search.noResults

search.searching

dataCollection.invalidEmail
note.createNoteMessage

search.noResults

search.searching

orderForm.title

orderForm.productCode
orderForm.description
orderForm.quantity
orderForm.itemPrice
orderForm.price
orderForm.totalPrice
orderForm.deliveryDetails.billingAddress
orderForm.deliveryDetails.deliveryAddress
orderForm.noItems
16 INSIGHTS


recurring and regular arrangement; rhythm – is a combination of elements repeated, but with variations.”* The modular unit is the starting point for the design and not a design feature, unless, like the CitizenM hotel group’s approach, it is the design motif in itself. It is important that designers don’t attempt to reengineer a traditional facade concept back into a modular product.


Combinations in action To create a pattern using modular design you need to start combining the units into a larger grid, either to relate to the existing context by reducing the grid, or descaling the building into a modernist approach by combing the units. To bring rhythm into the equation, you need to combine the patterns into blocks which can relate to the surrounding context.


Traditional architects are not best placed to design a modular building as the process is not something that sits well with designers


hear a planner or homeowner object when you say you want to drop a replica Victorian terraced house into a street, but all hell breaks loose when you suggest you want to put in a modular home. Victorian bedrooms are roughly the same height, width and


length, they tend to have bay windows and marble fireplaces, the same chimney design, I could go on. This is the ultimate modular prototype house. They rarely have the same window detailing, but all have the same bay window construction method. All are stock brick, with colour the only slight variant, yet no one is complaining they are of a highly repetitive design, if fact the opposite – the regular rhythms of this design is highly sought after.


Moving on


The facts is that the loss of the quality of house design since the Victorian era in the UK is based around the poor planning system, combined with developers seeking profits. There is a real fear this already low base of design quality that is prevalent in the UK will be further exploited by developers using cheap modular system design.


Modular design is associated with the failed experiments with prefabricated concrete panels and prefabricated schools, both standout examples of the poor quality planning system and cost-driven design. The use of repetition was excessive, while no design controls were employed to harness the qualities of repetition. To optimise modular building design, we need to move the conversation on. “Repetition refers to one object or shape repeated; pattern is a combination of elements or shapes repeated in a


WWW.ARCHITECTSDATAFILE.CO.UK


This approach can be seen in our design for the CitizenM Tower of London, where the Dutch love of modernism had to be tempered with the English love of context, given the site’s UNESCO World Heritage listing. Here the same modular units were used throughout and the window was fully complete in the factory, including water tightness, fire and acoustics. An external skin was applied to locate the building and move it from a modular expression to a piece of contextual architecture. A veil of fins was applied to the windows to create pattern, with a continuous rail used to vary position. Despite the appearance of randomness, 50 per cent of the fins hit the line of the modular grid. The rhythm was created by combining the modules into classical bays using an overclad Portland stone system supported from the modules. All in all, this building has never been exposed as a modular building and sits within numerous conservation zones and a World Heritage listing. This approach can be used in a historic context but if you need a truly traditional brick facade or hand set stone, it is technically feasible to complete the facade in the factory and overclad using a traditional method. There are only minor impacts on the programme benefits, if the facade is detailed correctly. The best approach is to embrace the pattern and express it using modern, lightweight materials, like our Marriott project at Luton airport, celebrating the rhythm with an angular facade. There are no real limits to the design possibilities – just the limits of your imagination and understanding of the principles. Like every cladding design of course, it needs to adhere to rules like fixing point, deflections, and glass size.


Conclusion


When approaching the planning of a modular building, the plan must be regular: based on components that are repeated. Variation, however minor, leads to additional unit counts which affect price and ultimately the viability of a modular build. As a rule, 80 per cent of the building should be the same unit and the remainder can vary, usually around the core and the ends of the building to maintain efficiency. The blocks should be stacked vertically, and M&E should run straight down – this makes sense in any building. Variation of design should be as the Victorians did, in the detail rather than the plan. Best to regain the respect the Victorian architects had, by reintroducing high quality housing using component-based design.


James Walsh is founder and director of Studio Anyo


*Source: www.sophia.org/tutorials/design-in-art-repetition-pattern- and-rhythm


ADF NOVEMBER 2018


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84