As a structural engineer rather.

We contribute to the design and
I think responsibility to ensure

not only our structures but
they should also bring to light.

If you became interested in the economics
economists social scientists.

That shows that over the last fifty or
so years.

The percentage of people in
the comparatively wealthy countries

who say that they are happy with
life has stayed pretty constant

despite the fact that their financial
wealth increased enormously.

The king of Bhutan said that we should
measure the success of the society

as much by using a happiness quotient.

As by merely measuring G.D.P..

And the Swiss economist Bruno Frey and

I was students have been writing
about what economists could learn

from happiness research since
the late one nine hundred ninety S..

I then read Peter lay
odds book on happiness

in which he carried out
a wide ranging reviews.

Review of the areas in which
happiness was being studied.

A member of a think tank at the R.B.A.

their own Institute of British Architects
which is called Building futures.

And we look at what might be happening in

the built environment in
twenty to fifty years time.

So I pose the topic of building happiness.

And we have she decided that the subject
was broad enough to justify a book.

Which I edited.

It's a collection of essays
by practitioners and

researchers in the built environment and
it's also and

also contains some short
pieces by well known people.

About places that really do give delight.

I think that this book shows that where
there are very many ways of thinking

about what the effects of what we
construct can be on the human psyche.

At the same time there are a number
of consistent threads that to me.

People are happier if they feeling gauge
with how their local community is run.

If the way in which we design are built
encourages this and so much the better.

Also how we feel about a place is
affected by many things as the landscape

architect Mathur Short says although
a visit to the Grand Canyon is thrilling.

It's actually her childhood memories of
her backyard that rate much higher in

the happiness stakes.

There are benefits to being generous
in the designer spaces that allow for

social interactions students suffer
if their rooms open on to long closed

corridor orse it matters if strangers
can walk past your bedroom window.

And of course the physical
conditions of daylight.

And noise are all play a part.

As it becomes obvious
that increasing G.D.P.

will inevitably lead to more consumption
of our planet scarce resources.

It's surely imperative that we concentrate
more on how the way in which we

design our built environment impacts
our own our emotional wellbeing.

So in the following projects.

I'm going to try to describe how we as
engineers together with the clients and

the architects and
the other members of the design teams.

Try to develop solutions that
would bring a smile to those who

would experience them.

And to describe how the structural
designs were evolved.

One of the ways in which
I think we can link guess

a good design conversation going
is if we do work with the same.

Members of the team on various projects
and I've been very lucky to work with

David Marks and Julie of our
field who were the architects for

the Millennium Wheel of of quite a long
period of time in fact I first worked

with them when Julia was at pastas and
David was still at Rogers and

there was a competition for a building
a square which we didn't win but

it was the first time that I had to on my
own sort of worked with architects on a on

an architectural competition and I used
to go over there on Saturday morning and

we were Team X. and
it was the start of a long conversation.

When I was in Los Angeles.

They sent me a fax we didn't have
emails in those days and said that

the institution of civil engineers was
had launched an ideas competition for

a bridge for rage.

And so we discussed doing it and

what what the nature of that bridge might
be and I've always like these really

kind of primitive bridges that
respond as you walk across them.

So this was our entry.

And which we won but it didn't happen.

It was an ideas competition and we
probably partly won it because it's such

a beautiful poster that they put
together but the the bridge.

The idea for is modeled on what
Darcy Thomson wrote about as the animal

as a quarter people bridge where
the animal spans between the front and

back legs and
the bones take compression and

the tendons kind of modify
the the defamations of the body.

So our bridges fixed at one end because I
was in there in there in England I said

let's put it over the Grand Canyon.

And it's fixed at this and then this and

it's only supported vertically so
as the loads change on this.

This can slide along slightly and

it's basically made of these
kind of vertebrae elements.

Which are then connected with
tension elements top and bottom so

that kind of controls the deflections.

Well years later they
approached me again and

said that there was another ideas
competition for Millennium land.

Mark.

And David had the idea to build
the world's largest observation whale.

I was still Arabs at the time
this was in about ninety three.

And.

Juliet spotted this site
which is in London on this

on the Thames opposite
the Houses of Parliament.

Actually at this point of the river
isn't going east west it's going north.

So it's on the east side and it's next to
what used to be county hall and this site.

There's a walkway or Jubilee walkway so
we can't obstruct that so

I said well let's cancel lever
the whale out over the river.

We didn't really want to put
another leg down into the river.

And the largest wheel at the time was
about one hundred metres diameter and

your car Harmer So we said Metz
make it one hundred fifty metres.

And we looked at what the structure might
be this is the support structure so

we've got this kind of inclined a frame
and this course the spindle and

the back is pulled down by cables and
then the front bit can cantilever forward.

Now Dave and you wanted it to be
a whale of the twenty first century and

I think ideally they would have liked
to have nothing between the spindle in

the room which wouldn't
have been possible.

I looked at putting just
a half across here but

then the wheel had spanned
all the way round.

So it was just too happy to work.

So this was our first workable solution.

But you can see that the RIM has
to spend half the way around.

And so it's very heavy it's
like a huge job which And

we made it one hundred
fifty metres in diameter.

So it's pretty big when nobody
won this competition but

then David's father late father said.

It's such a good idea why don't you
see even get funding for it and

then it would generate money.

So at that stage I said let's
go back to first principles and

think What would be
a more efficient way O..

Now the bicycle wheel is a fantastic
ten secretaries structure

that's a structure where the compression
elements don't touch each other so

the rim doesn't touch the spindle
except by tension elements.

And what happens on the bicycle is
that all the weight comes down on

to this circular wheel via the spindle.

And as the weight comes down it tends to
squash the circle into a horizontal oval.

And it's the horizontal
spokes those tiny spokes

that actually are carrying
the vertical load.

Now our will is different
the load is coming from the rim.

It's not supported at the bottom.

It's supported at the middle.

So all the way is tending to
pull it into a vertical oval.

So what we do is we pre-stressed the cable
so that it keeps it into a circle.

And similarly when the wind blows
the cables go friend the from

the inside of the rim to
either end of the spindle and

when the wind blows on the windward side
those cables get stretched a bit and then

the leeward side they tend to go slack and
we don't want any cables to go slack so

again we pre-stressed them so that we're
just unloading that tension a bit.

That means we're pushing the rim into
a lot of pretty compression though.

And you're seeing a bicycle
wheel that buckles

because anything in compression
has a tendency to buckle.

And the first motor the bicycle where you
will be too caught is coming towards you

into going away.

So the most difficult thing
with this whale was to stop it.

Buckling.

And we looked at lots of
geometrical variations.

Now I could speak for
the whole evening on the way up.

But I don't have time.

So I'm just going to flick through now but

it's basically it's got that
a triangular truss around the edge.

This is it during construction and of
course it's not designed to have the whole

of its weight perpendicular to its rim so
that this is showing there

are temporary cable so it's lifted up from
this point and that pushes the spindle.

Up against this array of temporary
cable such a going to the rim so

got lifted up capsules out yet touched.

Until it was at the same angle as that
inclined a frame and then after a week

they pull down on the back of the spindles
to make the spindle horizontal in the way

over to CO and then they brought
in the capsules by river.

And this was fantastic.

So this is a great public building site so
I was really happy about it because it was

a chance for us to try and
Hughes kids about engineering.

And then their touch and
gradually round the room.

Now there's a very
important point about this.

Well as a person normal Ferris wheel
the capsules are on the outside.

And so I'm just going to go
back to the previous slide.

In these two rings here are two
huge cog wheels and they're.

Sitting inside those Coke wheels is the
floor sitting on little wheels so because

we spent a lot of time trying to make sure
that the floor would stay horizontal.

As as the.

Wheel goes round and
the capsules go around.

We were worried you might get a kind of
team of rugby players jumping on it trying

to make it go upside down
by the time being round.

So that's different from the traditional
kind of fairground ferrous where

where the cups are just dangling and

they're using gravity to
keep the floor horizontal.

There were lots of things that we
had to innovate on on this project.

So for me it was a pretty spectacular
project to be involved with and

I also like that so
many people were involved with it.

So we have people who are thinking
about wood boats bash into it and

there's actually a structure here
where they bring It's a pier for

the boats on the river but

that's also doubling up as it
supports these floating blue.

They're really oil cans that.

That are around cables so a boat would if
a boat hit that hit that cable that would

that cable is supported by this pier that
goes out from from the river war and

and that would absorb the energy in the
boat wouldn't be able to hit the whale.

And then they had to worry about
would helicopters bump into it.

Also all sorts of things as one of
the safest fairground right now and

you can see how transparent
this whale looks so

remember that one with a great
big horizontal arm across.

Yes that would have had to
have circles of fresh air.

But it would have looked a lot heavier
because the rim would have had to be so

heavy and you would have had
this great big arm going across.

And that's one of the things I think
engineers have to always think about

is what others.

What are their structures going to
look like when they're actually built

quite easy to just draw
a line on the place paper and

say I don't know it's a six inch
diameter tube or something but

when you actually see it in real life
it's going to look quite different.

Because it was very important that this
should be beautiful because it was in

such a prime location.

I was very lucky I got a chance
to go up inside this leg.

And then you get on to this platform and

then I went up this ladder
into the spindle and

then you can walk along inside and you can
actually stand between the spindle and

the hub and there's two races of ball
bearings that are about this big.

So every part of this
wheel can be inspected.

And in fact in January.

Each year they take it out of service for
two weeks and and

do a really thorough inspection.

And this is one of the capsules
this is it's great because when so

when you're on the top.

There's no structure of the rim
obstructing your view and you can really

look all the way around just point out
this little hatch is so if you get stuck.

So you can come.

The helicopter and get you out.

And this is some of our officers.

We're lucky we get lots of
free tickets to go on it.

Right.

So.

All the other projects for Chile are ones
that I've worked on since I left Arabs in

ninety eight and this this this
was a theatre that was built.

It's near Waterloo Station.

So just south of the river
not far from the Whale and

it was built as a temporary
thing about forty years ago.

And the idea was to bring classical
theater to young people in the area.

It's called the Young Vic and it was
a site that was a bomb site during the war

and the only building standing
of a Victorian terrace was.

This this building which was a butcher's
shop with houses with house above it.

And at this end of the site
they built the theatre.

It was theatre in the round.

It was just this one layer of block
work with a steel X. So structure.

So it was very very poor crew Stickley and
really and

the rest the site was sort of filled
with Porta cabins and things.

But it was very very successful as
theatre so there was competition to.

To run it well it could
have been replaced or

just come up with suggestions of
how to upgrade it significantly.

And we worked with the architects
here with Tompkins who

looked at the original design so

they were there with the original
room was was this size and

it was constructed on the concrete raft
that was just laid on to the ground.

It was quite poor ground in the area
member to be in a bomb site that been

a terrace houses and below that's near the
river there was a lot of made ground and

then fell so quite soft and in fact
the whole thing it rotated slightly.

So the proposal was to take off
the roof build a higher roof and

actually have trusses at that
level that you could walk in.

So you could actually fry
things down into the space and

also wrap the whole
thing in a second skin.

With walkways going around what we
call get rounds which would give more

opportunities for
dramatic interpretations during.

Foreman says it's the slide on
the right shows shows the proposal for

this is the competition proposal for
keeping so we were keeping

the original room see it still go in
through the butcher shop and turn right.

So we kept the OR of the original theatre
and it's people are very superstitious so

I think this is partly why
we won the competition and

then at this side to the site to actually
build a room that would be used for

making scenery but
also to put a hole in the wall here.

So in some situations you could use
this as more of a traditional stage or

a pussy in your mouth.

Jeevan.

And then have a double height for
your space here a studio and

a back here another small studio and
then back of house and

then above Iraq have more
good accommodation for

making costumes and for the actors
etc The Green Room all those things.

This is a set this is
the study model of it.

So this would be all
the back of house up here.

So this is from what you call third
floor upwards and here is here's our.

Here's the room where these get rounds and

here is the entrance still going in
through the the old butcher shop but

the floors had to be taken out replaced
by drawers with high loading capacity and

also be at levels that would line up
with the walkways in the theater.

And how Tom can stay there
their architecture is very

much responding to separate pieces.

Well one of them said it's kind
of a bit mediæval in a way like

little medieval village so.

The bits that are most of those are the
only bits that remain from the existing

And then this is where the hole in
the wall is going to be built and

this is showing this we were putting in a
new pile foundation connected with ground

beams and we could put we could put in
new piles in these corners here but

the building came right
up to the building line.

So we had to span the for.

Elevation across here and
at the back as well.

And would side these studios
would be made out of

reinforced concrete frame with
rock work info that the for you.

Space would be largely timber.

And the bits that are wrapped
around the auditorium would be

metal decking and concrete topping.

So stale and
the structure of the new box or

hat is sitting over
the existing would be in stale.

We didn't want to put any extra
vertical load on the existing walls but

we didn't want to completely ignore them.

We use them to provide the lateral
stability to carry the wind loads.

So we've got fixings which have
got vertical slotted holes but

can transfer horizontal Cher
forces into those walls.

Again this is at the competition straight
this is the spanning across between

those corners I showed you.

And this is a section then.

So this is so we got pairs of

trusses that you can walk between in one
direction and in the other direction.

There are still members
that span between them.

So there's a kind of a religion
at the ceiling level and

in fact we made it that this
middle big could be removed.

So you could feel that the room was
the full high as opposed to this being

the kind of effective ceiling ladder.

And we had it in a new balcony lair.

So this is the existing balcony and
this one is hung from the roof.

So this is the new steel
structure you can see there's

quite a lot of still work and it doesn't

have any stability unless it's attached
to those existing blockquote walls.

So this unfortunately some
of the drawings I saw today.

Without the walls.

And this is.

So this is the pairs of trusses and
you can see the diagonals there.

They're rectangular hollow sections but
we've made it so

the shallow dimension is
in the vertical plane.

So people can.

Duck underneath these and
we didn't want this.

This is this is a truss that
spending over that big hole.

I told you about and we wanted to make
sure that we were loading it in its plane

so we've got bridge bearings here to make
sure we're not putting any twist on it

and then this is the double space.

And this is really become like a great
place to meet it's open all day.

It's a real regeneration project.

And we had a very very tight budget so
of seven million pounds which meant we

couldn't afford a lot of finishes so you
see the structure expressed everywhere.

So we put a lot of effort into how we
detail these connections to make sure that

everything lined up and that sheep
are structural engineer that's great.

We love working on low budget
projects where everything shows.

So this is the Roman one
of its configurations.

They're very inventive with
how they use the space.

So here it's got obviously it's got it's
got the stage going across the Agnes I

must be completely in the round.

Sometimes they might build up scenery or
right the way across one wall.

So it's been a very successful project.

And this is one of those smaller
studios and the concrete frame is got

these uni struts cost in so
things can be attached all over the place.

So this is this is typical theatre
in a way it's very much a machine

that there are people who putting
on productions can work with.

And this is it from the outside.

So this this is the butcher's
shop remaining But

as I say it's completely
rebuilt the floors inside.

And then this double height space
looks out on to the street.

Very different project this.

We didn't sign this old building.

There's a school called in it's
not that far from Cambridge.

And it's a private school.

Children aged from five
to eighteen years old.

Go to and we work with some architects
called fielding collect Broccoli who

are very interested in
sustainability on a new science

weighing about what I liked about this
project that we've just we've just

seen the first phase of it but
there was an existing art school and

then a design building and

another science building here and

our project is this this new wing
which is biology and chemistry and

then in the in the future there will
be kind of a street that will be

built that will link all of the Arts and
Sciences together and you lecture theatre.

So we've just sort of done
that out of it so far and

this is a new a new pond which is
part of the heat recovery system and

the services engineers on this
are called Max fortune L.L.P..

And we've worked with them on
another number of projects.

So this is the heat recovery pond is
right beside a sports playing field.

And it's it's a reinforced concrete
building there with stone cladding.

So it's got high thermal mass you
can see kind of gargoyles for

the drainage of the roof and it just
goes straight down into the water so

we have got pipes on that side.

And the laboratories are you're looking
at a laboratory here from the circulation

space through to the playing field on the
other side and the labs arranged in pairs.

So it's a two story high building.

As I said with a the two types
of labs one above the other and

this is the corridor in
between two laboratories.

And it's all reinforced concrete.

Exposed for it's them all mass.

Then between the pairs of labs.

There's this corridor or so
this is this is at the top level.

So you can see these events so
Akon come through from the from

the ground floor up to this level and then
out at the tops of course stack effect.

And these holes in the walls there so

that the air gets drawn from
the laboratories up and through to here.

So it's all naturally ventilated.

And then there was one of those one
kind of structural gymnastics bit.

For us which was a special staircase
which is there's two things about it.

One is that.

The staircase starts here winds up and

goes around here so we didn't want to have
a column landing in the flight below.

So this this landing is actually hung
from the level from the roof above.

And the other thing is that
the treads are the idea for

them is the same as the can't lever
so-called can't leave this stone

staircases that you see
in Georgian houses.

So they're attached to the wall on
one side and then looked actually

cantilevering what happens is that each
one is leaning on the tread below.

Until you get down to the ground or
the next landing and

they're fixed in the wall so
that they don't rotate so

you just have to fight torsional restraint
at the war and vertical support.

So this is what you can
see here these are and

what it means is that where the tried
sofa lamp you can just have a very

small overlap just enough to
transfer the axial force.

So we had about twenty five
millimeters at that point.

As opposed to an almost concrete
staircase which has a waist.

Maybe eight inches or something.

And also here you can see this
is the hangar for that landing.

So this is showing how the.

We tried to fix to the wall
with just two stainless steel.

That go into the wall and that's to
provide the torsional restraint and

this is the detail of the of the hanger

we put a bit of neoprene there just in
case there was a little bit of vibration.

So I was really pleased that we had
something that is that extra few poles can

look at and try to work out how it's how
it's working in their science building and

this is it completed.

This is a project we worked on with
David Chipperfield you may know it.

This is in in Davenport and
it's the figgy Art Center.

Now up until then most of its projects
have actually been reinforced concrete.

But obviously in the Midwest.

That's was less likely to
be appealing economically.

So it's actually a steel building and

it's interesting because that David then
embrace the possibilities that steel.

Gave him.

So what it means is the face that
the side that's facing the river.

There's actually no column
supporting this this line here.

We've been able to bury steel
trusses in behind it which if

this was in reinforced concrete that
would have been really too far to span.

You can see it's not it's not that deep.

So this is an elevation
showing how we've hidden

steel trusses this definitely
isn't expressive arc architecture.

Very different from what you David and

Julia who really like to their
structures to be self-explanatory.

And this is the wind bracing going across.

So again one of the things about steel
is you can have a brace bay here and

then you can use that horizontal B.

to transfer the horizontal forces
to a brace of A in another.

In another in another bay along.

Whereas if this was concrete
the shear would all have.

They would all have to line
up one above the other.

This is the longest student section so
that's the bit that you saw sticking up.

And there is no yes there's
a there's a little auditorium here.

It's a kind of a community there to what
I found interesting about this project.

It is reinforced concrete up to this
level which is the level of the street at

the front of the building but in Davenport
you probably know this they they

did it they allowed the basements to flood
in the one in one hundred year flood and

they just washed them out.

You know and it can imagine us doing that
in the U.K. They just say the whole thing

had to be protected and that I think that
means that they haven't had they haven't

built such a high river war
on on on the edge there.

So this is it during construction on
the left before they've cleared it

and on the right.

And you can see that
souce allowed this slit.

So this is the main entrance
on the side facing the river.

Actually the reinforced concrete for

the car park was pretty good quality we
saw that they told us it wouldn't have

been if they'd used throughout
the course also that big box.

This is this is a double layer facade so
this this own here

is is is a zone which is midway between
the temperature of outside and inside.

It is air conditioned but
this saves on energy.

Now we've been very lucky.

We're working on a series of
houses called Living architecture.

I don't know if you've heard of a writer
and philosopher called Al and a bottle.

He's actually Swiss and
his family has a large trust fund.

And he was wondering.

Why the British public tend not
to want to buy modern houses and

they whereas in the States and
the mainland Europe Europe.

People do want to and

he said well in Britain mostly this
the modern architecture we see

mostly is civic architecture and maybe
people stayed overnight in a modern house

they would realize how good it could be so
he's been commissioning holiday homes so

you can rent them out for a long weekend
or a week and he's been getting very

good architects to design them and
choosing really interesting sites.

So we're very fortunate to be working
on the mill like a study houses.

And he's really turned into a true
patron of modern architecture.

So this one's called do you know houses by
sea on the Suffolk coast the east coast of

England.

And the Norwegian architects J.B. I had
the idea of sort of turning on a normal

house that's in this area which might
have sloping roof turning upside down and

having the the lower half totally open.

So there's just a small amount of
concrete core walls of the ground level

which houses staircase and
and a bathroom in the.

Anagram and a bedroom for
someone who can't go up stairs.

And then there's this this slab or the
second floor with just a small number of

columns so that these glass horse can be
peeled back opened up as much as possible

and then the top level is all made of
cross laminated timber so that's a very

very thick plywood and can be a you
can get it up to sort of four hundred

millimeters that's about fifteen inches
thick and the piece is a prefabricated

then brought to site and just put
together like like cards of cards.

This is just showing you the analysis
of that second floor concrete slab and

these black bits of the support points.

So the columns are around the edge but
not at the corners and

therefore they're very
small they're just about.

Three inches diameter.

And then this.

So our office went there first
sort of a way away weekend so and

you can see the corner there.

Another one is called
the balancing barn and N.P.R. T.V.

The Dutch did it and they had the idea
to probably end it looks like

a barn in cross-section a square with a
triangle on top and it's just extruded and

cantilevers out past past where
that the land falls away.

So I mean stretching away is quite simple.

It's just it's just a tube truss and
is held down at the back.

Was this is the kind of the pivot point.

At this place.

And this place the architects didn't
want to have a diagonal me so

we sort of made that enters a tiny
bit there until if you like.

Just made those beams a bit.

This one has to be bigger than that
being because that's so near the center.

You don't have much share.

So after a sip of water.

And one of the main issues.

Was how much still should
we put in it to stop it.

Deflecting and to stop it bouncing
around too much at the end and

what is a reasonable.

Vibration to feel in the bedroom some of
the bedrooms are sort of between here and

here and then there's a living
room at the end of this and.

So we did so we did our calculations
on what the natural frequency would be.

And there's there's guidance on
what is comfortable saying in

office but it's very very subjective as
to what's an acceptable natural frequency

in the mountain by Brayshaw And so
we actually designed it so we could could

have added in some dampers on to here
before they put the final bit of cloud.

Doing.

So well they just.

When they just constructed this to
work is the drawing of the Steward

and this is the undercroft when they just
constructed this it was quite lively.

But as they gradually put the cladding
on then it became much less so and

it's almost impossible to
calculate exactly how much effect

the cladding the carcass will have.

So when it was nearly all the clothing was
on then everyone agreed it was fine and

they didn't put any any jumpers in
underneath which I'm pleased about.

And if you jump you can get it to
move a bit but that's right now.

I think that the architects were
originally they were a bit sad that we

had to have diagonals in but
then they they realised that if

we didn't have the diagonals and then it
would be a very job and these vertical and

horizontal beings would
have been much much bigger.

So it's great.
So they embraced it.

But they sort of played a joke and
they played them in plywood.

So you see the diagonals.

But their clout in wood.

And then actually in the floor of the room
at the end they put a glass panel in so

you can look down and
there's a swing that suspended from there.

But I think it works really well it makes
the long corridor which goes the length of

the building the side the bedrooms
much more interesting I

think because of these diagonals.

So that's it can't.

Is that a cloud in this highly
reflective material which is great.

This is it.

There's actually so you can go downstairs
and this is actually a door and

it's clowder So it's very very heavy and

there's this kind of hydraulic piston
the it was it just like Thunderbirds.

There's the swing and it's great.

This reflection everywhere.

So I'm an artist.

I stay there or not it was gross and
you don't you don't feel any vibrations.

Well working on one with Peter some
toy and it's going to take forever.

So it's in Devon and this is a very early
study of all the cuts sort of concept

is that there's these kind of standing
stones supporting then big kind of

stone slabs for the rubes it's not
this configuration anymore and

the walls are made out of rams concrete So

this is an reinforced concrete that's
put down in layers and tamped.

And because and make that the glazing line
kind of goes between the walls along that

line and then you can see that the roof
cantilevers out beyond the glazing line.

So we have this issue of concrete
outside and concrete inside so

it's basically two wars with
insulation in between and

then we've got one slab
sitting on top of another.

As well so
that it can be concrete below and

above the roof slabs
are reinforced they need to be.

And this is just an early layout in fact

the project got a bit small it
was getting too expensive even.

Even for our client.

It's but you can see this is
like the walls and then and

then the slabs would
become to leave ring out.

And with so
we've been doing a lot of work on

how how that interaction between
the two layers is going to be so

we got support points for
the bottom for the bottom slab and

then the top slab has to cantilever beyond
the glazing line which is there and

the soffit of the top slab has to line
up with the soffit of the bottoms.

So you actually have an awful
lot of concrete that's

sitting in that cantilever.

And of course there's a worry
there are we going to get actually

at the top slab kind of holding and
getting a gap here.

So we looked at how we could analyze it
and we've actually made a two model now.

So we're actually pretty easy shell
elements to represent the bottom.

And the top layer with springs
between the two layers.

So I mean this is one element that
the springs between it so that we can

see how the stresses are distributed
within the concrete and and

what the forces will be on the insulation
to make sure the insulation doesn't squash

and then we need stiff insulation at
the places where the bearings are.

And Peter doesn't want their slab to
be sitting directly on top of a war but

it's sitting on top of a bearing.

Or a few bearings so

that there's actually a little gap
between the top of the wall in the slab.

So we're we're waiting for
the last set of drawings and

then we hopefully will get on and.

Finish off our calculations so

we on projects like this where
things change quite a lot but

we have to get principles established
where you know we kind of look in a great

detail at one element and hopefully
learn enough so that we can tell.

In general terms whether
the pros who are but

we don't want to do all of this detailed
analysis on every single option.

That's just showing you have the two
layers will beat this is very

exaggerated to play.

And of course what's critical is
that about the glass the deflection

can't be more than the squishy
material on top of the gas can take.

So we've we've been given
the guidance that we can't have

more than twenty millimeters of
deflection above the glass so

that that informs how much we
have to reinforce that concrete.

Now this is this is a tiny project
that we worked on with our deeds and.

There's been a fantastic series of
projects called Macchi centers so

Charles Jencks his wife.

Maggie sadly died of cancer but
in that time

when she was ill she was saying how sad
it is that when you go to a hospital.

You sit in these really miserable
places and you're waiting for consul.

Patients and you know just being in
the hospital can make you worse.

And so she started this this charity
which now has been going for

a while and there's been more than
twenty of these little centers built.

So they're small buildings of
domestic scale on a hospital campus

where you can go and have a consultation
you don't go for treatment and

you can sit you can have a cup of
tea talk to your relatives and so

our site here this is a hospital in
Cody which is north of Edinburgh and

our site was just here beside this
rather ugly seventy's building and

there's a car park over here and
it's looking down into this girl.

And she does a water outflow here.

There's quite a tough site
to deal with an across.

So this is our site looking across
here there's two story buildings.

So it's all has designed deliberate turn
its back on this car park looked out

over the gulch and.

The idea for the design is basically it's
a surface that wraps around and inside

there's there's rooms and this ground
isn't particularly good so we need piles.

So I said Well Mr said
the parson when the flat part.

So and then there's also these two shaded
zones we have to avoid this is where

the water outflow is and
also Antony as a sewer in this direction.

So you can see we've got piles and
ground beams spanning over those owns.

And the other thing was how do we
make sure that this building which

is got very inclined
sides doesn't fall over.

So in this direction it's easy enough.

We can we can put truss
still trusses inside

there to resist loads in this
direction but in this direction.

There aren't any walls going in to take
the wind loads in that direction and

that is not just the wind loads is the
the weight of these inclined walls would

be tending to pull it sideways so
what we did was we we.

Buried columns in these different walls
and then connected them at the top

with beams to make portal
frames that go across the roof.

So this is this is a plan.

So this is a true plan on the side wall so
they're leaning out.

And then these are the lines
where the portal frames are.

And then actually are glazing money and

also our little columns
that support the roof.

And with the budget was tight so
in fact we said we'd make it out of steel

with just very traditional
timber detail ing and.

And then the concrete we had to where
the concrete cancer leave us forward.

So this is inside and that's outside
we worried about the cold bridge and

there's a material that we
use a lot in Europe called.

I so-called made by shirk So

basically it's a layer of insulation
with reinforcement that goes through it.

So it's able to take bending.

And then here's just kind of traditional
timber joists and plywood topping.

This is in construction.

And this is the opening day.

So it's very simple project but it's been

very successful that's our current Gordon
Brown who is our minister at the time.

Well now this project is this is really
sculpture it's called The Singing ringing

tree and Mike Tonkin stand and
you had the idea for

making a sculpture which uses
tubes that got slits cut in them.

So when the wind blows.

It's like a recorder the tip of a recorder
and it makes a kind of screeching sound.

And this is what it

looks like they came to me with this idea
they'd made a study model made out of.

Straws and we had to try and find
a way there is a low budget project we

had to find a way to build it and
also to analyze it.

So we suggested that it could
be made out of steel tubes

that would be welded to
a circle that would be an angle

that could be then bolted to another
circle of the same diameters and angle.

So you could make it up in layers
of a tube with these two so

circular angles above and below it.

The could be bolted together on site.

So this is.

This is one of those circular

angles that would meet the one above or
below it and here is the one below.

And the tubes are laid out on
plan the tubes describe an oval.

And each flare those tubes
are rotated through fifteen degrees.

And also the circles that the circles

themselves the center of the circles
describes a vertical spiral.

So that's how they generated the geometry.

Now this is this connection
I was trying to describe.

So here is an angle above and there's one
below and they're just bolted together.

Corsi is that that circular angle will
cross the tubes at different angles.

So we had to make sure that there
was always a enough Weld to.

For us to be able to connect them.

And then under the vertical load of course
these these circles will tend to scorch

a bit so we had to estimate their vertical
stiffness in our analysis model and

because we have very
little feel we had to kind

of condense it to a very simple model.

So OK pervert who works with
me she actually generated.

This is the cantor lever that's
describing that spiral I told

you that's the center
of all those circles.

And these.

These are the elements
that we've represented so

basically which we're trying to represent.

An angle.

Above and below a two and that's the what
that that is what's carrying the loads all

the way along and then we are allies that
to make sure that it was strong enough.

Is that there is a very good seal
fabricator called Mike Smith who made it

so the angles because they
are quite tight circles.

That's not an angle that's spent
it's made out of of a flat and

then a vertical that gets welded to it.

So they made it so
they made a mock up or that no.

They made the whole thing in their
workshop first dismantled that

governess and then it got transported.

It's actually built on a on a hillside
near the which is in the north of

England and you can see that there's one
of the one of the tube swith a slot in it.

So there's twenty five tubes
that have slots in it and

those tubes have their own spoked of.

Whoops sorry.

And that's it on the finish.

And.

I was there on the opening day
it was pouring with rain and

the winds got up and as the wind got.

Stronger.

The pitch squeakier squeakier.

And the land seemed to just carry on
regardless they didn't seem to mind.

Well this next project is
again with David Marks and

Julia Barfield and it's the tree
top will wake you Gardens one of my

favorite projects and they this you know.

Really.
Often the best projects have the best

clients and here the client is
that Chief our production is.

Q called Tony Kirk and
he's absolutely passionate about trees but

also about the contribution that
trees make to the planet and

he had this temporary walkway constructed.

That was going through the redwoods
made out of scaffolding and

that's very expensive to maintain is so
he managed to persuade Q.

that they should fundraise for
a permanent one.

And I was really lucky to be invited to
work with Dave and Julie on that is on.

And it's this.

I don't know if you've been to
Cuba at the stables a here this is

the temperate house.

And there was an arboretum laid out
here originally by Capability Brown and

it's changed a lot over the years but
that's where it's decided the walkway

should be and Judy and I walked
around the site with Tony Kirk and

we were discussing what it should be
like and you know it's pretty obvious.

We shouldn't be doing something
that was kind of trying to compete

with the trees it should be quite
Carman respectful of the trees and

it was quite happy with the idea
of us using structural steel that

there's the issue of what color
would you paint still and

it's quite difficult to find a color
that's not going to stick out in nature.

So I said well what about Cor
ten weathering steel which

is a material that gradually changes but
does blend quite well and

he was immediately happy with this and
it's interesting because it has a huge

impact on what the final design
looked like Joe describe in a minute.

So we kind of quickly discarded
the idea of having any kind

of suspension structure.

Said it would basically be.

Columns were piled on
supporting standardized

trusses ready that you could walk across.

And so this is a lay out so.

There was a lot of kind of playing
around with how long it should be and

what the spacing of the columns should be.

To bring you close to the trees and Tony.

And she had of just when they think for
clean windows brought to the site.

So we could see what might be the best
height to be out to be in the canopy and

so eighteen meters was decided on.

And then we looked at it in a kind of
lots of different ways a spanning between

pylons different sorts of trusses and
I said they if we we could have.

You could.

A truss which has diagonals and
then you'd kind of info with something

else to stop people falling out and I
guess you have something very similar to.

We've got one hundred mil that's four inch

rule as to being the biggest opening that
you can have so no other option would be

just to have all the diagonals at
just about four inches under a mill.

That seemed like too much and

we said the diagonals didn't have
to be in a particularly regular.

I mean a truss is basically the top
boom in compression the bottom boom in

tension and then it's the diagonals that
carry the shear so so long as you've got

those three elements your eye and
the floor similes a horizontal truss.

And so anyway.

Architects like the Fibonacci sequence
because it appears in nature and

this is in nature and

you know that sequence it's one plus one
is two plus one is three plus two is five.

So you know how could we use the Fibonacci
sequence to give us any idea of what to do

so I said well if we have at the support
this the smallest spacing and

then as you get to the center of
the trusses further apart that

met there's some logic to that because the
sheer force is a greater of the support.

Now you could have joined
all the dots together but

it just would get a bit crazy.

So I said was best not to have more
than three diagonals meeting at a point.

So basically we just sat down with
Julia and Chris Myers in her office and

we just kind of tried different
arrangements making sure we

didn't violate this three
meeting at a point rule and

we came up with this to look quite nice
and then said well the other half.

It could just be that flipped.

So it kind of gives a random appearance
and yet there's a lot of repetition in it.

So that's how we got there.

And then.

Now because we're using Core ten you

can't get rolled sections so everything
is made out of solid pieces of play the.

Cut and fabricated and so.

Into targeting the spacing we decided what
would be the biggest We wanted the piece

of steel for the top and
bottom booms to be.

And we knew that these should be
approximately one point one metre apart.

That's what handrail needs to be.

And so that we sort of optimize it and
that's what gave us the spacing

of the columns so we base got a twelve
meter span between this four and

a one over there and then these
nodes are three meters diameter.

And then we were looking at
what the pylon should be.

And.

The pylon is mostly in compression and

also there's some bending
from wind on the side of it.

So we want it and
efficient section for compression and

that's the close section most
efficient is a circle but

it's going to be made out of flat plate
then the triangle is the most efficient.

Now this is where we were really really
lucky because if we were using normal

steel the cheapest thing to do would be to
have had a rolled circular hollow section

and it would have been almost impossible
to convince anyone to pay for

a tape protection but because it's made
out of fabricated steel you know it's

just as cheap to fabricate a taper section
in fact you're saving a bit of steel.

So it was great mate meant
that we were able to

design something it was far more elegant.

Because it's a cantilever and
it needs to be bigger at the bottom and

then you know where the branches come
out they can taper and get thinner.

And so we and we determine the size
of this triangle at the bottom by

really considering what the flexion should
be at the top again we we didn't want.

The vibrations to be too large.

I mean traditionally for

cantilevers we accept deflections of
height divided by one hundred eighty.

So this is eighteen meters high so
we were expecting to flexions of

one hundred millimeters at the top and
then we did not and there are says to

determine the natural frequency and
we asked a company called R W D A.

I am asked to then impose on it.

Various women spectra and to press it with
we then look to make sure that we wouldn't

be having a natural frequency problem
where the whole thing would get excited

because it's a rather irregular loop
that actually worked to our advantage.

It had been a long straight line then
you might easily get it resonating.

So this is this is
the design that went for

planning and so you know we're pretty
happy with this is quite slender looking.

This is a mock up of nose and
the architect came up with this really.

Brilliant idea of using X. for
Matt as the cladding So it's a mesh you've

seen of build size made by taking sheet
metal and cutting sets and pulling it.

So the openings are very very small but
it's very transparent.

And we've got a brilliant
fabricator This is David Marriott.

And he worked really closely with the tree
guys because obviously we want to

build in such a way that we didn't kill
the trees his face for looking up and

though he wanted the branches to be that
would be the flat side the folded out but

I wasn't very happy with that so far I've
said I wanted it to be the corners that

fold out and I just think that
that looked a lot crisper So

I'm glad we we kind of persuaded him.

It's the only thing is it does
give you a flat triangle here so

that it's got on top of a snug and
shrink route to make kind of a dome and

we put silicon around the edge and
that does need to be inspected.

Because cotton you probably know it
works because the surface rust and

then that makes a protection for
the the main part of the steel but

you shouldn't really have water
sitting on it for a long time.

Otherwise you will get
rust penetrating through.

The other big issue was the foundations.

So a tree is a bit like a wine
glass you've got your trunk and.

You've got radial routes that go up pretty
flatly they're really in the top meter and

then and
they're What provide the stability and

then they are send off lots of fibrous
roots that gather moisture nutrients.

So Tony.

Kirk was happy that we could put piles in
between the radio roots with survey where

they were.

But we then had to collect the tops of
those piles to the bottom of the pylon.

And traditionally we do that by
making a reinforced concrete

metre think that he would have been
very unhappy with us put digging out

the top metre we would have probably
killed the tree and the architects were

very happy with us putting a beat a blob
of concrete on top of the ground and

that's what this is this is probably would
mock up of what they would look like.

So we decided instead to connect the tops
of the past gather with a steel grill H..

That so this is one of them which is
only it's about fifteen inches deep and

so here you can see there the piles have
been installed and there's a steel tube

that goes into the parser that
connects to encourage take the tension

and these have been surveyed
to avoid the radial roots but

then after this is all
been filled back in again

the fibrous roots will grow in all amongst
all of this and it'll be all right.

And you can see all the bolts
touching the base plate.

So each one is different.

So if they were surveyed and
then we design the religious to suit and

here you can also see this copper
strip That's the lightning conductor.

So this was the best but really when
they started lifting these up and

it was really beautiful it up for
the way up.

And then they gradually
brought the bits in and

you can see how successful this next for
Matt is.

This is where the there's a lift and
staircase.

These are the top moves.

Which then get covered with timber and
rose.

Their status still pain either engine or
one end is sorta toll.

So that each section can
come expanding and trucked.

You sit in this.

You go down into the so-called rise straw
and there's little exhibition about what

happens underground and
then you go back up.

So this is the right straw and
that's Tony Kirk and the staircase.

That's looking down at
the temperate house.

The kids love this.

And parents feel quite safe because the
kids aren't temps trying to climb up and

over because they can see out.

Half way round.

There's this triangular
teaching node so-called.

So from below.

We're pretty happy with this.

Tony actually proud to some new redwoods.

And this this is another project
with David and Julie and

this is a children's hospice in Kew way.

And when weren't involved
with these buildings but

the the client is the wife of
the Minister of Health and

she wanted a what way to climb over
these buildings and a little will.

So we were ideally suited for
this project.

So this is the walkway
starts the ground level and

this part called a magic carpet goes
up to the second floor and then there's

bridges that go over the buildings
supported here in here and you end

knobs a patient platform and there's an
elevator takes about down to the ground.

And then there's a some sixteen me to dime
to Ferris wheel each capsule can take

a wheelchair into carer's.

I'm going to speed up with these options
again for what the bridge part should be.

And so
the bridges are these arches which is say.

Able eyes so
they don't tip over by the roof truss and

they support the walking platform and the
roof trusses also has the shading in it

because this very hot area main
thing you want to shading.

On the floor is hung from the arches.

And then it's clad with perforated
metal which has different colors.

And a set are like this
triangular cross-section and

so the arches are actually
made out of a triangle.

So these are the shop drawings and
a phone call.

Wagner bureau.

Who are an Austrian firm.

They they did the.

Fabrication and and
direction of the steel structure.

And then the contract to who did the main
buildings did the concrete work so

that worked very well.

So here you can see this is
the cross section of this arch.

And it means you see this quite sharp
edge and then it looks small here.

That's the final they
observation platform.

And then the magic carpet.

It's basically said
this is the walkway and

it's supported by this kind
of side your soil ish curve.

These parallel arches and then above that
was hung from the tops of these arches

is is the is this kind of
canopy to provide shading.

And we have obviously
we had to analyze it.

Lots of different patch
loads of conditions and

again thought about I
break that frequency.

And then we collaborated
with Wagner bureau so

they they they assembled
the kind of the three D.

model that everything was built from
the architects are designing the cladding.

And then the.

The wheel is very very simple it that
the really the structure is the radial

elements and they're joined together so
you've got almost like two squares.

And then the rim the circle is
really just the rim that just

spans between those points.

And a firm in Sheffield.

Made them called tower.

So this is it completed.

And that's the client.

So the shading works very well.

And I don't know if you can
see in the side here there's

in the perforations
there's creatures from.

One of the children's stories.

Is there.

So it's of this really is a delightful
project and you can see the capsules for

the wheel.

Now just going to touch on this project
that I worked on McNamara a long time ago

just before the two thousand and six and

then picks because they inform the next
project so sadly this didn't get built.

I don't know if you know about it.

It was going to be a kiosk on
a march a station on Peachtree and

some back and sent me that previous slides
and you know I was talking to me on

the phone about how it's a canopy over
a kiosk and I was saying we could be some

kind of space frame then I said how how
high is it and he said About ninety feet.

So I was a bit shocked.

But anyway so we came up with
an idea of having basically

this is a space frame of to less space
frame so it's all triangulated and

it's supported by symbol columns
they're cruciform straightly So

an eighteen inch by six inch beam with
two six inch squares bolted together.

And they're at different angles so
the combination of them being a different

angles with a bending stiff element on
top is what provides the stability.

And we looked at how we
would generate the form and

it's the firm is actually our planet
the space frame is on a true square grid.

So that's how we generated kind of
the idea of the canopy at the top and

this is the true structure
square can grid so

you can see that these these columns
are all at different angles.

In fact they are supported in straight
lines because they have to be supported by

the walls below but
they still look pretty random.

And the critical thing was how we were
going to connect it all together and

the German engineer called
Peter Birch had what with the marrow

who make steel space frames and
developed a system for timber.

And the really clever thing was
that there's a there's a steel cost

your piece that gets put into a hole that
strolled into the end of the timber and

you put Stiles through so

that enables you to put tension on
compression into that timber element.

So those are the two ideas that we carried
on into this next project which is.

East of London where you know there's
the train that goes from London to Paris.

Shoots through here and

there's this rather ugly foot
bridge over the railway and

it severs the town village of rain which
is over here from the river that's here.

So we work with a very nice architect.

Peter Beard to design a walkway that comes

down from that point straight
down to the marshes.

And this is the early concept diagram of
you having the walkway being a straight

line and it's got bending stiffness
both in its plane because it's got metal

decking and concrete topping and out
a plane because its edge beams sister for

nuff and it's supported by these
timber columns that Squitti angles

and none of them meet it's in
a point it's not triangulated it's

the combination of the columns being
at different time goals and thereby.

Ding stiff at the top.

And there are some gaps because
there's a roads and a water course and

other things we have to pass over.

But generally the the course the points
of attachment are every three metres

to this ladder.

Apart from when we have
these longer spans.

So this is looking at and plan and

the top of the column is set in
from the edge of the ladder.

And the bottom will go to one of four
sp four points for each location.

So they're always at the same
angle to the vertical but

they'll be in different arrangements.

This is an architect's
model of the top end of it.

So these are these are solid
timber columns and

in fact they're slightly tapered they're
basically trees with the out bark and

everything taken off but
we want peace connection as possible.

And this is just.

These drawings to show
this is the plan and

that there are things that we're kind
of crossing over and the elevation.

So it's about eighteen
meters high at the highest.

And this is just a section showing and
there's so there's there's there's there's

the size of the steel out across beams
pick being picked up by the support point.

And this is what's got squashed.

Well anyway this is showing all the no
go areas there are a lot of underground

services so that made it quite hard for
our foundation design basically sitting on

reinforced concrete piles that
connected together with pile caps but

we couldn't put Parkers wherever we wanted
because of these are these underground

services and zones where we weren't
allowed to put any foundation and.

And that made it quite complicated
sometimes we tried to cantilever over us

a dart.

But we were worrying about deflection of
this laterally and also natural frequency.

So here we really were.

First we whining a bit about affection but
mostly we're worrying about what

bridge syndrome you probably heard
about the foot bridge in London.

Because this one is a straight line and
there's now quite good

guidance to say that your your
natural frequency mustn't be less than

one point six one point three Hertz.

And that's really a function of
if you as you're working your

part very small lateral force and
you can't walk much more

quickly than two point six So
are you half of that would be.

What you have to make
sure you're not below.

Because you've got one half
the force going one direction and

half in the other so we just make
sure that we were above that and

we found that by changing
the position of these feet so

that by choosing one of those four
positions that was available to us for

each one we could significantly
affect the natural frequency.

So that's what we spent most
of our time worrying about and

then the other thing is we use Peter
birches connections at the top and

the bottom of that was great that
we were able to get back to him.

So this is.

We've got this new element that goes into
the bottom and top of our timber and

then an and then it's connected here
to still play with a pin going through.

And to make sure this is a kind of
universal joint we've actually got

a spherical bearing at that point so
that we're not putting in extra bending

into those columns wanted them
to be slender as possible.

This is Peter Birchers shock drawing.

This is just a connection at the top
similar to the one at the bottom.

And then the architects had
to design it with these.

Gratings that had to be able to be
folded down because it goes over.

A small road.

It has to satisfy the highway
engineers and be inspectors.

And you can see some of his detail in
here for letting the water run off.

So.

There's that.

So a lot of a lot of piles but
mostly today horizontal forces and

there was one bit where we had to
squeeze them into very tight space.

This kind of the concrete plinth.

And this is just the temporary support.

Being constructed.

So that's the shear studs for
the metal decking.

And then this is it completed.

We were quite happy with the.

Last project this tiny project but I just
want to show it's we do a collaboration

with Southampton University and
they've got they got funding to.

Take to Kenya a little project hopefully
to become a series of projects.

Basically a kind into their
take to contain this and

out of the contain this comes all the
stuff to make a kind of tabletop that sits

on top of the containers that can
have photovoltaic cells on the roof.

And they can put dollars
inside of the container so

it becomes a little
community village hall.

And it's generating electricity for
their village.

So this is their.

Is their brochure for it and.

This is the photovoltaic sit
on top of metal decking and

this is a kind of a first idea and layer
and then we kind of developed it a bit.

So it's basically a table.

It's got a bit of cross bracing in it.

Stop it or pulling over.

And we worked again with the same
fabric A to the dequeue David Marriott.

So he took on the job both.

He took our drawings and

he did all the fabrication put
all the stuff in the container.

We want to very simple foundation
it's just there just cost

unreinforced concrete that we just.

And then this is so this is his company
shop drawings and the three G. model.

This is all in the container on its
way and then everyone building it.

And on that happy note I will end.

Thank you.

Yes I'd be delighted.

I think it's great if everyone knows a bit
about what everyone else is trying to do.

I mean I think architects know a lot about
engineering anyway because we all live

with structural engineering.

Fairly stone age we live in the Pacific
world we know how tables and

chairs were so a lot of it's common sense.

I don't think everyone has to be able
to do finer element analysis but

the everyone has to be able to think
about how loads get to the ground

how things are put together.

So yeah a bit of it is good and
I think one all engineers to learn

a bit about architecture and there's a few
programs in England now where you can

study engineering with architecture and
so the engineers have to go through that

process of pinning up their work and
defending their ideas as opposed to

just doing calculations that they submit
they get mocked because in real life.

You know we all have to be advocates for
what we're trying to do and

kind of generate respect around the table
and I think that's easy if we saw on.

You know it's easy to empathize
if you try to do some of it.

Yes.

It varies a lot.

The ones we enjoy the most we're there
right at the beginning like you we

do often get work by doing architectural
competitions you know assisting at that

stage but sometimes sometimes
the Arctic comes first and

it's pretty well worked out and then it's
you know it's then it's a different role.

And you know just so
every every relationship is different.

Obviously the best ones are where whatever
stage the dollar's got to there's

the most empathy between us.

So you but
you know like as our house came.

The idea was pretty well there but on the
other hand I've always found that she's

very open to suggestions and not so
much on this one but the first

time I worked with her was on a project
in Dusseldorf which didn't get built.

But.

You had a collection of building somewhat
one of one of them where it was for

hotel and underground shopping things.

And one of them was the idea that there
was almost one building that was squashed

between two others and that's what held
it up and it was cantilevering it.

And you know we looked at lots of
different ways of cantilevering it and

then we sort of said well why
don't we just treat the world so

that long can't leave the building
as a kind of multi-story Veron

deal with just openings in a social then
she immediately brought into where and

how design then changed its appearance
to reflect that still had her style but

it was you know had that
engineering idea or

another bit was suspend supported
by a cluster of little columns.

I think which are another place she would.

Disguise a color as a as an object so
se I think as we can.

What with objects have lots of different
styles you could say about for

me that's what's interesting is try to
understand what the objective behind

the style is and then so
that we can as engineers

can try to make suggestions that
are useful as opposed to obstructive.

Now

we are working on buildings now
it's OK it's sort of just how I

put them forward that I mean when
well what kind of competition for.

Different for new building one of the also
colleges to buy when you know so it.

Now we.

You know where deliberate don't want to
stare into one direction I think it's

great if we can be doing a wide range of
type policies and materials all the time

said What constantly come across time and
contaminating from one project to another.

Yet.

I'm sure.

OK.

So.

Refuse.

Well.

You know it's I think
what happened in the U.K.

in particular in the fifty's
was that over Oscar Faber.

A couple of other engineers they became
friendly with a group of architects

including a back in there was this
society called Mars modern architecture

Research Society and
they started having those questions and so

I think that they they started a trend of.

Where the engineer wouldn't just take
the architect's drawings and try and

make it work.

The started much earlier than here but
I mean you know I went

to set up out office in Los Angeles in
eighty six and I think our approach

was quite unusual and the fee structure
in fact would make it quite difficult.

So engineers who we would employ in L.A.
What kind of a bit nonplussed by the fact

that we would look at lots and lots of
options in the early stages and that's to

say when you haven't got the fee for that
but actually do a very light touch and

I think that a lot has changed in
the last twenty years in this country.

I mean there are met people like
the Norton Center who study both

architecture and engineering and
you know so in New York I think it's

definitely happening more you know
it's happening in certain places.

And probably now if you look in the U.K.
there's still practices which don't have

this tradition of engaging
in that conversation.

I mean I it when I went to university
Mart the Southampton didn't teach

design we took they taught us elements
sizing so I learnt the approach and from.

Practice I was very lucky I joined a group
that was working on projects with fry auto

and Peter Rice was a consulting
engineer and so my first few years

we weren't even using codes of practice we
were thinking from first principles and.

So there's that there so there's some
engineers will have learned on the job but

now there's more courses I mean
there's there's probably seven or

eight universities in
the England now where you can do

some kind of engineering with architecture
and I think that's brilliant.

I mean.

I can see here it's very very sad isn't
it that you can't you're surrounded by

engineers should be really easy
to get some engineers in and and

do crits like up in doing today.

But of course the engineers
are in academia they tend not to

have been working in practice.

So they can't come along and
skip your rule of thumb.

They don't know that stuff.

So you have to get engineers from
practice to come in and do that and

we have that problem in the U.K.
as well trying to get another and

she needed to come into
the faculty at Southampton and

we've got it will be a practitioner it
won't be it won't be an academic so

that I think that is a problem
you need for that conversation in

a way the engineer needs some experience
and now perhaps it's time you were only

six engineers but all of them due to
trying to architecture students and

I think it's the best way of them
learning how to communicate.

Because if you've got you know ten
student projects that you see in a day.

You've got to think on your feet and
that's really preparing you for

when you're in a meeting and you've
you know you've struggled for days and

days to make something work and it doesn't
quite You don't know what to say to

the architect you know I'm terribly sorry
it's got to be two inches deeper and

if you can learn ways of
thinking quickly on your feet.

That's good.

I mean I was lucky to work with Peter Rice
and I remember coming out of one meeting

and you know he'd said something and I
knew it didn't work and it's a pretty nuts

and I said to him after that I know that
doesn't work and he said what that was.

The roundabout still going around you
know you don't stop them in their tracks.

So you know we do have to we have to
their ways to communicate with architects

architects have to learn
ways to communicate with us.

So that we can push the design on.

That he will question.

Thank you.

And thank you.