be in operationg, the Vehicle Display will be constantly reshuffling itself according to the daily requirements of the Royal transportation and an overwhelming amount of tourists will be wanting to visit the site. In low activity seasons however, the building will be able to adapt accordingly to a quieter state of affairs. Due to the design of the building as a series of prefabricated elements that are essentially assembled together as a kit of parts, they can also be individually disassembled into their respective components when they are not being used. For example, if, for whatever reason, the Queen and media relationship becomes very sour, the allowance for such a strong media presence on site may be restricted. The Studio capsules are designed so that they may be taken down and stored for a later requirement and the hanging Vehicle Cabs too can be detached and easily replaced or maintained.

The large amount of steel used for both the public spaces and the Vehicle Display is a cause for concern with regards to embodied material energy. However this is offset by the long life span of the steelwork (approximately 50 years given exposure) as well as the very fast construction process as a result of the simplicity of the form. Where possible, in order to maintain a leading role in environmental awareness, reclaimed steel will be used.

The aluminium semi monocoque shells of the MCR and Studio Capsules are rivetted, not welded and so requires far less energy in construction. They too are prefabricated, and aside from transpotation difficulties and costs to site, the overall environmental damage to the site itself decreases with less time spent there during construction.

Impact of construction

In accordance with Part D Toxic Substances of Building Regulations, the construction process will be closely managed to avoid the seepage of tox-ic substances into the preserved grounds of Buckingham Palace Gardens. Again, as most of the components of the building are pre fabricated, noise disturbance, construction disturbance, environmentally damaging impact of construction and overall waste from construction is kept to a minimum

3.5 Foundation Analysis: Continuous Flight Auger (CFA) Piling technique

As the site is close to a Grade 1 Listed building as well as the environmentally sensitive location of the Gardens, the use of Continuous Flight Auger piling will be utilised.

The benefits of such a construction are:

- Capable of overcoming the presence of groundwater. Crucial in this case as the site lies above the underwater tributary of the River Tyburn.

- Fast piling process in alluvium

- No open bore as concrete is injected whilst auger is extracted only applicable to compression piles)This decreases downward transport of contaminants from the building process, which in turn protects the concrete pile as well as the soil integrity of the gardens.

- relatively quiet and vibration-less process which is beneficial as not to disturb residences of the Pal-ace too much.

1. CFA drill excavates the hole to required depth2. Concrete is injected through a hollow shaft as drill is moved upwards. Auger is removed.3. This forms a continuous pile without leaving an open hole4. Steel cage reinforcement installed

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[Academic use only]

3.6 Screw Piles

Compression vs Tension Piles

There are two types of piles required for the building. As previously explained, the building is required to support a cantilevering weight that ultimately causes the building to be out of bal-ance. One side is forced own by the weight of the capsules thus requiring compression piles, whilst the opposite side suffers from the same weight acting in tension to rip the building up from its foundations. This requires pre tensioned screwpiles that hold the building firmly within the relatively soft alluvium soil conditions.

[Academic use only]

01. Non-loadbearing concrete wall02. Composite steel deck floor03. Steel rebar04. 600mm Universal steel column05. CFA concrete compression pile06. Hardcore binding layer07. Pre tensioned screwpiles08. Coiled rebar from screwpile

See Pile Detail 1

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See Pile Detail 2

3.6 Screw Piles

Detailed section and foundation conditions

Pre-tensioned screwpile Reinforced concrete compression pile

Raked tension pile caps

Screwpiles are relatively light and easy to store, and thus easier and faster to

install onsite

Example of building overcome by a singular force that has subsequently ripped out inadequately tensioned screw-

piles and collapsed

[Academic use only] [Academic use only]

01. Steel base plate02. Rebar03. Pre cast anchor bolts for connection with base plate04. Concrete scewpile head cap05. 2mm Waterproofing plastic membrane 06. Hardcore binding layers07. Double helix pre tensioned screwpile08. Universal I-beam connector plate09. Intumescent coated angled steel column10. Compostie steel and concrete floor deck

01. Reinforced concrete compression pile02. Concrete pile head03. Hardcore binding layer04. Rebar05. Concrete pile cap06. Precast anchor bolts07. Steel baseplate08. 600mm Universal steel column09. Bolted end plate connection with steel column

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3.7 Cores and Concrete shear walls

Detailed construction section

The concrete core serving as the main vertical access for media staff wishing to get to the different PCR levels also acts as a shear wall in order to compensate for shear forces encated upon it by the cantilevering capsules. The concrete walls act as a necessary support for the structural steel lattice which may perform very well against tension forces, but lack the compressive strength offered by concrete. Moreover, the core is used as a crucial path for fire evacuations.

Louis Kahns Salk Institute is a good example of structural concrete being fully inte-grated within the design of the overall form.

[Academic use only]

01. Double skin glass roof02. Composite steel and concrete roof deck03. Fire resistant cocnrete core wall04. 16mm laminated satefy glass05. Automated fire doors06. Four-way glazing assembly07. Capsule hoist mechanism08. Intumescent paint coated structural steel walkway09. Glass foam thermal insulation10. 300mm Universal I-Beam11. Entrance to PCR core12. Precast concrete wall to pile section

[Academic use only]

See Concrete to glass detail

See Concrete deck to wall detail

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Composite concrete deck to glass joint Composite concrete deck to Core wall joint

3.7 Cores and Concrete shear walls

Prefabrication of concrete wall panels

In order to comply and work with all other aspects of the building construction phas-ing, the concrete cores must be prefabricated off site as a series of wall and composite steel decks that are transported on site and quickly installed in order to minimise dis-turbance. The construction of the cores depends on the design of an efficient modular system by which the concrete wall may be erected.

As concrete performs as thermally retaining mass, there does not need to be as much thermal insulation as found in areas where there is only exposed steel structure.

Assembly of precast concrete wall

Precast concrete panels hoisted into position and assembled

Example of exposed steel beam to con-crete column detail

Example of steel beam to concrete col-umn joint

Precast concrete panel texture

[Academic use only]

01. Composite Steel dand concrete roof deck02. Patent ribbed steel decking03. Thermal insulation and vapour barrier04. Aluminium section, insulated, with thermal break05. Plastic spacer block06. Double glazing07. Stainless steel assembly arm08. Glazing two way assembly09. 400mm CHS column10. 500mm Universal steel I-beam11. 500mm steel channel12. Aluminium facade rail

01. Concrete core wall02. Thermal insulation 03. Interior wall lining 04. Wood spacer block05. Floor buildup - 20mm hardwood flooring, floating screed, gypsum board, isolating membrane and soundproofing insulation06. Composite steel deck07. Steel channel to beam plate08. Steel Universal channel

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3.8 Master Control Room (MCR) Construction

The MCR is the heart of the editing and final production stage of the filming and media documentation process. Imag-ined as a floor to ceiling expanse of monitors capturing and in the process of editing footage from the many engagements attended by the Queen and filmed/updated daily by the Studio Capsules, it is a sound insulated room that looks out over the public park and picnic spaces as a screen of its own.

The glass wall allows the public to engage in observing the process in which the raw footage captured of the Queen is processed and edited for our normal viewing.

The public also have the opportunity to access an observa-tion deck above the MCR and almost as if going behind-the-scene, witness for themselves a truer (albeit distanced) view of the Queen.

Partially inspired by the NASA Control Room, the Master Control Room is where the information recorded in the Studio Capsule and post produced in the PCR is edited through its final cut before broadcasting. The need for a large array of displays is so that all aspects of the recording process are fed live to those in control of the broadcast, but at the same time, become inad-vertedly available to be viewed by the public gazing up into the MCR through the glazed back facade.

See MCR Floor Detail 2

See MCR Floor Detail 1

[Academic use only]

01. Glazing assembly unit02. Aluminium glazing facade rail03. Interior roof rail04. Steel cable support05. Aluminium tapering support beam06. External envelope fabric - Polyurethan coated spandex - Microfibre damp proofing - Ventilation cavity07. Aluminium fabric tensioning rail08. Rockwool insulation09. Sound insulation10. GRP interior wall lining11. LED screen12. Floor buildup - 20mm hardwood flooring - floating screed - servicing gap - gypsum board - sound insulation - rockwool insulation -

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3.8 Master Control Room (MCR) detail

Key Connections and Details

MCR to steel lattice connection

The MCR sits within the steel lattice grid of the inhabited wall behind it and pro-trudes out into the public park , in places up to a cantilevered distance of 2 metres.

The main design intention with regards to this cantilever is that, like the studio capsule on the opposite facade, the intention is that the MCR becomes an evident new screen intended for the broadcasting of the interior workings of the media machine out into the public forum. Its objective is almost opposite to that of the capsule which is intended as a room with a view, the MCR on the other hand is a room to be viewed.

The lightweight aluminium construction of the MCR is obviously beneficial for it to be easily supported and cantilevered, however, as the main structural element of the wall on which it is to be attached is steel, special attention must be made to the connection of steel to aluminium. Moreover, the design must take into account the associated torsional forces on the aluminium structure as well as shear forces exerted onto the steel lattice. Finally the taught fabric screen must be constructed in different parts and assembled individually as there needs to be space for the struc-ture to come through. All seams are welded onto customised aluminium sections at all key junctions where the surface of the fabric is penetrated. Modelled after Goretex jacket fabrics, the spandex synthetic material is able to perform against water ingress as well as being semi-permeable enough to allow for transpiration of any interstitual condensation that may occur between the fabric lining and the interior GRP panels.

[Academic use only] [Academic use only]

MCR Floor detail 1

01. Impact sound insulation02. Floor buildup - Textile floor covering - 20mm hardwood flooring - Gypsum board -Vapour barrier03. Aluminium servicing section04. Stainless steel glazing fin05. Two-way glazing assembly06. Ventilation grill07. Plastic spacer08. Rainscreen and vapour barrier membrane09. Ventilation ductwork10. Aluminium beam11. Aluminium channel12. Rivetted bolt13. Fabric grip rail

MCR Floor detail 2

01. Floor buildup (see detail 1)02. 300mm longitudinal aluminium I beam03. Glass foam thermal insulation04. Rockwool fire retardent insulation05. Rivetted bolt connector plate06. Base plate07. Aluminium fin plate for guiding and attaching fabric08. Rivetted aluminium rail section09. Movement joint10. Polyurethane coated spandex fabric with vapour membrane, pinned and welded in tension to aluminium guide plate.11. Universal 300mm steel column

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Polyurethane coated high perfor-mance synthetic fabric

25o sloped glazed wall

Interior lighting and video fixings

Adjustable/customisable floor fittings

Aluminium ribs and spar

Steel armature brace

3.9 Studio Capsule Construction

The Studio capsule is essentially a lightweight viewing platform that moves vertically up and down the buildings south facade in order to capture the right views of the Queen inside Buckingham Palace.

In order for it to be as lightweight as possiblie, a weatherproof tensioned fabric will be the main building envelope. The capsules will be manufactured and constructed as a kit of parts that can be assembled quickly on site. The fabric will be welded in segments according to the geometry of the capsule, maintaining a tight waterproofed seam along all structural joint, before then being insulated with sound proofing as well as thermal and vapour layers.

The entire capsule will be hoisted up along with face of the building on outrigging steel rails tied to the building facade. The main support is a cantilevered support arm that connects the aluminium baseplate of the capsule to the vertical wheel mechanism.

01. Aluminium fin louvres02. Polyurethane coated spandex fabric with vapour membrane03. Aluminium 5038 transverse beam section04. Aluminium fabric tensioning guide rail05. Interior roof rail hanging element06. GRP interior wall panels07. Studio lighting rail08. Sun and weather canopy09. Low-e, non reflecting, UV protected double glazing10. Studio floor deck11. Service void between beam and fabric12. Vertical movement mechanism

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3.9 Capsule detail

1:40 Overall Detail

1:20 3 circular details

01. Polyurethane coated spandex02. Microfibre vapour membrane03. 40mm Aluminium fabric tensioning rail04. Rivetted aluminium joint05. 400mm Aluminium 5038 longitudinal I-section06. 22mm GRP wall panel07. Suspended roof rail for studio lights08. Electrical wiring09. Studio equipment

01. Aluminium skewed I-section (for tensioning of fabric)02. Soundproofing foam and fire retardent rock wool03. Glass wool thermal insulation04. 22mm GRP wall panel 05. Polyurethane coated spandex06. Microfibre vapour membrane07. 400mm tapering Aluminium 5038 beam08. Exterior GRP panel09. Metal clip rail for GRP10. 500mm Stainless steel fins for glazing support11. Two-point horizontal assembly12. Low-e, non reflecting double glazing

01. Removable 20mm fibreboard decking02. Adjustable floordeck system03. 30mm GRP Floor panel04. Aluminium channel section05. Rivetted connector plate06. 500mm Aluminium beam07. Glass foam thermal insulation08. Fire retardent rock wool and soundproofing layers09. Microfibre vapour membrane10. Polyurethane coated spandex11. Aluminium section, insulated, with thermal break12. Stainless steel glazing support fin13. Low emissivity, non reflecting double glazing14. Operable vapour barrier

01. Studio lighting equipment02. 400mm Aluminium 5038 beam03. Aluminium fabric tensioning rail04. Polyurethane coated weatherproof fabric05. Internal breathable vapour membrnae06. Glass reinforced gypsum wall lining07. Shade and weather canopy08. Low-e, non reflecting double glazing09. Removable 20mm fibreboard decking10. Soundproofing, Thermal insulation and fire retardent glass foam buildup

[Academic use only]

Installation of thermal insulation and fire proofing rock wool over an alu-minium frame

3.9 Studio Capsule construction

The structure of the capsule is designed to evoke its primary function as a form for observation and viewing. The need for the capsule to be able to move vertically comes from the idea of providing the media with the opportunity of filming ground level intimacies as well as long range overview shots. This presents a certain amount of restric-tion on the design as the structure to provide this movement will inevitably increase as the size and use of materials changes.

Semi-monocoque construction

The idea of a seperate capsule for live studio filming arose from a required seperation of studio spaces from post production rooms where alot of noise disturbance occurs. Thus, in order to construct a moveable, lightweight and cantilevered studio, a lightweight semi-monocoque construction method was chosen as the most apt solution.

The double curved form of the capsule is constructed from aluminium ribs welded to form the hull of the capsule. The plasticity of aluminium as well as its extremely lightweight but strong qualities means that the relative weight of the capsule, compared to that of steel, is significantly lower, and therefore reducing additional structural members to the rest of the building.

The reason that it is only semi-monocoque is due to fire regulations requiring insulation as well as thermal insulation wrapping the interior.

Polyurethane coated Spandex exterior

The exterior skin of Spandex was chosen over a more conventional and less environmentally friendly fibreglass ma-terial due to the fact that it offers similar lightweight and easily manipulable material qualities that can be extremely plastic (in terms of its form) which is perfect for a double curve form. Moreover, the environmental performance of the skin is similar to those found on weatherproofing jackets, allowing the capsule to react accoridngly to different climatic conditions.

400mm Aluminium 5038 plates form the trans-verse ribs that needs to hold the glazed wall

Polyurethane coated spandex stretched over the aluminium frame provides a very lightweight but high performace skin that can be quickly constructed on site after being fabricated off site. The fabric is simply stretched and welded tight over additional transvere and

longitudinal rails attached from the aluminium frame. These rails differ in length which provides the required taughtness of the skin.

Finishing and internal fitouts include tilted glazed wall that is anti reflection and anti glare, internal studio light rigs and stage. Capsule is then slotted and attached onbetween steel arm brackets.

300mm Aluminium 5038 plates longitudinal frame

Aluminium monocoque construction as used in the aircraft and boat-building industry. The material is favoured as it is non-corrosive, has a high strength to weight ratio and is fully recyclable if there were ever the need to dismantle. In terms of cost of construction and efficiency

of form and structure, it is the best method of construction for the capsules.

Case Study: Future Systems Natwest Media Centre at Marylebone Cricket Club, London. Utilises a very similar semi-monocoque aluminium construction to create a massive voidic space which is very lightweight and incredibly rigid.

3.10 Aluminium Frame construction

In order to acheive the double curved geometry of both the capsule and MCR, both longitudinal and transverse aluminium ribs are required in order to create and strong and stiff frame over which the fibreglass shell can be as-sembled. Taking inspiration from boatbuilding techniques, the aluminium ribs are seperately prefabricated to their individual specifications. An example of one element from each section is shown here.

Sections of the aluminium frame are first welded together off site and then transported on site to where they are fitted together with the rest of the structure.

A total of 26 transverse and longitudinal aluminium ribs are used in the construction of the MCR. (note the gaps cut into the aluminium to allow for back of house wiring and pipes.

MCR prefabricated aluminium sections ready to be taken on site

A total of 15 ribs are needed for the smaller studio capsules.

[Academic use only]

[Academic use only]

a. Transportation onto site b. Aluminium welded roof joint section c. Aluminium welded wall sectiond. Pre fabrication and welding off sitee. Example of one component sectionf. Other example of semi-monocoque aircraft construction

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3.11 Polyurethane coated Spandex as main shell component material

The reasons for choosing a synthetic fabric membrane as the main panelling component are its material and building properties with regards to the following factors:

Weight: As the fabric will not be required to perform as a load bearing element in the structure of the semi-monocoque , it is only required to act as a high performance membrane controlling interior climatic conditions. Due to its incred-ibly light nature, by using a fabric skin, the weight of the Studio Capsule is greatly reduced, and thus requiring less energy to move.

Speed of Fabrication and Assembly: Sheets of the synthetic membrane will be manufactured in rolls and quality controlled in a factory environment. They are then transported on site and, using very little man or machine power, stretched and seamlessly welded onto the aluminium rib structure. The overall speed of construction is great reduced as is the cost and time taken for delivery.

Opitcal-visual properties: The semi transluscency aesthetic of the spandex is closely linked to the conceptual driver of the project. That is, that visual transparency and the layers that make up the publics view of the Queen have to perforate through the many layers of the media before reaching our eyes.

Weatherproofing: The outer layer is a nylon or polyester fabric that retains the strength of the material whilst the polyurethane provides the weatherproofing. However, the PU is not very breathable and so is only a coating com-bined with a more porous fluropolymer that allows for greater cross membrane vapour transfer. In this way, the fabric remains breathable to avoid interstitual condensation yet is durable and weatherproof to avoid water ingress.

On site welding construction technique

As the fabric is constructed in seperate sheets forming the various flanks of the double curved geometry, it will be ultimately assembled over the form and joined together by hot wedge welding technique that seals the seam perfectly and gives the impression of a single continuous peice of fabric. Welding also provides the best response to potential air gaps in the fabric that could lead to thermal and weatherproof underperformance.

a. Microscopic Gore-Tex structureb. Gore-Tex expanded PTFE structure of nodes connected by synthetic fibrils

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01. Weather resistant synthetic Spandex02. Aluminium joist03. Interior roof fitting attached to GRP roof lining04. Fire, sound and thermal insulation layers05. Rivetted joint06. Welded fabric seam

Welding of fabric sections over ribbed structure

Zaha Hadids Chicago pavilionBMW GINA concept fabric skin car, note shapeshifting qualities of the fabric

Hydrophobic weatherproofing skin

As the fabric will not perform as well as some other building materials for thermal and sound insulating qualities, it must be backed up with a lot of rock wool insulation, soundproofing between all panels of the aluminium ribs and finally, coated with a fire retarding layer to enhance its perfor-mance.

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3.12 Visitor Wall structure

The concept of the inhabited wall comes from the attempt to blur the boundaries of public access and visibility through the normally opaque screen of the media ma-chine. Moreover, it is intended to be a way for the public to go behind the veiled appearance of the Queen as presented by the media and offers the chance, through a series of carefully located platforms, the chance to peer unfiltered into the private life of HRM

The concept of a hollow cav-ity wall that also doubles up as a structural focal point for the other elements on ei-ther side of it is the driving point of the design

Public viewing corridors

The platforms within the wall (indicated in red) work their way vertically up inside the gap be-tween the MCR and PCR to certain locations where a viewpoint into the Queens territory can be afforded. The more private bedroom views are higher up within the wall with the other less private scenes at lower levels, augmenting the idea

Viewpoint

01. Stainless steel handrail02. Strip LED03. Electrical servicing04. M&E servicing gap05. 240mm steel channel beam06. Tapered universal I-beam cantilevering from steel column

Birdwatching huts and other examples of inhabited wall spaces relate to the idea of visibility as a key antithesis to the original nature of the wall as a screening element

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Queens territory

Public Territory

3.13 Walkway system

Within the strctural steel lattice of the visitor wall there are a series of platforms and walkways connected via stairs that lead to vantage points from where a view into the interior of Buckingham Palace and its ground is suggested can be af-forded. The connection across the two ends of the wall can only be made along the ground floor whilst the upper floors reach an ultimate dead end. This is an intentional strategy to limit the sense of freedom of movement that the visitor ex-periences, ultimately providing a seemingly improvised sense of exploration only to be subconsciously limited by the architecture of the internal space into a set of controlled vantage points.

Structure

The structure of the walkways comprises of a steel gantry sys-tem that directly attaches and is supported from the structural steel columns holding up the superstructure of the wall. The factory aesthetic of the gantry structure enhances the quality of the space as a back of house or behind-the-scenes system of circulation sandwiched between spaces occupied by the media that are fabricated from much more stylised and exuberant ma-terials and construction methods. The other advantage of the steel gantry is that it requires relatively low amount of struc-tural mass to support it, and thus opens up more the interior void of the wall.

01. Metal stud wall02. Aluminium bracing for LED screen03. LED digital display04. Cantilevered steel gantry walkway05. Glazed visitor entrance06. Soundproof laminated safety glass of PCR

Birdwatching huts and other examples of inhabited wall spaces relate to the idea of visibility as a key antithesis to the original nature of the wall as a screening element

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3.14 Screen construction

The design of the media centre and the public intervention into it forms the lay-ered slices of inhabited walls that were the initial concept ideas for rethinking notions of boundaires and territories seperating the respective parties of the media, public and the royal members. The concept was to layer the building also as slices of information that reflected different degrees of intimacy or distance from the true lives of the Royal Family members.

The layers are designed as a series of screens differing in transparency and materials. From the totally unfiltered glazed wall of the capsule studio, and the louvred shaded facade of the PCR, the tinted glazing panels seperating the pub-lic void and the PCR, the semi translucent spandex fabric skin of the MCR and finally, the digital output of the recorded video data through LED screens; the conceptual importance in the design of these screens is key to the performance of the building as a new wall of the Palace grounds that plays on the dichotomy of privacy and security against voyeurism and transparency.

[Academic use only]

01. Low reflectance, low-E angled glazing02. Laminated glazing curved panels03. Aluminium louvred fin screen04. Gray tinted low transmittance glazing05. Laminated safety glass06. Polyurethane coated semi transluscent spandex07. Digital LED giant screens08. High visibility clear glass

Digitally manipulated output

Sun shading aluminium louvre system doubling up as a selective viewing screen over glazing

6mm laminated toughened safety glass + 16mm cavity + 10mm safety glass

The choice of differing grades of glazing comes from environmental and safety factors that need to be considered. For example, for perfect quality filming, a very clear glass needs to be used for the studio capsules but at the same time, due to its south facing elevation, the glass is also required to perform against solar gain and UV glare. At the same time, the glazing used between the PCR and the public wall needs to have high security levels as it is the last boundary between the public and the Queen. See Glazing Screen details.

Digital LED screenLow reflectance glazing Transluscent synthetic fabric skin

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Unfiltered screen: solar controlled glass: low energy transmission (g-value), low solar glare, medium light transmittance.

Stage

Performance screen

Real time footage

3.15 Digital LED screen construction

After filming, editing and post producing the raw footage of mem-bers of the Royal Family, the digital information is relayed from the MCR to a series of digital LED screens that serve as the last screen/skin of the building on the public side. These screens are constructed as a series of vertical panels that, when aligned along the aluminium truss that is itself fixed onto the steel lattice behind, curves with the fluid linearity of the building. The use of giant LED scrrens is inspired by the concept of viewing the Queen as a matter of an event or spectacle, available for anyone to watch and enjoy, and in this case, consistenly updating itself with lay-ers of real time video information that, after being appropriately processed through the building, arrives onto these screens as the finished product. In modern times of real-time trending and status updates, the media who are tasked to follow the Queen utilise the screen as a form of highly digestable medium of relaying their work to the world.

The construction of the support system for the screens is relatively simple. An aluminium truss frame braces the screen panels in ver-tical and horizontal tension. the truss itself is riveted onto the steel lattic of the building and can be taken down to be repaired or replaced with ease.

01. Connected to centralised power unitt via wire running through the truss.02. Aluminium truss frame03. LED display04. Images relayed from the MCR and shows broadcasting quality material05.Vertical truss for support against wind loading

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3.16 Vehicle Stack structure

The Vehicle Display is essentially an elaborate parking facility for the Queens various methods of transport. The act of suspending the vehicles within display cabs is yet another layer that is added to the notion of the building as a viewing device for the various aspects of the Queens daily routine. The Vehicle Display is a performance in itself, and is tightly managed around the Queens schedule of travel around the country to her many duties. As a result, it indirectly mirrors t