GARDEN ecoSHED WORKSHOP 1HOW TO DESIGN & CONSTRUCT SMALL GARDEN

BUILDINGS THAT SUIT PEOPLE & PLANET

INTRODUCTIONThe Garden ecoShed Workshops will describes the process of how to design and construct affordable low-impact eco-buildings configured to suit your particular wants and needs, on a shoestring budget in the average backyard withoutplanning permission being required. Begin your preparations by asking yourself a simple question - what is it I want this ecoShed for?You might wish to create a personal retreat or you might wish to create a space for a creative activity such as writingor painting. Or perhaps your need is for a facility to assist with the growing and processing of food. You might wish tocreate a Love Shack or a space for meditation. Or your need might be for a games room, a computer room or a mediaroom. Or perhaps you just want to learn how to build or you need a Site Office to facilitate the construction of a largerbuilding. The range of possibilities is, in fact, endless.So, whatever it is you want your ecoShed for write this down on this ecoShed Worksheet.This process of writing things down is important because it extracts things from inside us and gets them out in theopen where we can see them. So, don’t expect to have all the answers at your fingertips - the process of design is allabout refining preliminary ideas until they exactly match the inner feelings which are encouraging you forward. Evena wrong answer to the question ‘what is it I want my ecoShed for?’ is more useful than a vague idea stuck in you heador a blank piece of paper which conveys nothing. You should take your time with this exercise because time is a veryimportant part both of creating and of experiencing ecobuilding.If you do this work prior to attending the first Workshop you will be in an excellent position to extract the most fromthe day, and, more importantly, will be well on your way to creating an ecobuilding which will work for you.It would also be worthwhile for you to have a browse through some material on my website:http://www.livingarchitecturecentre.com/courses/econospacemaking/http://www.livingarchitecturecentre.com/articles/http://www.livingarchitecturecentre.com/sheltermakers-journey/

STARTING OFFWhat do I want this Garden ecoShed for?

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PRESENTED BY PETER COWMAN BARCH., DIRECTOR, LIVING ARCHITECTURE CENTREAT THE ORGANIC CENTRE, ROSSINVER, Co. LEITRIM APRIL 6 2019 PAGE 1

☐ ART STUDIO☐ PLAYHOUSE☐ STORAGE SPACE☐ MEDITATION SPACE☐ HOME OFFICE☐ BATH HOUSE☐ MEDIA ROOM☐ GARDEN BUILDING☐ SITE OFFICE☐ GREENHOUSE☐ WRITER’S RETREAT☐ COMPUTER ROOM☐ FOLLY☐ LOVE SHACK☐ SUNSPACE☐ POTTING SHED☐ DREAM SPACE☐ MUSIC ROOM☐

GARDEN ecoSHED WORKSHOPHOW TO DESIGN & CONSTRUCT SMALL GARDEN

BUILDINGS THAT SUIT PEOPLE & PLANET

How much money do I have to spend creating it?

Where is this building going to be located?*

Who is going to construct my building?

What is my design+construction timeframe?

Questions for Peter Cowman

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PRESENTED BY PETER COWMAN BARCH., DIRECTOR, LIVING ARCHITECTURE CENTREAT THE ORGANIC CENTRE, ROSSINVER, Co. LEITRIM PAGE 2

*If you have a suitable location available to youbring a map of it (that includes a north point) withyou, if you have one, ... plus any photos of it.

GARDEN ecoSHED WORKSHOP 3living architecture centre.com

INTRODUCTIONThis workshop will focus on the process of designing and constructing small, affordable, healthyand ecologically sound garden buildings for personal use, the type of building which can beconstructed without the need to apply for planning permission. The procedures described arepractical and have been well proven in use over many years. No previous experience of designor construction is required to fully engage with this ‘living’ architecture process.

LIVING ARCHITECTURE PRINCIPLES‘Living’ architecture articulates the idea that buildings are an extension of our lives and cantherefore be regarded as being alive in themselves. This aspect of architecture is generallyoverlooked because ‘property’ has become the cornerstone of the prevailing economic systemthereby excluding almost all other considerations. Generally speaking, modern buildings can beconsidered to be ‘dead’.Buildings are mostly made of space which is sectioned off withwalls, floors and roofs from Universal space. By virtue of thisthe process the creation of buildings allows us to consciouslyexplore and manage the potentialities arising from ourconnection to the Universe, or, to put it another way, to ‘theworld as we know it’. Many ‘vernacular’ building traditions exist which reflect this‘connection’ principle - Vastu Shastra and Feng Shui, forexample, but also more local traditions which reflect valuesystems, cultural identification mechanisms and connections to invisible, yet significant, aspects of life on planet Earthand beyond. In addition to the normal material considerations many ‘issues’ arise within this design+constructionmethodology which relate to the invisible yet significant realms of life.A primary aim of the ‘living’ architecture design+construction process is to manage material and immaterialconsiderations prior to construction taking place so that as many impediments as possible are removed from thedesign+construction equation so that the final building can deliver on the promise of allowing a person to fully engagewith and to ‘live out’ vital aspects of their lives.

DESIGN INTENTIONThe role of your building in your life will emerge from within you. It is this intention which willenliven the inner space of the building. The role of the building fabric - the walls, the floor and theroof - is to enclose this inner space and to separate it from the outside world.Because clear intention is what brings a building to life it is essential that intention controls the designprocess. This requires that a harmony be achieved between the inner and outer aspects of the design.This balancing of abstract and physical, material and immaterial, visible and invisible considerations ischaracteristic of life itself.To achieve the necessary harmony between the inner and outer aspects of the design your mind hasto be encouraged to share power with your intuition. This will allow you to tune in to the harmony ofyour life and to infuse your design with that life. Bringing your design to life is, in many ways, aboutbringing yourself to life. The process of writing things down is important because it extracts things from inside us and gets them out in the openwhere we can see them.So, don’t expect to have all the answers at your fingertips - the process of design is all aboutrefining preliminary ideas until they exactly match the inner feelings which are encouragingyou forward. Even a wrong answer to the question ‘what is it I want my ecoShed for?’ ismore useful than a vague idea stuck in you head or a blank piece of paper which conveysnothing.You should take your time with this exercise because time is a very important part both ofcreating and of experiencing ecobuildings.Successful design leads to successful construction, all of which requires time. It is critical toapportion sufficient time to these processes right from the beginning. Allowing time forlistening, verbalising, thinking, feeling, experiencing, expressing, trusting and so on areessential aspects of getting in touch with your deep intentions in order that your ecoShedcan deliver the potentiality inherent within that.

Buildings are an extension ofour lives and can be regardedas being alive in themselves.Buildings are mostly made ofspace which is sectioned offwith walls, floors and roofsfrom Universal space.

The role of yourbuilding in your lifewill emerge fromwithin you. It is thisintention which willenliven the innerspace of the building.

Successful design leads tosuccessful construction, all ofwhich requires time - lots of it!.

GARDEN ecoSHED WORKSHOP 4It is important to bear in mind that obstacles, impediments, limitations and so on will inevitably obstruct the forwardprogress of a person’s design intentions, some of which might arise from surprising quarters. All of these encounterswill carry their own messages and it is of critical importance to evaluate these honestly and to look upon them asvaluable because of what they can deliver in respect of creating an ecoShed reflecting your deepest intentions.

ARTICULATING YOUR DESIGN INTENTIONSENVIRONMENTAL BOTTOM LINEIt is of critical importance to clearly express a ‘bottom line’ in respect of the environmental aspects of the proposedecoShed. The topic of Environment is what unites the abstract and the physical aspects of a design by focusing on howthe building will harmonise with the living world of which it will be a part. A buildings location; the materials used toconstruct it; the quality of the air within it; the means used to keep the interior warm and means of dealing with wasteslikely to be emitted from it are all influenced by Environmental preferences which must be declared at this stage of thedesign process. Environmental preferences can be expressed in a simple and all encompassing statement such as: ‘I wantmy building to be natural, healthy and non-polluting’.

DEVELOPING A PROJECT BRIEFNext, you need to develop a project ‘brief’ by articulating what you want to do in your ecoShed; what you need in termsof furniture and equipment to support that; how you want your ecoShed to ‘feel’ inside; what you want the floor, wallsand ceiling to be made of and where you plan on locating your ecoShed.

THE WORLD AS WE KNOW IT ...THE 5 ELEMENTS & THE 4 DIMENSIONSEARTHAll matter, including our physical bodies and building materials, originate in the Earth. The‘flesh’ of a building and the ‘skeleton’ or structure that supports it are similar to how our physicalbodies are constituted. The selection and use of earth-derived building materials impart to a building a sense of theextraction and refinement processes they have been subjected to. This manifests as a feelingand can be keenly evaluated with our senses - touching, smelling and even tasting likelymaterials to see if they are sound is a useful exercise ensuring that we do not experience adverse reactions to them!

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ACTIVITIES ... what do you want todo in your ecoShed?

FURNITURE & EQUIPMENT ...what do you need to carry out theseactivities?

ABSTRACT ... what feeling do youwish your small space to have?

SURFACES ... what finish do you wish to have on thewalls, floor and ceiling of your ecoShed?

WALLS

FLOOR

CEILING

LOCATION ... where do you wish your ecoShed to belocated in respect of the wider world?

MY ENVIRONMENTAL BOTTOM LINE:

The world as we know itconsists of 5 Elements &4 Dimensions

living architecture centre.comGARDEN ecoSHED WORKSHOP 5

Just as our physical bodies decay when they are no longer alive so too do natural materialsdecay. Retarding this natural process is a critical aspect of natural design+construction.If you are planning on having someone else construct you building it is critical that you remainin control of the overall process and that your design intentions and sensitivities are respected.The issue of Planning also falls under the ‘Earth’ heading. Generally small spaces are exemptfrom the need to obtain planning permission if they are located behind an existing dwelling.Some exemptions also exist relating to woodland management. Check out the ExemptedDevelopment regulations relating to the location in which you wish tobuild.Location is also an ‘Earth’ issue. It is critical to carefully assess theproposed location of your ecoShed in respect of ground conditions,orientation, access, past history and so on. More on this later.FIRE & AIRFire preceeded the construction of houses. We can imagine a building’swalls, floor and roof as weatherproof enclosures for the fire which burnswithin the ‘hearth’ or heart. Fire is not only one of natures vital‘elements’ it is also a source of physical and psychological comfort forpeople. It is interesting to speculate on the idea that the enclosing of the firewithin buildings prompted self-awareness in humans. Such awareness draws attention to our alivenessand to our conscious actions in maintaining this aliveness. In ancient architectural traditions, such asVastu Shastra and Feng Shui, for example, this aspect of design+construction is considered to be ofparamount importance. To this end, tapping into and maintaining the flow of life energy which fuels ouraliveness is critical if an empowering building is to be successfully created.Fire & Air are inseparable companions and any consideration of the fire element within a design alsoinvolves consideration of the air supply and circulation both to the fire and to the building’s inhabitants.The supply of fresh air and extraction of foul air has a large impact of the healthiness of the internalenvironment. The breathability of the building enclosure - the walls, floor and roof - is also of criticalimportance also. The Fire & Air elements in your design hugely impact the choice and use ofconstruction materials, building location, orientation and so on - which is why they are considered soearly in the design process. Electricity is also a fire element, energising many of the devices we use in everyday life. Just like fire, electricity has tobe handled with caution. Current circulating at 220 or even 110 volts can negatively impact our bodies and compromiseour immune systems.

SPACE-TIMEThe element of space-time (traditionally referred to as ‘the ether’) is themost abstract of all elements due to its invisibility. However, it is literallythe element wherein we live and spend our time! This invisible aspect ofdesign requires that we find ways of clearly evaluating the space-time thatwill be enclosed by a building fabric. Such space-time will have a longhistory which will need to be acknowledged and evaluated to ensure thatno nasty surprises await one when they move into occupation!If you do not have a location for your design, investigations can be carriedout when one is obtained or, a design can beevolved and then an ideal site and constructor canbe found for it - much like traditionalsheltermaking practices.

Touching, smelling and eventasting likely materials to seeif they are sound is a usefulexercise ensuring that we donot experience adversereactions to them!

Just as our physical bodies decay when they are no longeralive so too do natural materials decay. Retarding this

natural process is a critical aspect of naturaldesign+construction.

It is interesting tospeculate on theidea that theenclosing of thefire withinbuildings promptedself-awareness inhumans.

In ancient architectural traditions our consciousactions in maintaining our aliveness is considered

to be of paramount importance in respect of abuilding’s design, construction and location.

Do you wish for your ecoShed to have a heating system? If so, state your preference forthe type of system.

Do you wish your ecoShed to be connected to the national grid, wish to generate andstore electricity yourself on-site (possibly at 12 or 24v DC) or to have an electricity freebuilding?

Do you wish for your ecoShed to be able to collect and store solar energy?

The dimension of time affects theorientation of an ecoShed to ensureit receives direct sunlight,particularly where solar energy is tobe collected for space or waterheating purposes.

Space can be evaluated simply by spending time in it. Techniques such as dowsing canalso be used to reveal noxious energies, residues of past disturbing events, high levelsof manmade radiation and so on that could negatively impact people when they‘move in’ to a space and begin to spend more and more time there. While there aretechniques to moderate the potential negative effects of such pollution within space-time on people, in many cases such locations with this type of negative energygenerally need to be avoided. Dowsing can be used to evaluate the strength and flowof positive energy at a particular location also.The dimension of time impacts a building design in several ways. Firstly, it affects theorientation of a space to ensure it receives direct sunlight, particularly where a passivesolar design is being developed. Secondly, nurturing a timeless feeling within a building design is of critical importanceif one is committed to reclaiming one’s time, given that the selling of time in the past resulted in the demise oftraditional sheltermaking.A further aspect of space-time that needs careful consideration relates to the timeframe within which constructionwork is to be carried out. Also, the sensitivity with which this work undertaken has a space-time, or invisible dimensionto it. The residual vibration of such work can oftentimes carry resentment, indifference, anger and so on that thesensitive inhabitant will encounter and oftentimes have difficulty eliminating once they ‘move in’. To avoid such anoccurence careful consideration should at this stage be given to the question of how and by whom a design is going tobe constructed. SpaceTime due to its invisible or intangible nature is the repository of the unseen, the unconscious,the unknown and the mysterious. As such, we largely have to travel blind, trusting to instinct,intuition, insight and so on to guide us on our way.WATERThe element of water is vital for life and is critical to the functioning of the life-support systemswithin and without a building. Firstly, one needs to specify the quality of water one wishes to have available to them within yourbuilding. This could be from a spring, a well or from harvested rainwater. Generally, public watersupplies are contaminated and its supply may only be desired on-site for fire-fighting purposes. Water supply, storage and distribution is normally referred to as ‘plumbing’ while systems dealingwith the processing of wastewater are normally referred to as ‘drainage’. Plumbing and drainagesystem design has a major impact on the choice of building location, on layout, ground conditions,choice of roofing materials and so on.The water element is also representative of the emotions. Careful monitoring of the feelings thatarise as one moves through the design+construction processes offers an incomparable guide as towhether one is ‘on the right track’ - or not!

THE 4 DIMENSIONSTransforming words, feelings, dreams an so on into the 4 dimensions of ‘the world aswe know it’ - length, breath, height and time - is an essential aspect of realising one’secoShed design ambitions. The 3 dimensions of space are expressed in the common language of ‘measurement’ -with lengths expressed in either imperial (in; ft; yd) or metric (mm; cm; m) numericalunits. The units of the 4th dimension of time are based on solar units - seconds,minutes, days, weeks, months, years and so on. Achieving a harmony between the 5 Elements and the 4 Dimensions of ‘the world as we know it’ is key to creating anempowering building. Such harmonisation has to be aimed for at the commencement of the design+constructionprocesses.

living architecture centre.comGARDEN ecoSHED WORKSHOP 6

The element of wateris vital for life and iscritical to thefunctioning of the life-support systemswithin and without abuilding.

Plumbing and drainage system designhas a major impact on the choice ofbuilding location, on layout, groundconditions, choice of roofing materialsand so on.

Space can be evaluated simply byspending time in it or by usingtechniques such as dowsing.

Outline your preference in respect of accessing a water supply and dealing withwastewater with reference to your stated environmental ‘bottom line’.

Achieving a harmony between the 5 Elements and the 4Dimensions of ‘the world as we know it’ is key to creating asatisfying and empowering ecoShed brimming with potential.

DESIGN & STYLE FILEBegin to assemble photos of small buildings that appeal to you, either pics you take yourself or ones taken from books,magazines or online sources. Pay pasrticular attention to interior shots, particularly ones illustrating compact or cleverbuilt-in furniture solutions ... also pay attention to materials, colours, textures and so on. Create a file to keep theseimages in.

DRAWINGSDrawings allow for the size, orientation and plan of a building to be displayed on paperby the use of measurements. Due to the limitations of such representation only 2 dimensions of a building can bedisplayed in any one drawing. To represent all 3 dimensions, at least two drawings haveto be made of the object displayed. Also, such drawings only represent the enclosingsurfaces of space - walls, floors and roofs - and cannot represent the space itself becauseit is invisible! The 4th dimension of time is represented on such drawings by displayingthe north point.Because it is impossible to create drawings of a building full size it is normal to draw them ‘toscale’, that is, they are drawn proportionally smaller, for example, 10 or 20 times smaller than the‘real thing’.Drawings can also be used to create scale models of the building they represent which allows thespace enclosed by walls, floors and roofs to be ‘seen’ in 3 or even 4 dimensions..

CREATING A PLAN & MAKING A SCALE MODELThe Furniture & Equipment that you have listed now need measurements applied to them. In asmall space building-in this Furniture & Equipment is essential to keep the building as small aspossible.To create a scale plan of your building at, for example, 1:20 scale, begin with an outline of thefloor area on a largish sheet of white paper using a soft pencil - a 25sqm building, for examplemight be 5X5m or 4X6m, depending on location parameters. Make scale cut-outs of yourproposed Furniture & Equipment as well as doors and windows from coloured paper. Include anorth point in this plan if possible - the sun moves from east to west and is always in the south at midday. Try variouscombinations of layout, window and door positions. When you are satisfied with the plan add a wall thickness of 250-300mm all around it. Lightly tape down your cut-outs using masking tape, then, using greaseproof paper and a penciltrace the layout. Bingo! You have a plan!Photocopy your tracing and tape this to a piece of strong card. Next, using card pieces create 3.6m high walls to matchthe length of the sides of your plan, drawing on these walls window and door positions as appropriate. Tape these wallslightly together so they stand above the plan.Stand back and evaluate the model. Note what needs to be changed and construct anew model, this time modifying the walls to allow a pitched roof to be laid on top ofthe walls. Repeat, refine, tinker until satisfied!

living architecture centre.comGARDEN ecoSHED WORKSHOP 7

Due to the limitations of drawings only 2dimensions of a building can be displayedin any one drawings. To represent all 3dimensions, at least two drawings haveto be made of the object displayed.

!

N

The 4th dimension of time isrepresented on drawings byuse of a north point.

SAMPLE FURNITURE & EQUIPMENT MEASUREMENTSGenerally, the measurements shown are average sizes. Whereparticular items of Furniture & Equipment are to be incorporated into adesign, these should be measured individually and the dimensionsnoted onto the relevant Space Analysis Sheet.

All dimensions are in millimeters.D = diameter; W = width; L = length; H = height;

TABLESDesk 1200L; 750W; 735H

Craft Table 1200L; 1200W; 1000H

Workbench L as desired; 750W; 900H

CHAIRSKitchen/Dining Chair 460L; 400W; Seat: 460H

Back: 900H

Stool 380D; 680H

Bench L as desired; 350L; 460H

Couch 3 person - 2000L; 850WSeat: 460H Back: 900H

BEDSSingle Bed 1920L; 910W; 430H

Bunks 1920L; 910W; 1600H

Island Unit 1200L; 900W; 900H

STORAGEBookshelves L & H as desired; 300W

Drawers L & H as desired; 500WShelf Space L & H as desired; 400W

General Storage L & H as desired; 600W

MISCELLANEOUSFirewood - 400kg 1000L; 1000W; 1000HTurf - 384kg 1000L; 1000W; 1000HBicycle 1400L; 600W; 1000H

Drawings can be used tocreate scale models of thebuilding they represent whichallows the space enclosed bywalls, floors and roofs to be‘seen’.

living architecture centre.comGARDEN ecoSHED WORKSHOP 8

BUILDING STRUCTURE & FABRICBasically full scale building structures can be frame or solid. Framed structures arelike our bodies - a structural skeleton clothed in flesh which contains our vitalorgans, our circulation and waste systems, with openings for food, water and wasteto enter and be expelled, etc. A framed building usually has timber skeleton that isclothed with a building fabric which contains vital organs (heart/hearth, etc.),circulation and waste systems and so on. Framed structures are versatile, requireminimal foundations, are suited to sloping sites, are easy to adapt and aremanageable by self-builders.Solid structures are of heavier construction, requiring more robust and, ideally, levelfoundations, are more difficult to waterproof and are slower to construct. Normallyroofed with a lightweight frame structure, solid structures are more challenging forthe self-builder.The wall, floor and roof elements of a building’s fabric can be thought of as‘sandwiches’ consisting of an outside and an inside layer with a thick filling ofinsulation.In addition to its insulating role, a building’s fabric must also have heat storagewhile its outer fabric must have waterproofing capabilities. In cold climates theheat storage capability of a building’s inner fabric helps to bring the innersurface of the walls into temperature balance with the surface temperature ofthe building’s occupants. This effect is similar to how the temperature of ourclothing comes into balance with our surface temperature allowing us to feelcomfortable.Clothing which feels comfortable on our bodies is normally made frombreathable fabrics. These allow excess heat and moisture to escape from our skinreducing the risk of sweating. A building’s fabric also needs to be madeusing breathable materials to minimise the risk of sweating - orcondensation as it is more commonly called. A building’s internal heatstore can be heated by the sun or by the excess heat produced by people,lights and machines. A heating unit such as a small wood-burning stovecan be used to provide supplementary heating.A building’s fabric must also deal withrain, snow and wind, protecting theinternal climate from the negativeeffects of these. To satisfy all of thedemands placed on it a building’s fabriccan be imagined as consisting of threeessential layers:The external, or, weatherproof layerThe middle or insulating layerThe internal or heat storage layerSuch a 3 part ‘sandwich’ can be formedaround a timber frame structure muchlike our flesh is built up around ourskeletons. In its simplest and leastexpensive form this fabric might consistof clay-straw which constitutes the middle or insulating layer. When used ina wall clay-sand plasters can be used to provide the internal and externalfinishing layers for this. In the case of a roof, metal or slate can be used toprovide the external, or, waterproof layer. The inner layer of the roof can beplastered or timber boarded. It is also possible to fill a floor structure withclay-straw, to top this with a heat storage layer and then install a timberfloor on top - a system that provides natural, solar powered underfloor heating system!A more complex and expensive form of building fabric would consist of cladding the frame with timber, infillingthe walls, floor and roof with breathable natural insulation and installing heatstore layers onto these - for examplesand-lime plastered onto laths. Such a building might also have a slate roof along with manufactured door andwindow units. In practice it will be found that all manufactured materials come at a relatively high price comparedto their ‘raw’ counterparts, both on economic as well as on environmental grounds. In addition - manufactured

View of south elevation of 10 sqm+ timberframed EconoSpace 1:20 scale model andbelow, the real thing.

Left: view of building with solid structure - these types ofbuildings require more robust and, ideally, levelfoundations, are more difficult to waterproof, are slowerto construct and more challenging for the self-builder.

The wall/roof/floor ‘sandwich’

The ideal wall/floor/roof configuration - ‘sandwiches’all round, making a ‘cosy box’.

materials tend to encourage a higher level of precision than the average, cost-conscious, self-builder can usuallyachieve. For these reasons and others it is far better to keep one’s reliance on manufactured materials to a minimumand to exploit the wonders of cheap, abundant and natural ‘raw’ materials such as timber, clay and straw. In the event of a solid structure being created it is essential that effective waterproofing is installed to prevent groundmoisture being drawn up into the walls. In practice, this requires that a continuous foundation is constructed to carrya ‘rising wall’, that is, a low wall, say 500-600mm high, the top of which can be waterproofed to protect the enclosingwall of the space above it. In such a structure, the floor or the building should also bear onto this rising wall so that ittoo is effectively damproofed and can be properly insulated.

LOCATIONBefore a final plan can be devised it is necessary, where a site has been chosen, to giveconsideration to the matter of integrating your ecoShed into its surroundings. This wouldinclude such matters as investigating ground conditions; noting the positions of drains,manholes, underground cables and so on; positioning paths as well as work and materialsstorage areas in addition to measuring up the general area where the ecoShed is to be located.Assessing orientation; checking for possible overshadowing; wind exposure; consulting withneighbours and so on are all important in achieving a successful build - and, more importantly,in delivering a building which satisfies the stated needs of the designer. A good starting pointin respect of what is called ‘site analysis’ is to obtain an O.S. map of the location.

SYSTEMSElectrical, plumbing, drainage, phone and internet systems can be overlaid on the developingand the final plan of your ecoShed. These may cause some alteration to the layout which canbe easily modified using the procedures previously explained.

COSTINGThis is a notoriously difficult topic to deal with accurately. If one is to avoid cost over-runs it is essential that accuratequantification and costing of as much of the material to be used in construction is carried out beforehand. Labour tooneeds to be accurately costed - including your own if you are planning on self-building. If you are employing labour it isbest to avoid paying for this by the hour and to insist on a price for the job. This will require that you provide clearaccurate information to whomever you wish to employ. When materials are being investigated and selected priceinformation should also be obtained. Quantities can be estimated from even rudimentary drawings.

living architecture centre.comGARDEN ecoSHED WORKSHOP 9

What natural materials andproducts are available to you locallybearing in mind your statedenvironmental ‘bottom line’.

What construction skills do you haveor what construction skills areavailable to you?

If you answer is ‘none’ to either orboth of these questions whatconstruction skills trainingprogrammes are available to you inyour area?

How and by whom is your design to be constructed?

Based on the materials and products available to you and on how and by whom your ecoShed is to be constructed,what type of building structure is best suited to your needs?

WORKING DRAWINGSWorking drawings consist of dimensioned drawings of plans, elevationsand such things as the junctions between walls, floors, roofs as well asdetails of windows and doors and how these units are to be attached towalls and floors. If accurate costing is to be carried out beforeconstruction takes place working drawings are an essential componentof this exercise. Also, if problems in construction are to be avoided suchdrawings can pinpoint possible difficulties which can be circumventedbefore construction takes place. Making working drawings is a specialised exercise and is well worth themoney invested as many potential problems can thereby be avoided!

There is an abundance of additional information available from theLiving Architecture Centre website, including published ARTICLES aswell information on the Online Sheltermaker Course, TheEconoSpaceMaking DVD Course and The Sheltermaker’s Manual,published by Python Press

THE ECONOSPACEMAKING COURSEECO-BUILDING ON A SHOESTRING

Eco-living begins in your own backyard. That is the compelling argument which architect Peter Cowman puts forwardin the EconoSpaceMaking Course which consists of a dynamic combination of text, drawings, photographs and videoinformation. By learning how to create a small sustainable shelter - with no need to first obtain planning permission - the Courseoffers one the opportunity to regain territory lost to an economic system which depends on mortgage debt to fuel itsinsatiable growth. From drawing to modelmaking, from concept to built reality, The EconoSpaceMaking Course provides one with themeans to create one’s own living architecture as well as the opportunity to discover, in the process, who you are andwhat you life is all about. EconoSpaceMakers can also share their experiences, exchange ideas and information and keep up with the latestEconoSpaceMaking developments.The EconoSpace is a building type that has been developed at the Living Architecture Centre. Economical, versatile and adaptable, EconoSpaces are an ideal ‘starter building’ for those wishing to explore the worldof ‘living architecture’ and ‘self-building’. They will also appeal to people needing additional space for guests, creativity,home offices and so on. Full construction details for 10sqm and 25sqm EconoSpaces are included on the EconoSpaceMaking Course dataDVD. Allyou need to know to design and construct your own sustainable space ...

living architecture centre.comGARDEN ecoSHED WORKSHOP 10

Working drawings allow for the size of building componentsand for the method of connecting them to be investigatedand illkustrated accurately before construction work begins.

WHAT’S ON THE ECONOSPACEMAKING COURSE DVD *Terms of Use - pdf and txt files! EconoSpaceMaking Course folder:

"EconoSpaceMaking Manual.pdfMovies, Drawings & Text foldersMagazine articles folder

" TextsSharo's Studio.pdfDrawing Worksheet.pdfDrawings & Models .pdfEconoSpace Worksheets.pdfExempted Development.pdfPlanning.pdfSchedule 2- Planning Reg 2001.pdfSurveying.pdfSite Selection & Analysis.pdfTimberfile.pdf

" Magazine ArticlesEarth Garden Magazine SelfBuild MagazineOwner Builder Magazine 1Owner Builder Magazine 2Permaculture UK Magazine

" DrawingsEconoSpace 1:50 Drawings.pdf10sqm EconoSpace Drawings.pdf25sqm EconoSpace Drawings.pdfFurniture & Equipment.pdfWD10.pdf - Working Drawings for 10sqmEconoSpaceWD10+.pdf - Working Drawings for10sqm ‘plus’ EconoSpaceWD25 RevA.pdf - Working Drawings for25sqm EconoSpace

" MoviesEconoSpaceMaking - Introduction.movMeasurement, Drawing &Modelmaking.movEconoSpaceMaking Animation.movGroundworks.movConfiguring Your EconoSpace.movBasic techniques.movSetting Out.movRailway Sleepers, Floor Beams &Foundation Trusses.movThe Bench.movThe Peter-Post.movPeter-Post Jig.movMaking Peter-Posts.movWall Framing.movThe Roof Structure.mov

* RRP €90 Special discounted price for Garden ecoShed students €50! Talk to Peter about obtaining your copy!