Docsity Kaman House Design Regulation London

kaman house + design
regulation london
Architettura
Politecnico di Torino
78 pag.
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_Collective22
Architectural Reflections
Critical Practice Group Project
6Arch002W
DS22
2017

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CONTENT:
_Part I: The Collective
01 1.1. Ethos of the Group
02 1.2. Individual Statements
03 1.3. Organisation and Timescale of the Project
_Part II: Regulating Design

15 2.1.1. Introductions and Aims
16 2.1.2. Understanding the Kalmann House
24 2.1.3. Understanding Accessibility and Part M
25 2.1.4. Methodology
26 2.1.5. Approach
28 2.1.6. Summary of Proposal
31 2.2.1. Analysing the Site
34 2.2.2. Visitors Center
36 2.2.3. Brief
38 2.2.4. Proposal
44 2.2.5. Critical Reflection
45 2.2.6. Design & Access Statement
_Part III: Having a Body

47 3.1. Introduction
50 3.2. Dealing with Sensory Overload
53 3.3 The Route & Noise Mapping
58 3.4. Heat Map Findings
64 3.5. Proposal
68 4.1 Conclusion
70 List of Illustrations
74 References
76 Bibliography
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1. ETHOS OF THE GROUP
Enabled and conditioned by the socio-political and environmental values of DS22, our journey
across uncertain and invisible landscapes extends beyond our brief and drives the resilient
character of Collective22. Over the last seven weeks, our team has worked with Yara Sharif and
Nasser Golzari, as part of DS22, to develop devices which enable new ways of mapping, activating,
provoking and revealing stories, legends and landscapes of the Middle East.
Our work focuses on transforming the future of forgotten cities in the Persian Gulf by (re)
constructing their architectural narratives. The imagined future scenarios transform these absent
communities into resilient cities, offering them new roles in reclaiming the contested present. Our
strong social agenda is contextually framed by spatial, environmental and political issues which are
often raised and questioned in our work. The diverse range of academic and professional expertise
within the team enables us to approach our projects from different angles and collaborate at all
levels, to guarantee a logical and intelligent response to complex briefs.
Our approach to design relies on a sustained observation of the traditional values, a contextual
framing of the present and a culturally-resilient strategy for the future which does not discredit
technological advancement, but rather creates an empowering new scenario. Our motivation
towards empowering forgotten yet resilient communities stands as the base of our work and
provides a strong social sensitivity within our members.

2. INDIVIDUAL STATEMENTS
Aimi Zahani Anna Hadjimitsi Denisa Groza

Aimi graduated with a Bsc. in Architecture from Anna graduated from the University of Denisa grew up in Brasov, Romania, a leafy
the Universiti Teknologi MARA, Puncak Alam, Nottingham in 2015 with her RIBA Part 1 town in which she spent most of her time
Malaysia in 2016. With a strong passion for art qualification and completed two years in drawing and cultivating her inner creativity.
and design from an early age, Aimi sought to professional practice at BPTW partnership in Her predilection towards architecture started in
manifest her creative abilities via a vocation London. Anna feels like she has received a well- early years and has matured through painting,
that contributed positively towards society. rounded experience working predominantly on sketching and photographing the urban fabric
For Aimi, architecture embodies all of these residential schemes of various sizes, complexity of cities and their landscape.
ambitions and provides her with purpose in life. and RIBA work stages.
She moved to the UK to study architecture at
Her background as a military child meant that Being involved in a large regeneration the University of Westminster and worked at
Aimi and her family moved quite frequently, development in Lewisham, providing 1,200 a medium sized practice preparing planning
this allowed Aimi to be exposed to many new-build residential units, she was fascinated applications and participating in stages 2-3 in
diverse cultures and lifestyles, and further her to design and effectively shape communities the RIBA Plan of Work.
understanding of architectural design within and appreciated how architecture has a
these areas. great impact on the quality of life, not just of Her academic achievements demonstrate
individuals and families, but entire societies. her determination towards the subject; her
This exposure provided further clarity in her undergraduate work was published in the
design aesthetic and contributed to her desire Anna’s interests lies in the Social, Economic, OPEN catalogues of University of Westminster.
to pursue architecture as her chosen career. Political and Environmental aspects of Her focus on the social sphere and community
Aimi recently moved to London from Malaysia architecture and confronting the global driven architecture inspire her work and
to further her studies at Postgraduate level at challenges we face today. Currently studying at extends outside the curriculum, with team
the University of Westminster with the aim of the University of Westminster in DS22, she seeks projects shortlisted in London Festival of
becoming more skilled as a designer, and more to critique and explore the lost relationship Architecture’s ‘Constructing Communities’
independent as a person. between architecture and cultural identity as a 2016 and exhibiting her group work at P21
result of globalisation interrogating the notions Gallery with the project title being ‘Here, there,
of power, locality and resilience.

George Whitehead Guilia Romano Imran Fadzil
George graduated from Sheffield Hallam Giulia was born and raised in Turin, in North- Imran graduated his Part I from Central Saint
in 2016 with a BSc in architecture and West of Italy. She spent a year travelling across Martins in 2014, he then took 3 years out to
Environmental Design before joining ECE in Europe, India and Australia before moving to work in practice and gather as much experience
East London. George is interested in the future UK to study architecture at London South Bank as possible and learn about professional
influences of architecture evolution over time; University, graduating in 2016. On her year out experience. Throughout that time he has
and in designing buildings and spaces that are she moved back to Italy to work in practice. learnt the many elements of architecture in a
adaptable or can evolve with the changing She also attended a 3DsMax course and took more exposed nature, far from the confines of
structure, demography and adaptation to part of an environmental conscious building education.
climate. design project in Rome in partnership with
Mario Cucinella Architects’ practice. Once she After reflection, he decided to continue
One aspect of design that excites him is graduates she wants to specialise in sustainable his architectural studies at University of
the thought of creating environments architecture and possibly taking part to some Westminster. Given his first choice of studio in
that can enhance the communities whilst projects in Thailand and India. Her personal DS22, Imran strives to do well, thus learning to
maintaining the local culture. As our cities and interests are nature, sports and photography design with similar ethos of the studio; using
population expand, communities become and in her spare time she loves travelling. architecture as a vehicle of other means, a
displaced through process of gentrification & greater purpose to serve the specific users.
globalisation, George wants to explore how Guilia believes her studio, DS22 is very His dream is to elevate the livelihood of the
architecture can be used to be inclusive of the challenging, and the project this year focuses people from his hometown – Seremban - in
native communities rather than to isolate and on the Persian Gulf area and is concerned with Malaysia. He believes through successfully
push them out. George feels that the long- different everyday fundamental aspects, which contextualised architectural interventions,
term environmental and social implications was always within her interest and she hopes those who experience the built environment
of architecture need to be considered and are to investigate more and design her project will have more positive experience – an example
arguably more important than creating visually with concerns in economics, politics and of this is how architects designed playgrounds
engaging architecture. legal constraints. Guilia hopes to analyse the on bomb sites, he hopes to emulate this, and
dramatic climate change and draw attention with his playful architecture help recover any
to the silent cities in the Persian Gulf areas of form of new-age depression his people may
power, locality and resilience.

Pejman Savejblagee Rafael Viegas Ramos Rhys Waring
Pejman Savejblagee graduated from London Rafael graduated from Norwich University of Rhys graduated from the University of
South Bank University in 2014. He joined MDR the Arts in 2016, where soon after he gained Nottingham in 2015, where he focused on
associates as a Part I Architectural Assistant, employment at Lanpro - a multi-disciplinary ideas of sustainable communities, before
where he worked with the team for almost practice in Norwich. It was here that he learned returning to his hometown - Cardiff - to spend
two years before returning to his academic to adapt and develop his abstract ideas into a year working in the regional branch of
studies at University of Westminster. Pejman fully rationalised architectural proposals. Purcell. During this time he was able to work
believes that Architecture is not just a form of Throughout his time at the practice, he has on and shape buildings that were part of the
creativity or the mere assembly of materials to contributed to a vast array of unique architecture architectural context of his childhood. In 2016
provide shelters, but more fundamentally, it is and urban design projects – including two key he relocated to the practices London’s office
the embodiment of structures, which end up Paragraph 55 private residences that required to explore new ideas on exciting new projects,
building and shaping individuals. He believes both a critical understanding and application and came out having learned valuable lessons
that architecture challenges our perception of of ecological benefits. By utilising his excellent about dealing with sensitive contexts, while
traditions, cultures and sustainability. communication skills, Rafael has developed and working on projects within delicate historic
maintained a successful working relationship contexts.
In his spare-time Pejman enjoys travelling with past colleagues and external consultants.
to new cities; he has been to over 31 cities, Rhys further developed these themes in a
exploring new traditions and diverse cultures Recognised as highly ambitious and creative, highly commended entry into the Philip Webb
witnessing first-hand the splendor beauty and Rafael likes to experiment and challenge award which is in discussion to be built in the
diversity the self-expression of the architecture convention while inspiring others to think new forest sharing a site with a listed arts and
around the world. Pejman was intrigued by more deeply about architecture. His passion crafts style house. These ideas and skills transfer
DS22’s brief and their approach to architecture lies in political abstraction in contested cities into the themes of DS22 as Rhys explores a
through the use of narratives, politically driven such as Berlin, Belfast and Palestine. He also has vastly different context, in the Persian Gulf,
designs and extensive historical, political and a particular fondness in bringing communities identifying the qualities that are important
social context research. together through design and architectural in this environment and how to treat them
events. architecturally.
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Rim Kalsoum Sun Yen Yee Victoria Cosmas
Rim is an Architecture and Built Environment Sun graduated from Newcastle University in Victoria grew up in London and in Guildford; this
University of Westminster PART 1 graduate 2016. Soon after graduating he spent a year has allowed her to get immersed into different
who worked as an architectural assistant at NG working as a Part 1 Architectural Assistant in types of architectural environment, atmosphere
Architects, a small practice deeply rooted in Malaysia, exposing himself to a wide variety and nature. Victoria has visited many countries
broad social and cultural issues. Further to this, of high-complexity residential and mixed- and has had the chance to engross in their
she is a member of the Syrian British Building use commercial projects. He worked in two culture and creativity, throughout Europe
Forum and PART, a regeneration project forum architectural practices of different scale, thus and China. Victoria acquired her Architecture
opening up the dialogue about Palestine. having experience of working with teams of degree at Portsmouth University, following by
different sizes, which he believed to have been a year of employment at Studio Four Architects,
She is a volunteer at the RIBA education and beneficial to be a good team player. in Winchester, where she gained experience in
outreach programme where she assists in a variety of residential, educational and listed
delivering workshops to young students Throughout the year out, he was involved in building projects.
from time to time. Rim’s interests lie in various RIBA stages, including: conceptual
the political and cultural aspects within design, design development, detailing and Victoria’s great passion is to open her own firm,
architecture, more specifically in Palestine site construction. Due to the condition of the where one day she could venture out around
and Syria. She has worked on OPEN Gaza and construction industry in Malaysia, he also had the world. She is interested in a wide range of
Qalandiya International to help deliver events, substantial experience in dealing with building architectural endeavours and building types
which opened the platform for discussions workers while overlooking the construction but with the intent to make an impact and
surrounding the topics of regeneration in the progress. He has interest in the spatial and positive influence on the built environment. As
region of Palestine. She is currently undertaking experiential qualities, which is his main reason most of her university design briefs were closely
her PART 2 at the University of Westminster to wanting to practice architecture. Having related to the community, she is most keen on
in DS22 where she is able to further explore acquired experience in the practical realm, he developing designs that have the support of
the relationship between politics, culture and is now continuing his study in architecture at the community and are well-integrated with
architecture. University of Westminster for RIBA Part 2 where the environment visually, functionally and
he hopes to develop his passion in architecture. energy-wise. Victoria hopes to use her passion
to help communities in her upcoming projects
during her Part 2 MArch studies.
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Zoe Arnold Zoe Mak
Prior to entering the field of architecture, Zoe graduated from her Part 1 at De Montfort
Zoe studied Fine Art in London and her work University, soon after, she has embarked on her
included installations, sculpture, painting and adventure halfway across the world working in
photography. Zoe’s awareness and interest in both Japan and Hong Kong, and now currently
space and architecture grew from this earlier working part-time in Windsor. The projects in
work and artistic background so she started which she was involved, range from galleries,
working at a large international architectural educational facilities, high-end residential
practice as an Architectural Assistant. Following buildings, and Listed buildings; gaining
this introduction to the field, and with increased invaluable skills of pristine model-making and
ambition and passion, she went on to complete spatial awareness.
her undergraduate degree in architecture at
London Metropolitan University. After working in practice, she travelled in
remote areas in South-East Asia, where there
Zoe developed her knowledge at a number of were scarce resources and lack of utilities,
architectural practices across London and her her passion and ambition lie in designing
main interests lie in a number of topics, including sustainable living and help change and shape
The Value of Pluralism in Contemporary the situation of people living in less fortunate
Architecture; The Implications of International conditions.
Architecture and Globalised Practice on
Locality; The Value of Style in Architecture; During her first project in DS22, her group
How Craft is changing in the 21st century; designed a device which creates a disability
The Development of Sustainable Architectural for all, an oxygen mask that you have to rely on
Strategies. Zoe’s experience in the architectural and drag it around with you as a burdensome
realm has helped her develop a thorough, object, this experiment gave us understanding
creative and iterative design approach and the in how some ‘disabled’ people feel and be
ability to listen and take others ideas on board. more attentive of the minor details that are
She looks at everything with an open mind and compromised in our daily lives; in which she
an ambition to push ideas forward. hopes to developed more in her practice.
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3. ORGANISATION AND TIMESCALE OF THE PROJECT
In this report we aim to firstly address the cultural capital of buildings and their relation to bureaucracy and secondly to challenge the way in which
people perceive the relationship between body and space. In order to respond efficiently to the brief, we have divided our members into two teams,
which are responsible for delivering separate parts of the document.
Peer to peer collaboration as opposed to a hierarchical organization represents a key element of our work ethos in which all team members have
equal responsibilities. Our approach commenced by identifying a time-frame and setting interim deadlines for producing work. As a next step, we
have divided tasks which were then individually selected by members in order to achieve a balanced division of workload. This approach promised a
productive and enjoyable way of working in spite of the limited time-frame.
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2.1. Introduction & Aims
Given the task of adapting Luigi Snozzi’s Kalmann House

for accessibility and part M compliance the first aim was to
understand the new users of the house, and their needs, whilst
being guided by our interpretation of the original architects
design intent, in order for this to be retained as fas as is possible.
The new users are known to be ‘new occupiers who are

wheelchair bound’ so this will drive the requirements for the
adaptations, however consideration will be given for visitors
of all physical ability levels.
We aim to address the building’s accessibility, with part M as

the technical guidance but taking a more holistic approach
overall, analysing the building and looking at how it can still
be appreciated for its original design, but enhanced so it can
be enjoyed by everyone.
‘Inclusive design is about making places everybody can use.’ (1)
Following on from this the brief is expanded to incorporate

the addition of a visitor centre. This will develop on the 2. 01. Site Plan
above ideas and make a space open and accessible for all.
The visitor centre aims to expand upon and respond to the
design intent of Snozzi’s seminal design, and will incorporate a
reception space, exhibition area, talk space, bookshop & WCs,
whilst complying with points set out in part M of the building
regulations, in this case referring to the guidance for public
buildings, as opposed to dwellings, as in the first study.
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2.1.2. Understanding the Kalmann House
To begin dealing with this brief, an understanding of the

architect and his intentions and ideals are key. As Luigi Snozzi
explained during his inaugural lecture at EPFL university in
Switzerland in 1987:
2.03. Aldo Rossi
“… the aim of teaching architecture is not simply the forming
of brilliant and skillful architects, but rather that of intellectual
critics endowed with a moral conscience.”
LUIGI SNOZZI
‘In the 1970’s and 1980’s, Luigi Snozzi belonged to the so-
called “Tendenza”, a group of like-minded architects’ (2),
which includes Mario Campi, Aurelio Galfetti and Mario Botta,
practising in the Italian-speaking Swiss canton of Ticino. 2 .02. Luigi Snozzi 2. 04. Mario Botta
‘The Tendenza architects were basically Modernists, but their

Modernism was tempered by ideas of Italian theorists such
as Giorgio Grassi and Aldo Rossi. Grassi and Rossi were the
inheritors of the prewar Rationalist tradition. They had begun
to question certain aspects of Modernism, such as the idea
that function should be the prime generator of form, stressing
instead the continuity of traditional building types. And since
traditional types are culturally specific, this also implied a
new respect for the character of particular places.’(3) ‘Snozzi
expresses a deep interest in the historical and morphological
analysis of the site, which he considers to be crucial to the
project. He is also a neo-rationalist and lover of reinforced
concrete.’ (4)
SITE
Kalman house, built in 1976, is located near the Lake Maggiore,
in Brione sopra Minusio, Switzerland in a zone ‘characterised
by highly diversified orography, made up of a series of small
valleys and streams.’ (5)
The ‘landscape has been completely compromised during the

last twenty years, by the construction of a large number of
vacation homes.’ (6)
‘At first sight, the Kalman house seems perfectly abstract, an

artificial form standing in contrast to the Alpine surrounding
landscape, however on closer inspection, it turns out to
be intimately related to its site.’ (7) ‘In fact, the ideas behind
Kalmann house relate to the flow of the landscape and how
the insertion of a house respected the land and enhance the
orographic values of the site. It is consistent, symmetrical,
and marks an important shift from the International Style to
a tempered Modernism. The house is an example of elegance
2. 05. Aerial images: Google Earth
through its simplicity.’ (8)
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Kalmann House : Floor Plan Analysis
2. 06. Basement Floor Plan 2. 07. Lower Ground Floor Plan 2. 08. Upper Ground Floor Plan
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2.1.2. Understanding the Kalmann House
The building uses symmetry to make the view over the house
follow the same gradient of the hillside it is situated on; ‘it is not
just a three storey box perched on a steep slope, but a subtle
response to that slope in respect of its size, gradient, orientation,
character, and the structural necessity to stabilize it’ (9).
‘The house would ideally spread itself east-west’, allowing the

best views over the lake are, ‘but the slope is too steep and
narrow to allow this’ (10).
‘The curved hillside of the houses wall and terrace represents the
principle of an architectural adaptation to nature which Snozzi
declares to be false. Therefore, it is immediately confronted
with the counter-principle: the opposition of architecture and
nature. The straight supporting wall of the terrace cuts vertically
into the hill. The horizontal curve of the hillside and the vertical
curve of the valley side are the two extreme ways of behavior
brought to the synthesis in the sense of thesis and anti-thesis.’
(11)
‘The south end of the building is almost completely open, with

the glass wall set back to create a terrace and a balcony.’ (12)
West and Sound diagrams: these
show how the house follows the
‘The box takes on a vaguely anthropomorphic aspect, as if it
same gradient of the Hillside
were a figure looking out with shaded eyes towards the lake in
the distance.’ (13)
2. 09. Exploded Exterior Sketch
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The property size is 400 m² with private and spatial transparency between the floors. The
living spaces split between two floors. Private first flight lands beside the living room, which
spaces such as the bedrooms are on the top is divided into sitting and dining zones by a
floor, whilst the living room that leads out to freestanding fireplace.
the pergola is situated on the ground floor.
‘The second flight lands on the internal balcony
‘The entrance on the north-west corner is overlooking a double-height space with a view
reached via steps and ramps from the road out straight ahead through the full-height glass
below, but the original idea was to approach wall. The staircase has now emerged out of the
from further up the road via a narrow bridge ground and can be lit by a long window facing
over the stream. This arrangement would have the slope. The two bedrooms at this level share
been physically easier and psychologically far a single central bathroom.’ (15) ‘The living room
more satisfying, but it was never realized. From opens onto a long narrow terrace that curves
the small entrance hall, a straight stair of two around the right, along the contour, terminating Basement
superimposed flights raises on the dark, west in a pergola from which the best views of the
Staircase
side of the house, dug into the slope.’ (14) lake can be had.’ (16)
Entrance
He also tends to locate the service spaces of
Pergola
the house in the northern end of the house the
active spaces in the southern end of the house. Kitchen/Living/Dining
Double Bedroom
There are also pods of storage cupboards that
sit centrally on the two bottom floors. Single Bedroom
The interior space plays with the theme of Bathroom
2. 10. Basement Floor Plan 2. 11. Lower Ground Floor Plan 2. 12. Upper First Floor Plan
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2. 13. Interior View, Living Room
In contrast with the concrete used in the ex-

terior of Kalman house, for the interior space
he uses white stucco, terracotta floor and steel
frame.
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2. 14. Exterior South View

3D Views
2. 15. 3D Model Views
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Summary
‘The basic elements of the project are designed to bring out

the orographic values of the site: the entrance pathway along
the antique terracing of the vineyard, the small bridge over
the stream, the internal staircase along the wall which echoes
the natural curve of the terrain (the “organic” element) and, in
contrast, the rigorous geometry of the two parts which define
the interior of the edifice, the house itself and the terrace. The
latter terminates in a pergola situated at the exact point in
which the valley opens’. (17)
2. 16. Sketch - Showing how the pergola framing the view
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2. 17. Sketch - South view showing how the building sits in context and landscape
2. 18. Concrete frames and geometry
2. 19. Framed view 2. 20. View over the lake 23

2.1.3 Understanding Accessibility and Part M
To propose an effective adaptions of the house an understanding of Part

M and its restrictions is necessary, backed up by the guidance set out
in the equality act and several documents such as CABEs Principles of
Inclusive Design.
Building regulations - Part M
Part M of the building regulations forms the technical guidance

setting out dimensions, space planning and generic provision allowing
disabled people to use a building. For the first part of the brief, the
relevant document is ‘Approved Document M - Volume 1: Dwellings’ and
particularly category 3: wheelchair user dwellings.
Thinking Accessibility
Despite part M defining the official requirements we aim to consider

this in a more holistic method. CABE state that the only good design is
inclusive design, this sets out an agenda for any design going forward,
and so the design of any refurbishment or extension to a building.
To achieve this we must imagine the end user, and their experience 2. 22. Whitby Abbey Visitor Centre by Stanton Williams Architects.
within the building and beyond. Considering the entire experience, from
first arrival to their departure, and the impact it may have had on them The building gives all visitors the same experience, setting accessibility
right down to the experience in individual spaces within the building. as a key, proving a complex multi-levelled site can still be up to standard
letting more people than ever experience it. The lift forms a central part
Creating Accessibility of the building with the stairs in this case being provided as an alternative
Within a refurbishment to an existing building there is sometimes an idea

Accessibility in Context
that lower standards should be achieved and exceptions can be made.
This is rooted in how the regulations are setting out, forgiving certain
Accessibility in historic contexts is often seen to be an oversight, with
issues in existing buildings, leading to an attitude of arguing a case for
acceptance that certain spaces don’t need to comply to the same level
the minimum provision possible.
of accessibility as is considered for new buildings. This however has been
proven to be an invalid argument by a number of creative architects and
clients, and these should be able to set a precedent for others.
This is a key consideration when proposing adaptations to the Kalman

House, as a piece of seminal 20th century architecture, through
understanding of the site the impact can be minimal and end up as a
positive improvement to the original building.
Some key precedents are presented here, where adaptations for

accessibility have been extremely successful.
2. 21. Inclusivity diagram
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Methodology
To begin examining Kalman House in terms of accessibility we

must break it down into key elements, these are derived from
the key elements outlined in Part M, shown in diagrammatic
format (fig 2. 21).
Using these as a guideline, all of the elements of the house

will be examined in detail to see how they currently meet - or
fail to meet - the standards set out by Part M of the building
regulations. This analysis aims to cover all aspects of the
building in depth to create the best environment, to allow a
meaningful proposal to be generated.
The spaces defined will then be broken down into four

2. 23. An analysis of sequence of spaces in a private single dwelling, emphasising
major categories - sound, space, materiality and light - and
accessibility in circulation.
interrogated. Often in accessible design consideration is
given to space more than any other, with the assumption that
disability is only that physically present, however there is a
much deeper consideration required beyond this to create
spaces that people are comfortable to be in and live their lives
within.
2. 24. Analysis of the parameters to be examined in each space that can have
an impact on it’s usability.
25

Approach Main Bedroom
Existing: The principle bedroom is currently located on the first floor, up
Existing: There is currently an area for parking, the site is positioned on two flights of stairs from the principal entrance, to align with part M re-
a steep hill so can provides difficulty for visitors not arriving by vehicle. quirements ideally this would be located close to and on the same level
The approach from the main road to the front entrance of Kalman House as the principle entrance.
does not comply with Part M, since wheelchair users are not able to
use the stairs towards the building. The route splits into two types of Proposals: Due to the vertical nature of the house difficulty is found in re-
accessibilities; splitting into stairs from the road and a flat surface to the locating the principle bedroom, however the basement presents oppor-
front entrance. This is understandable difficulty for disabled wheelchairs tunity for a second bedroom should the need arise, and the lift provision
users and elderly people. allows easy access to the principal bedroom from first entrance.
Proposal: To deal with this issue a new ramp is proposed, to follow the Basement
original intended route over the stream that was never realized as part Existing: The basement is not occupied or being used as a purposed
of the original construction. This will be lit accordingly and implemented space. There are eight small windows located in the basement, facing
in materials to match the existing concrete, retaining the aesthetic and East and West of the site which allows a small amount of ventilation and
providing a suitable surface for walking & wheelchair users. The ramp natural light into the room. It also gives a sense of mystery and privacy,
will incorporate a handrail, while a new handrail will be added to the looking towards the house without understanding or knowing what is
original path & steps. inside the basement.
Entrance Proposals: This space presents the opportunity for the addition of a
Existing: There are two entrances into the house; principle entrance and second bedroom. Due to the small windows in this space privacy is not
secondary entrance. The principle entrance is located from the pathway an issue however lighting should be reviewed. A dedicated wheelchair
without a doorway access. The space is around 1200mm associated storage space is also to be provided on this floor as set out in part M, to
with the principle private entrance requirements for Part M. However, allow for usage of indoor & outdoor wheelchairs, or for the case that a
the secondary entrance is less than 1500mm which is the requirements user only requires a wheelchair at certain times.
for a wheelchair user to rotate round the space with 750mm radius. The
entrance is surrounded by two main high thick walls which shades the
access disabling natural light into the space during the afternoon. The
secondary entrance is small and allows not much room for a wheel chair
user to rotate towards the basement. The lobby is also compact with no
windows to ventilate or transfer natural light into the entrance, giving a
feel of claustrophobia.
Proposal: The entrance is proposed to be retained, to retain the original

experience of the building, and being the easiest way to access the
building from the level of the approach.
Levels
Existing: The existing house has three levels, with entrance on the base-
ment level, and a fairly narrow staircase at the rear of the house connect-
ing to the ground and first floors. There is no lift provision.
2. 25. Existing Section, East View
Proposals: To enable wheelchair users or those less able to use the stairs
to navigate the house a lift is proposed to the rear of the house, opposite
the principle entrance, retaining the appearance of the concrete massing,
with minimal intrusion, this is integrated with some internal rearrange-
ments to improve the sequence of spaces in the house. The positioning
at the entrance allows easy and quick access to any part of the house for
all users, and requires minimal manoeuvring from the principal entrance.
26

2. 26. East view
Ground floor
Existing: The ground floor is open plan with a storage and fireplace unit
in the middle, allowing wheelchair and less able users to access the
living room and kitchen easily, without having to pass through narrow
doorways. With an open plan, the users can pass through the kitchen
to access the staircase to the first floor which is not convenient. There
is also easy access from the living room to the pergola space. The route
from one space to the other is open and allows the owners to appreciate
and enjoy the sound and space of the nature surrounding the house,
however the current threshold is problematic for wheelchair users, being
raised from the ground, believed to be for weatherproofing purposes.
Proposals: The open plan layout is to be retained to this floor as it

provides a highly flexible space, and avoids unnecessary obstructions,
however the threshold detail to the door is to be reviewed to make it
level allowing wheelchair access to the balcony.
First Floor
Existing: The first floor is only accessible via the staircase. The floor is split
into three spaces with a bathroom and storage area, placed in the middle
of the two bedrooms. The principle bedroom is located on the South
side of the house, with a balcony looking out onto the garden. The main
bedroom does not obey with Part M building regulation, not complying
with the 750mm access around the bed, and a wheelchair rotation access,
for a wheelchair user. There is enough room for the secondary bedroom
to comply with Part M, however this assumes a smaller bed. Moreover,
the bathroom is too small to comply with Part M building regulations,
lacking the wheelchair users to rotate round the space of 750mm radius.
The space also lacks the necessities for a wheelchair user, with no grab
rails or suitable dimensions for a shower or bath tub.
Proposals: The regulations states that minimum one bedroom for a

wheelchair user must comply with the wheelchair dimensions, so a
larger rearrangement is proposed to the first floor, converting it into a
single accessible bedroom with an accessible WC adjacent, cutting down
the number of beds but improving overall conditions & accessibility.
27

Summary of Proposals
Existing: In summary, Kalmann House is not accessible for

wheelchair and non-able users, travelling from the main road to
the primary entrance. The vertical nature of the original design
inherently causes issues with accessibility and small overall
footprint restricts movement internally. The building does gain
large amounts of natural light meaning it will be well lit during
the day.
Internally and externally surfaces are formed in solid materials,

suitable for access of all types, however issues are presented at
thresholds to doors, particularly the external doors leading out
onto the sweeping terrace.
Proposals: The major proposed change is the addition of a lift

2. 27. Proposed Upper Ground Floor Plan
on the rear of the house, this is to be positioned externally due
to the already small footprint of the building, and to retain as
close to the original layout of the house as possible. There is
some proposed reordering of spaces in the house to allow for
a bedroom on the basement level, at the point of entrance, and
the rearrangement of the first floor to include an accessible WC
adjacent the main bedroom.
Smaller changes include a review of the lighting solutions,

externally and internally, to confirm pathways are clear in any
condition, and a revision of threshold details ensuring they are
level without obstruction.
2. 28. Proposed Lower Ground Floor Plan
Bedroom
Proposed Lift
Accessible WC
28 2. 29. Proposed Basement Floor Plan

29

30

2.2.1. Analysing the Site
Kalmann House
2.30 Existing Site Plan
31

Analysing the Site
Constraints diagram
2.31
32

Analysing the Site
Opportunities diagram
2.32
33

2.2.2. Visitors Centre
Position of visitors center
Chosen Option A:
Option A allows for the main facade to face south, which
means that the visitor center will be receiving a good
amount of natural light during the day and will look over
the astonishing views to the Lake (Figure 1).
Option B will be very difficult and expensive to build as

the ground levels are very steep (Figure 2. 36).
Option C will have to compromise some of the

surrounding green area and would be mostly poorly
illuminated as it will be north-faced.
We feel that Option A is the most viable option. There are

great opportunities as discussed earlier and the team is
very excited to start designing.
In our design we will incorporate the original idea of the

narrow bridge over the stream and the main entrance
of the building will be from further up the road (Figure
2. 35).
At the moment there is a small “vineyard” in our

proposed site (Figure 2. 35). Having viewed it on Google
maps, the area appears to be rather like an overgrown
garden with a shed and mini poly tunnel. As valuable as
green spaces are, we felt that in this instance it would
be more valuable to locate our Visitors Centre upon this
area of land.
2. 33 Potential areas to develop
34

‘The best views over the lake are to the south and south-west. To do justice to the ‘The entrance on the north-east corner is reached via steps and ramps from the
view, the house would ideally spread itself east-west, but the slope is too steep road below, but the original idea was to approach from further up the road via
and narrow to allow this.’ (17) a narrow bridge over the stream. This arrangement would have been physically
easier and psychologically far more satisfying, but it was never realized. (18)
2. 34 View to the south 2. 35 View to the west
2. 36 View to the north west 2. 37 View to the north
35

2.2.3. Brief We have tested the option of having a ramp for disabled people, but
it would have to extend 66m in length in order to cover the 3.3m
Visitor Centre to include: floor height, based on the 1:20 ratio. As our site is quite limited, it
would be prohibitive to include a ramp this long.
1. Reception area
2. Exhibition space Whilst reading the Building Regulations (Approved Document
3. Small talk space (capacity of 25 people) M: Access To and Use of Buildings, Volume 2: Buildings Other than
4. Bookshop Dwellings), we appreciated that as described in this Part M document ,
5. Toilet facilities ‘ramps are not necessarily safe and convenient for ambulant disabled
people. For example, some people who can walk but have restricted
The Extension to the house should double the floor area, thus mobility find it more difficult to negotiate a ramp than a stair,’ which
providing an additional 400m2 area. confirmed our decision not to include a long ramp.
We were inspired by the use of a lift platform in the Maison Bordeaux

by OMA built in 1998. In our opinion it allows for inclusivity and
equality for all users.
Our main aim in developing strategies for movement through the

building is to create a sense of equality in the use of the space for
all users including all spectrums of bodies and minds. Our aim of
incorporating the large platform lift is to encourage everyone to use
it to move vertically through the building. By locating it within the
center of the plan we want to create a sense of enjoyment of moving
through the building and being able to look out in all directions and
remain part of the ‘active’ spaces rather than being shunted off to the
side within a void (as is usually the case with standard enclosed lifts).
The glazed balustrade around the platform also enables greater

transparency between the spaces and connection to them. We shall
incorporate an acid etched pattern on the side of the glass to enable
partially sighted people to be aware of the structure.
We are including a staircase mainly to meet fire regulations, yet,

also to offer an alternative means of moving through the space, if so
required.
We are including a number of benches throughout the building to

allow people to rest and care for those who suffer from fatigue.
36

2. 38 Interior view of Maison Bordeaux by OMA, showing lift platform between floors
2. 39 Interior view of Maison Bordeaux by OMA showing lift platform aligned with floor level 37

2.2.4.Visitors Centre Proposal
LOWER GROUND FLOOR PLAN - PROPOSED LAYOUT
2. 40
38

UPPER GROUND FLOOR PLAN - PROPOSED LAYOUT
2. 41
39

PROPOSED LONG SECTION
2.42
40

PROPOSED SHORT SECTION
2.43
41

PROPOSED SCHEME
2. 44 Proposed exterior view
42

2. 47 Proposed interior view of the upper ground floor, viewing the lift platform
43

2.2.5. Critical Reflection
Firstly, throughout the whole process we discovered the advantages of working as part of a
group. Good teamwork is crucial in producing a concise end result, especially given the limited
time and resources. It was important to establish a uniform methodology in approaching the
brief from the start thus, we found this helpful as all the individual elements came together well
as a whole.
We started the research on Kalmann House through series of site analyses, plan drawings and
3d models. This provided a stable foundation to address the rest of the brief. We identified the
architectural qualities that the building possess and how the environment relates to it. We then
decided on designing a visitor centre for the extension, as this we believe would add to the
building’s architectural value. Having the key design principles of the Kalmann House in mind we
designed the visitor centre in same language as if to compliment the original building. Having
the extension on a lower platform also subtly implies the hierarchy of the two.
Through testing, we have learned that the option of having a ramp to comply Part M was
impractical. This led us to explore other possibilities, hence the group decided to design a
lift platform which we believe allows inclusivity and equality for all users. Ergo, although we
encountered many obstacles along the way, we managed to embrace them then challenge the
design even further.
44

2.2.6. Design and Access Statement
The purpose of the proposed works at Kalman House is to allow for all users to have equal access
to the residential building from the access routes available to the house.
Having researched into the possibilities of creating accessibility through understanding part M
and the rules and regulations which follow, whilst also proposing a series of interventions; we
believe that our intervention fits into the context of the building and is therefore the most suited.
Our aim throughout the project was to consistently allow for inclusive design and equal right
of access hence the reason why we decided to opt in for the lift option when moving vertically
throughout the building; whilst always keeping an eye for the safety of those who will be using
the design.
In parallel, through further investigation of the site and its characteristics, we wanted to respect
the landscape and work with it rather than working against it. The mountainous nature of the site
and natural surroundings such as the greens and streams gave us an opportunity to work with
materials that allowed for the transparency of the context to feed into the building itself, such as
the glazed balustrades. Furthermore, we appreciated the idea of allowing the users to slow down
and absorb their surroundings and appreciate the space they are in, and for this reason we have
allowed for benches in certain areas to accommodate the space. This also works in advantage to
those who frequently need to pace down and take breaks.
45

46

Part III - Having a Body
3.1 Introduction
The practice of architecture and the built Our approach is based on both quantitative
environment is becoming increasingly aware and qualitative data in order to produce a well-
of the importance of disability awareness when rounded analysis which will help structure our
designing spaces and buildings. The ‘norm’ is conceptual proposal.
being contested and challenged by the new
perspectives on disability. Cities need to be The qualitative data based on an interview
built for everyone and fit for everyone. This with a student affected by a speech disorder
direction raises new perspectives on disabled (stutter) and accompanied by panic attacks is
people and the way our built environment is used to provide insight on how people affected
perceived and used. by certain disabilities experience space. For the
purpose of this report, the student’s identity is
The concept of disability does not only refer to protected and is not disclosed.
the physically disabled, it encompasses a large
array of psychological conditions as well. In The quantitative data gathered from route
order to break the preconceptions surrounding decibel readings, photographs and videos
disabled people and challenge the way the helped us to accurately map pockets of high
issue is treated, our team is determined to noise levels as well as an average baseline
raise awareness about the condition of sensory decibel level throughout the whole route.
overload and propose a conceptual solution
which would improve spatial encounters and In the next section we will provide details of
experiences. our experiments, design process and ultimately
state how it further informed our concept
In this chapter of the report, we aim to challenge proposal.
the way we perceive the built environment
and take into consideration divergent ways
in which people use and interact with their 3. 01 Front book cover
surroundings. The outcome of this analysis
will be distilled into a conceptual proposal set
on a predetermined route starting from Baker
Street station and finishing on the 4th floor of
University of Westminster in London. ‘Disabled people have to be ingenious to live in societies that are by their design inaccessible and by their
inclination prejudiced against disability. It requires a great deal of artfulness and creativity to figure out
how to make it through the day when you are disabled, given the condition of our society.’
Tobin Siebers
47

route from the station to the university. Often, the of sensory overload, however, through careful
student would run in this part of the route ‘so that consideration and reading of ‘Having a Body-
the scaffolding doesn’t fall’ on her, which leads Rethinking Access’ by Jos Boys, we believe that
to a higher heart rate and increased likeliness of the experiences of the student lies in between
panic attacks. On the other hand, there is also an Dealing with Sensory Overload and Managing
alternative route which can be taken, and this is Encounters with Others. Once in the university,
preferred at times. The student emphasised on there were several ‘hot points’ where the student
the fact that when she is in the open, she does not experienced higher risks of panic attacks. There
feel comfortable in having tall structures above are clear indications that the student found it, at
her. This discussion pointed out the next factor in times, difficult to conduct face to face encounters
achieving safe space, which was the importance with those she had met for the first time and it was
of the appearance of structures that occupy evident in the way she stuttered in comparison to
our spaces and in turn we occupy. It raised the a close friend or family member, where her stutter
question of the significance of fluidity within the was at its minimum. It was also discussed that
spaces we navigate around. she found it challenging to present her work in
Approach following our conversation with of G., the studios during the crits as she would fear that
a fellow student suffering from a speech disorder Interestingly, one theme which stood out to us her stutters would be at their worst, disallowing
(stutter) and panic attacks. from the readings was the notion of Kairotic her from articulating her thoughts and ideas and
Space; usually defined to be unplanned and hence increasing the likeliness of her panic attacks
a space whereby ‘knowledge is produced and occurring. This was something which would
power is exchanged’ . A definition which DS22 has often make her feel out of place and mis-fitting.
previously seen embodied within Third Space, a Nonetheless, and on a more positive note, through
Our conversation with the student was very eye concept which heavily drives the work we produce. our conversation with the student; we discovered
opening and it raised several key issues, most that these ‘feelings of exposure’ were negligent
of which we had not previously picked up, or Margaret Price argues that Kairotic Space is one in comparison to her experience in school and
dwelt upon. One which particularly stood out to where contributors of the space are present college; as the university did offer some support to
us was the notion of ‘safe space’; although it had virtually, however it is important to note that the help ease her discomfort especially for the times
not been directly mentioned in these terms from space can be experienced differently by different where she had to present her work.
our conversation with the student, it was quite people, where certain people can ‘perceive a
apparent. significant sense of risk’ within the space. As The student also raised her worries and discomfort
Edward Soja writes that, within Thirdspace, the from working in the fabrication laboratories at
Below is a list of examples where the student felt intersection between ‘space, knowledge, power the university of Westminster, as the loud and
she was most vulnerable at when making her must be seen as both oppressive and enabling’. insensitive mechanical sounds of the machines
journey to the university as well as any obstacles often made her panic and for this reason she
which she potentially faces in the average It is remarkable to note that the above was completely avoided this area. Sadly, it meant that
university day. manifested during our conversation with the she was missing out on the opportunities of using
student, as we had collectively picked up on the facilities that the university had to offer her.
As we had speculated prior to our conversation the factors which make her conversations with Furthermore, this meant that she was not fully
with her, the trains seemed to be an issue. The individuals successful, and this was having a sense engaging in her course and studies in comparison
overcrowded carriages at peak hours had the of awareness that the person conversing with to her fellow students which potentially meant
prospective of triggering her panic attacks. To her was physically present. She had specifically that she could lack in certain skills.
prevent this, she would listen to music as it was a mentioned that conversing with someone over the
sound which she was familiar with. This helped us phone without seeing their face often increased Nevertheless, the student felt most comfortable in
identify that sound was a factor in cultivating safe the possibility of panic attacks as she was not the library where she was able to relax, away from
space, more specifically: familiar sounds. aware if the person was definitely partaking in the excessive noise experienced on campus. Her
the conversation. It occurred to us that situations favourite spot in the library was the sofa area on
The next obstacle faced was the scaffolding which which offered higher risks of uncertainty and the 3rd floor as it was a space which was occupied
was present outside the station and spanned invisibility were something that had negative by individuals rather than groups, and so she was
across the whole building. The tall, sharp and impacts on her. able to create her own world within a public space.
aggressive appearance of the scaffolding meant We saw this as a Third Space or Kairotic Space and
that the student would avoid walking under the Initially, we had set out with the aim of interviewing saw a potential of linking it to the studio spaces
scaffolding as they would make her panic due to the student with the assumption that her stutter and away from the podium level where high
her fearing they would fall on her. It is important to and panic attacks were considered to be a part levels of noise from the university were generally
note48the scaffolding occupies almost a third of the

concentrated. and raise more ‘what if’ questions. frameworks become denser, the pavilion takes
more of a solid form, allowing for seating areas to
The principle of inclusive design by Howard We decided to start with investigating the sound be incorporated within the pavilion, allowing the
Fletcher states that in order to create a design levels from Baker Street station to the University user to slow down where needed.
which is inclusive, the following must be taken of Westminster and including the 4th and 5th
into consideration: floor studios. As shown in the reports and stills Taking this pavilion further and carrying on the
taken from a series of journeys and routes to the theme of DS22 where we stitch fragmented
1. Inclusive design places people at the heart university, the noise pollution levels were high. landscapes within contested spaces, we wanted
of the design process; to envision the library and studio space as
‘fragmented spaces’ and proposed to stitch these
2. Inclusive design acknowledges diversity To sum up, along the route from the station to silent areas through our design intervention,
and difference ; the architecture studio spaces, we identified the offering alternative routes to the conventional;
following to be ‘hot spots’ or ‘bad places’ which routes which allow the user to navigate their
3. Inclusive design offers choice where a could result in the triggering of the student’s panic way within the space invisibly yet without being
single design solution cannot accommodate all attacks. or feeling excluded. One scheme we proposed
users was an ‘urban corridor’ which would comprise
the bridge that connected the main Marylebone
4. Inclusive design provides flexibility in use ; • The threshold between the train doors building directly to the library building and the
and platform; common space within the library leading up to
5. Inclusive design provides buildings and • The ticket barriers in the station; the 3rd floor study area; an invisible corridor often
environments that are convenient and enjoyable • The pathway with scaffolding spanning unnoticed by students within the university would
to use for everyone ; across the building and along the route to offer safe space.
the university;
The next step was to understand what we were • The island at the crossing on the main
designing for. road;
• The outside space with the university
We realised that there were a number of aspects canopy overhead;
which could be approached such as the ‘familiar • The revolving doors of the university;
sound’, ‘safe space’/ ‘free space’ and ‘ease of • The card swiping barriers;
communication’ however we equally wanted to • The middle lift of the building (due to its
address them all to a degree within the design over crowded nature in comparison to the
proposal and approach, understanding that our other two lifts);
focus may shift at times to one aspect. However, • Studio spaces during crits;
the overall aim was to intervene in order to design
inclusively using the points mentioned above
whilst also bearing in mind that they may hinder the
design process at times as Jos Boys writes in Doing The design idea would take form of a pavilion
Disability Differently ‘we need to find strategies and structure made up of frameworks incorporating
tactics that can help us do disability and architecture the mechanism of sound alteration and the
as a (potentially avant-garde) practice that is deeply blocking of excessive sound, specifically sound
embedded within architecture’s own knowledge of, which is not needed to process important
and assumptions about, itself as a creative, professional information. At the same time, it would serve
and socially responsible discipline.’(19) purposes of creating a safe space and shelter from
excessive noise. Where we identified the highest
We found it challenging at times to address these areas of noise pollution on Marylebone Road,
points and implement them on the route we the framework of the pavilion would be denser
decided to take in terms of defining disability, as compared to other areas with less noise pollution.
stuttering and panic attacks was considered at Furthermore, the fluidity and organic shape of
times to be a psychological condition; furthermore, the structure breaks through the harshness of the
it is not something that you could touch or see urban fabric and industrial aesthetic the city has
rather it was something which only revealed itself recently adopted. Simultaneously, the structure
from a series of events that were to take place. follows the route from the station to the studio
However, it also gave us the freedom to speculate spaces, acting as a sheltered pathway. Where the
more and stretch our ‘imagination’ a little further 49

3.2 Dealing with Sensory Overload
Sensory overload is a mental condition triggered
by the physical over-stimulation of sensory
receptors. This condition is often associated with
autism but it can be experienced by anybody.
People suffering from this condition have difficulty
processing everyday sensory information, which
ultimately affects behaviour and the way in which
they experience space.
Sensory overload can be triggered by hypo-

sensitivity or hypersensitivity to sight, sound,
smell, taste, touch, balance and body awareness
receptors and require the person to separate him
or herself from the situation in order to regain
control.
The fast paced and overly-stimulating environment

in which we spend most of our lives relies a great
deal on our senses and ability to process the ever-
increasing levels of information on everyday basis.
The most efficient way of dealing with sensory

overload is prevention. ‘The process of avoidance
involves creating a more quiet and orderly
environment in which noise and visual clutter is
kept at a minimum’. (20) This prevention might
suggest a change in how we design our cities
and a raised awareness of the ways in which we
could minimise the sensory impact the built
environment.
3. 02 Illustration by Jamie Cullen

‘Cinematic Synesthesia: A Sensory Overload’
50

The Marylebone Route
University of Westminster Marylebone campus

occupies a prominent area in Central London,
benefiting from proximity to transport links and
the world’s first underground railway, opened in
1863- Baker Street Station. Its proximity to parks
such as Regent’s Park and cafes and restaurants
on the adjacent high streets make University of
Westminster an ideal choice for students from
everywhere, who want to experience London at
one of the top ranking Universities. The University
emphasizes this connection with the city with its
main statement: ‘London is our campus’
Nevertheless, having London at the University’s

doorstep comes at a price. The campus sits on
one of the busiest and most polluted streets in
London, exceeding the annual mean limit for NO2
3. 03 Marylebone Road area Pollution map, 2017
pollution of 40 ug/m3 by just as much. Noise levels
also exceed the limit of 75db on a baseline traffic
model ( fig. 3. 03).
The environment in and around the University can

be primarily characterized by a continuous sense
of movement and activity. The flux of people and
activities makes it difficult to negotiate your way
through, especially for disabled people.
Our analysis explores three possible Marylebone

routes accompanied by two routes through the
Universtity building. These routes include the
approach to the building from Baker Street tube
station, through the Learning Platform, up to and
through the 4th and 5th floor architecture studios.
51

3. 04 Route 1
3. 05 Route 2
The qualitative data gathered from the interview

added a social and emotional dimension to our
analysis and enabled us to think differently about
the issue at hand.
G’s critical opinions about the space in and around

the University provided a solid starting point for
our analysis of the proposed route. It helped map
key areas which represented a challenge for her
and other disabled students.
Her struggles have perspired through her words

and are proof that our built environment fails in
its simple task of providing equal means for all its
users.
52 3. 06 Route 3

3.3 The Route and Noise mapping
In order to critically assess the prescribed routes

against the symptoms of sensory overload, the
team agreed on setting relevant parameters
of analysis such as noise levels, length of route
and time of exposure to triggering factors. We
identified visual and aural stimuli as being most
relevant to the route.
The team firstly focused on identifying a baseline

noise average for the area followed by mapping
key spots where noise levels reach a peak level.
These spaces are perceived as having the highest
sensory overload risk if exposed to for a prolonged
period of time.
3. 07 The three routes
53

7
3. 08 1 The view as soon as the user leaves the

underground to get to the street level.
3. 09 2 The start of Route 1, as the user turns left 3. 10 3 The view before crossing the first road, 3. 11 4 The view before crossing the second road,
into the claustrophobic alley enclosed with with Madame Tussaud’s on the left and with the university building in sight.
scaffoldings. the university building on the right.
54

6
5
1
2
3
4
Route 1 3. 15 8 The end of all routes as the user approaches

Route 2 the entrance of the university building.
3. 12 5 Route 3 using the ‘Wonderpass’ connecting 3. 13 6 The view facing east whilst crossing the 3. 14 7 The view facing east whilst crossing
opposite sides of Marylebone road through first road. Chiltern Street.
an underground passage.
55

3. 16 Route 1 - Baker Street Station to University of Westminster
3. 19 Route 1 - University of Westminster Main Entrance to Studio Spaces
3. 20 Route 2 - University of Westminster Main Entrance to Studio Spaces
56

R1
R2
R3
3. 21 Map of journey from Baker Street station
to the University of Westminster
R1
R2
3. 22 Map of journey into the University of
Westminster
57

3.4 Heat map - findings
Decibel levels and length of exposure are critical

for people suffering from sensory overload. The
continuous exposure to loud and unnatural noises
could trigger an over-stimulation in individuals
suffering from this condition.
Therefore, the heat map sets the base for the team’s
conceptual intervention which would hijack and
alter the spaces by taking ownership of the aural
quality of the environment.
3. 23 Heat Map
58

Heat map - findings
Exterior Route
3. 24 Route 01:
Average decibel level: 57.5 dB
Length of route: 135 m
Time of exposure: 3 min 10 sec
Peak decibel reading: 73dB
59

Heat map - findings
Exterior Route
3. 25 Route 02:
Peak decibel reading: 74 dB
60

Heat map - findings
Exterior Route
3. 26 Route 03:
61

Heat map - findings
Interior Route
3. 27 Route 01:
Average decibel level: 46 dB
62

Heat map - findings
Interior Route
3. 28 Route 02:
Average decibel level: 48 dB
63

3.5 Proposal
In keeping with the team’s studio ethos, the

proposed intervention relies on the concept of
community and individual resilience in the face
of present socio-political and environmental
conditions.
The studio brief of constructing a device for

activating an underlying issue in contested
spaces has informed the team’s proposal for this
assignment.
The conceptual intervention is not only

raising awareness regarding disabilities, but
also challenges the current conditions of the
prescribed routes. By using an arched frame, the
proposal acts as a visual aid for people negotiating
their way along the route. The arches also use an
active noise reduction technology for lowering
the decibel levels for the identified areas.
‘Active noise control works by firstly analysing the

noise source and the sound frequency, followed
by emitting a sound which has the same aplitude
but an inverted phase. The interference of the two
sound waves effectively cancel each other out,
reducing the volume of the perceived noise. ‘ (21)
The proposed device weaves together pockets of

silence which pave an invisible path for people
struggling to cope with the environment that we
have built. This intervention provides both a visual
and aural relief from aggressive external stimuli,
therefore acting as a familiar beacon of silence
that hijacks the city.
3. 29 Sketches of design proposal
64

3. 30 Design Proposal Overall Strategy
65

66 3. 31 Design Proposal view 1

3. 32 Design Proposal view672

4.1 Conclusion
As our environment is relying more and more

on our ability to analyse and process heaps of
incoming information, our bodies struggle to keep
up the pace of a fast moving world.
Sensory overload is one of many so called

disabilities which raise the issues of the way we
design and organize our cities and the strain we
inflict on ourselves when we don’t consider our
bodily capabilities and limits. The fast paced world
we have constructed disregards our bodies and
the way we are designed to interact within our
environment.
Collective 22 proposes a different perspective

on the way we perceive our environment and a
more introspective approach to our way of living.
The spaces we inhabit should be reclaimed in a
way that respects our human side and its limits.
Collective 22 supports a collective consideration
regarding our cities and a less individual approach
in all aspects.
We believe that building regulations and policies

have aided professionals to understand the
importance of inclusive design, yet there is much
more ground to be covered in this domain. The
quality of our environment would be substantially
improved if regulations, especially Part M, would
include a conceptual understanding of space
which is not limited to disabled access.
By raising awareness of this issue, Collective 22

alongside other studios from the University of
Westminster, aim to change the way we think
about our disabilities and create an inclusive
and people-oriented mindset within regulations,
policies, buildings and ultimately the built
environment.
68

3. 33 Design Proposal view69
3

Table of Illustrations
Part II - Regulating Design
2. 01. 2. 14.
Site plan, C. Lichtenstein, Luigi Snozzi, Basel, Switzerland, Birkhäauser, Exterior south view, https://i.pinimg.com [accessed 20/11/17].
1997, p. 52.
2. 15.
2. 02. 3D model views, generated by authors using a Sketchup model sourced from
Photograph of Luigi Snozzi, www.pinterest.com [accessed 20/11/17]. 3dwarehouse.sketchup.com.
2. 03. 2. 16.
Photograph of Also Rossi, en.wikipedia.org [accessed 20/11/17]. Sketch showing how the pergola framing the view, authors’ own.
2. 04. 2. 17.
Photograph of Mario Botta, images.huffingtonpost.com Sketch showing how the pergola framing the view, authors’ own.
[accessed 20/11/17].
2. 18.
2. 05. Concrete frames and geometry, upload.wikimedia.org [accessed 20/11/17].
Aerial photographs, www.google.co.uk/maps [accessed 20/11/17].
2. 19.
2. 06. Framed view, https://hiveminer.com [accessed 20/11/17].
Basement floor plan, br.pinterest.com [accessed 20/11/17].
2. 20.
2. 07. View over the lake, http://arhitectura-1906.ro [accessed 20/11/17].
Lower ground floor plan, br.pinterest.com [accessed 20/11/17].
2. 21.
2. 08. Inclusivity diagram, authors’ own [accessed 20/11/17].
Upper ground floor plan, br.pinterest.com [accessed 20/11/17].
2. 22.
2. 09. Whitby Abbey Visitor Centre by Stanton Williams Architects, https://www.
Hand sketch, authors’ own. stantonwilliams.com/projects/whitby-abbey-visitor-centre [accessed 20/11/17].
2. 10. 2. 23.
Basement floor plan, authors’ own. An analysis of sequence of spaces in a private single dwelling, emphasising
accessibility in circulation, authors’ own.
2. 11.
Lower ground floor plan, authors’ own. 2. 24.
Analysis of the parameters to be examined in each space that can have an impact
2. 12. on it’s usability, authors’ own.
Upper ground floor plan, authors’ own.
2. 25.
2. 13. Shetch of the existing section of the east view, authors’ own.
Interior view of the Living room, https://78.media.tumblr.com
[accessed 20/11/17]. 2. 26.
Shetch of the east view, authors’’ own.
70

2. 27. 2. 40.
Proposed upper ground floor plan, authors’ own. Proposed lower ground floor plan, authors’ own.
2. 28. 2. 41.
Proposed lower ground floor plan, authors’ own. Proposed upper ground floor plan, authors’ own.
2. 29. 2. 42.
Proposed basement floor plan, authors’ own. Proposed long section, authors’ own.
Design and Access statement - Analysing the Site 2. 43.

Proposed short section, authors’ own.
2. 30.
Existing Site Plan, authors’ own. 2. 44.
Proposed exterior view, authors’ own using existing Sketchup model sourced
2. 31. from 3dwarehouse.sketchup.com.
Constraints diagram, authors’ own.
2. 45.
2. 32. Proposed exterior view, authors’ own using existing Sketchup model sourced
Opportunities diagram, authors’ own. from 3dwarehouse.sketchup.com.
2. 33. 2. 46.
Potential areas to develop, authors’ own . Proposed exterior view, authors’ own using existing Sketchup model sourced
from 3dwarehouse.sketchup.com.
2. 34.
View to the south, www.google.co.uk/maps [accessed 20/11/17]. 2.47.
Proposed interior view of the upper ground floor, viewing the lift platform,
2. 35. authors’ own.
View to the west, www.google.co.uk/maps [accessed 20/11/17].
2. 36.
View to the north west, www.google.co.uk/maps [accessed 20/11/17].
2. 37.
View to the north, www.google.co.uk/maps [accessed 20/11/17].
2. 38.
Interior view of Maison Bordeaux by OMA, showing lift platform between
floors [accessed 20/11/17].
2. 39.
Interior view of Maison Bordeaux by OMA showing lift aligned with floor
level [accessed 20/11/17].
71

Table of Illustrations
Part III - Having a Body
3. 01. 3. 12.
Book cover of : J. Boys., Doing Disability Differently - An Alternative handbook Route 3 using the ‘Wonderpass’ connecting opposite sides of
on Architecture, Dis/Ability and Designing for Everyday Life, London, Marylebone road through an underground passage.
Routledge, 2014.
3. 13.
3. 02. The view facing east whilst crossing the first road.
Illustration by Jamie Cullen, Cinematic Synesthesia: A Sensory Overload,
www.pinterest.com [accessed 20/11/17]. 3. 14.
The view facing east whilst crossing Chiltern Street.
3. 03.
Marylebone Road area Pollution map, Google Maps, 3. 15.
[accessed 20/11/2017]. The end of all routes as the user approaches the entrance of the
university building.
3. 04.
Route 01, authors’ own. 3 .16.
Route 1 - Baker Street Station to University of Westminster, authors’ own.
3.05.
Route 02, authors’ own. 3. 17.
3.06.
Route 03, authors’ own. 3. 18.
3.07.
The three routes, authors’ own. 3. 19.
Route 1 - University of Westminster Main Entrance to Studio Spaces,
3. 08. authors’’ own.
The view as soon as the user leaves the
underground to get to the street level. 3. 20.
Route 2 - University of Westminster Main Entrance to Studio Spaces,
3. 09. authors’’’’’’’ own.
The start of Route 1, as the user turns left into the claustrophobic
alley enclosed with scaffoldings. 3. 21.
Map of journey from Baker Street station to the University of Westminster,
3. 10. authors’’’’’ own
The view before crossing the first road, with Madame Tussaud’s on .
the left and the university building on the right. 3. 22.
Map of journey into the University of Westminster, authors’ own.
3. 11.
The view before crossing the second road, with the university 3. 23.
building in sight. Heat map, authors’ own.
72

3. 24. 3. 32.
Route 01: Average decibel level: 57.5 dB Design proposal view 2, authors’ own.
Time of exposure: 3 min 10 sec 3. 33.
Peak decibel reading: 73dB Design proposal view 3, authors’ own.
3. 25.
Route 02: Average decibel level: 59.4 dB
3. 26.
Route 03: Average decibel level: 50.3 dB

3. 27.
Route 01: Average decibel level: 46 dB
3. 28.
Route 02: Average decibel level: 48 dB
3. 029.
Sketches of design proposal, authors’ own.
3. 30.
Design proposal overall strategy, authors’ own.
3. 31.
Design proposal view 1, authors’ own.
73

References
1. H. Fletcher, CABE - The Principles of Inclusive Design (They include you), Commission for Architecture and the Built Environment, 2006, p. 3.
2. R. Weston, Key Buildings of the 20th Century: Plans, Sections and Elevations, London, Laurence King, 2010, p. 170.
5. P. Disch; A. Sisa; R. Diener; P.A. Crossett, Luigi Snozzi: Construzioni e Progetti = Luigi Snozzi: Buildings and Projects 1958-1993,
Lugano, Switzerland, ADV, 1994, p. 114.
6. P. Disch; A. Sisa; R. Diener; P.A. Crossett, Luigi Snozzi: Construzioni e Progetti = Luigi Snozzi: Buildings and Projects 1958-1993,
11. Lichtenstein C., Luigi Snozzi, Basel, Switzerland, Birkhäauser, 1997, p. 52 -53.
17. P. Disch; A. Sisa; R. Diener; P.A. Crossett, Luigi Snozzi : construzioni e progetti = Luigi Snozzi : buildings and projects 1958-1993,
19. J. Boys, Doing Disability Differently - An Alternative handbook on architecture, dis/ability and designing for everyday life, London, Routledge, 2014,
p 170-172.
20. Sensory Overload: Sources and Strategies, CFIDS & Fibromyalgia Self-Help, www.cfidsselfhelp.org/library/sensory-overload-sources-and-strategies
[accessed 16/11/2017].
21. J. N. Denenberg, Noise Cancellation: Quieting The Environment, www.doctord.webhop.net [accessed 20/11/2017].
74

75

Bibliography
Approved Document M: Access To and Use of Buildings, Volume 1: Dwellings, HM Government, 2010, 2015 edn.,
incorporating 2016.
Approved Document M: Access To and Use of Buildings, Volume 2: Buildings other than Dwellings, 2010, 2015 edn.,
Boys, J., Having a Body - Rethinking Access
Boys, J., Doing Disability Differently - An Alternative Handbook on Architecture, Dis/Ability and Designing for
Everyday Life, London, Routledge, 2014.
Disch, P.; Sisa, A.; Diener, R.; Crossett, P.A., Luigi Snozzi:Construzioni e Progetti = Luigi Snozzi: Buildings and Projects 1958-1993,
Lugano, Switzerland, ADV, 1994.
Koolhaus, R., Boom, I., AMO, Harvard Graduate School of Design, Elements of Architecture Exhibition in the Central Pavillion
at the Venice Biennale:Ramp, Venice, 2014.
Lichtenstein C., Luigi Snozzi, Basel, Switzerland, Birkhäauser, 1997.
Weston, R., Key Buildings of the 20th Century: Plans, Sections and Elevations, London, Laurence King, 2010.
76

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_Part II: Regulating Design

_Part III: Having a Body

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Aimi Zahani Anna Hadjimitsi Denisa Groza

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Given the task of adapting Luigi Snozzi’s Kalmann House

The new users are known to be ‘new occupiers who are

We aim to address the building’s accessibility, with part M as

‘Inclusive design is about making places everybody can use.’ (1)

Following on from this the brief is expanded to incorporate

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To begin dealing with this brief, an understanding of the

‘The Tendenza architects were basically Modernists, but their

The ‘landscape has been completely compromised during the

‘At first sight, the Kalman house seems perfectly abstract, an

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‘The house would ideally spread itself east-west’, allowing the

‘The south end of the building is almost completely open, with

2. 09. Exploded Exterior Sketch

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In contrast with the concrete used in the ex-

2. 14. Exterior South View

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2. 15. 3D Model Views

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‘The basic elements of the project are designed to bring out

2. 16. Sketch - Showing how the pergola framing the view

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2. 18. Concrete frames and geometry

2. 19. Framed view 2. 20. View over the lake 23

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To propose an effective adaptions of the house an understanding of Part

Building regulations - Part M

Part M of the building regulations forms the technical guidance

Despite part M defining the official requirements we aim to consider

Within a refurbishment to an existing building there is sometimes an idea

This is a key consideration when proposing adaptations to the Kalman

Some key precedents are presented here, where adaptations for

2. 21. Inclusivity diagram

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To begin examining Kalman House in terms of accessibility we

Using these as a guideline, all of the elements of the house

The spaces defined will then be broken down into four

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Proposal: The entrance is proposed to be retained, to retain the original

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Proposals: The open plan layout is to be retained to this floor as it

Proposals: The regulations states that minimum one bedroom for a