The three shooting ranges on the 2012 site
and 50m qualifying ranges; while the third range is where all the shooting finals took place. All three buildings are similar in design;
LIGHTING
With the exception of the finals range, which had to be blacked out for broadcast, the designers had an aspiration to eliminate artificial lighting. This objective came about because the building’s fabric skin is translucent.
There was a limit, however, as to how translucent the design team could make the building’s fabric. ‘The more translucent we made fabric, the less strength it had,’ says Mott MacDonald director Leon Higgins.
The design team opted for fabric with 8% light transmission. ‘The translucency means the fabric glows; on a summer’s day you get 100 000 lux hitting the fabric, which means there is enough light to hold an event,’ says Higgins. That said, even with the translucent fabric a basic lighting installation was still required to enable the maintenance teams to prepare the spaces overnight. Higgins says that despite the team’s aspiration, lighting was used during events ‘in case it clouded over’.
38 CIBSE Journal November 2012
each comprises a rectangular box to house the audience and shooters. In the 25m range the audience was seated on tiered rows of seats banked against one of the box’s longer walls. The lower section of the wall opposite was open. Depending on the discipline, the shooters either stand or lay on a 3m wide concrete strip with their backs to the audience and fire through the opening at targets positioned out in the open. A canopy above the shooters helps protect them from the sun, wind and rain while rows of angled wooden baffles, suspended along the length of the range, prevent stray bullets leaving the range. The design of the 50m range is similar
to that of the 25m range with the exception that it has a sliding wall, which allows range to be shortened and the venue to be converted into the 10m air pistol and rifle range. The Finals building, too, is similar to the 25m range with the exception that this building is fully enclosed. The ranges are orientated so that the shooters face north, away from the sun. A key tenet of Mott MacDonald’s sustainable approach to the design for each range was that the structure of each was to be built using rented components – the same trusses used to carry lights and speakers at rock concerts and festivals. ‘We thought it would be horrific if we were to put something up for the games that was
then taken down and put in the bin,’ says James Middling, associate director at Mott MacDonald. To build the venues using a kit of parts
Mott MacDonald turned to Building Information Modelling (BIM) software. The BIM model started with the architect’s concept design, which was produced in the freeform modeling program Rhinoceros 3D. Mott MacDonald took this concept model and developed a supporting structure for the concept using plug-in software Geometry Gym in addition to Autodesk’s Robot software for detailed structural analysis. Once the building’s concept and form were defined, the model was exported to Revit to produce detailed structural drawings and to take off quantities. To design the building’s fabric outer skin,
Mott MacDonald exported the Rhinoceros 3D design into the Oasys GSA suite of programs. The buildings are clad in a white phthalate-free recyclable PVC membrane. The architect originally conceived the buildings with relatively flat walls and roofs. This would have required the building’s fabric skin to be stretched taut to prevent it flapping in the wind. Instead, by modelling the skin, Mott MacDonald introduced the vivid protuberances to give the surfaces topography. The curves helped to reduce the amount of fabric pre-tension needed so that cheaper fabrics could be used. The addition of the coloured protuberances also helped with roof drainage and provided openings for ventilation while the ground level
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