WAI MANU Wash Basin
Victoria University of Wellington - Te Herunga Waka Natasha Perkins
Ben Waddington 2021
Rhonda Thomson & Lincoln North. Of The Living Pa Project team Bobby Luke Caitlyn Lee David Hakaraia Dion Andrews Dr Rebbeca Kiddle Gerard Finch Graeme Crawley Hamish Morgan Ken Howe Maibritt Pedersen Zari Phil Nelson Steven Almond Anzor Fasteners Wellington City Timbers Ltd Jaycar Electronics Plumbingworld Wellington Sealhouse Auckland
Tenā Koutou, tenā Koutou, tenā koutou katoa No Haumoana ahau Ko Waddington te Whānau Ko Ben ahau Ka nui te mihi ki a koutou Tenā Koutou, tenā Koutou, tenā koutou katoa.
Contents 8
WAI MANU
14 CONTEXT 14
THE LIVING PA PROJECT
16
A LIVING BUILDING
18 EXPLORATION 20 REFLECTION 22
INITIAL BRIEF
23
PRECEDENT STUDIES
24
CONCEPT DESIGN
32 REFLECTION 34
REFINED BRIEF
35
DEVELOPMENT SKETCHES & MODELING
38
CAD MODELLING
40
MATERIALS & PROCESS
42 PROTOTYPING 50
WORKS CITED
WAI MANU Preface New Zealand’s current social and political climate calls for designers with an improved awareness
of product lifecycles, specification, and reuse. Local investment through projects and research by institutions such as Victoria University of Wellington Te Herunga Waka is driving expectations for designers to move towards a circular economy. The Living Pā Project takes a dramatic step towards this future, looking to obtain full petal certification under the international living future institute’s living building challenge. While this does not reach the ambitions of a circular economy it thoroughly considers “20 imperatives” (International Living Future Institute, 2019) that define a high standard of awareness. This extends beyond considering an environmental agenda, to issues engrained within New Zealand’s social context. In recent years widespread efforts have started to open dialogue with Maori, as iwi start to be consulted over development, and business decisions. Iwi ask for recognition, reconciliation, and the ability to lead in the development of Maori culture. This paradigm was spearheaded by the efforts of the Waitangi Tribunal act set up in 1975 to provide a “permanent commission of inquiry that makes recommendations on claims brought by Māori relating to Crown actions which breach the promises made in the Treaty of Waitangi” (Ministry of Justice, 2021, Par.2) Project Brief The Wai Manu wash basin seeks to provide a locally crafted and environmentally low impact alternative 8
for the Living Pā Project. It responds to critiques of poor ergonomics, difficulties with maintenance, and the typical standardization of furnishings in public bathrooms. Unisex bathrooms within the Living Pā respond to a growing interest for inclusive space, resulting in programming of personal spaces rather than communal. Amenities which were traditionally shared such as sinks, soap dispensers and dryers, are now required in higher volumes. At 1-1 or 2-7 rather than 1-35 for female toilets and 1-20 for male (Department of Building and Housing NZ, 2011, p. 22). This means bathrooms must be larger and amenities must shift from defining communal space to personal space, considering furnishings rather than fixtures. Overall, 17 small wall mounted sinks are required, increasing the environmental footprint if local products are not specified. Currently most basins, tapware, and plumbing components are imported from countries such as China and Italy. Destroying needs for local craft, and increasing the energy embodied in the lifecycle of the products. Design Process Early concepts considered amplifying user engagement with water through formal or sensory experiences, later transitioning to considerations of functionality in development. Clay was used as a malleable tool for iterative development translating to a range of successful concepts that carried through into prototyping. Concept two was formally taken into development, integrating aspects of other concepts such as the slotted drain, sculpted angular interior, and a spout aligned parallel to the wall to improve access. A mock-up was constructed during concept design which along with compliance documents (Department of Building and Housing NZ, 2011,
p. 20) formed decisions around the sizing of the prototype. Material Selection New Zealand halloysite clay from IMERYS’s Ceramics Matauri Bay pit and reclaimed copper plumbing pipe from the demolition of the existing villas on the site of the Living Pā, are specified with the intent of minimizing environmental harm and recognizing embodied energies in the process of making. Halloysite clay was specified after researching porcelain and stoneware clays used by New Zealand potters. While stoneware clays are common, Crown Lynn crockery offered precedent for where to source a New Zealand white burning clay. While owned by an international corporation, the Matauri Bay clay pit employs New Zealand staff, and has a history of supplying clay for domestic ceramics. Using copper from the existing villa’s extends the life of a high value material which in a virgin state embodies “70.6(MJ/Kg)” (Alcorn, 2003, A.1). This is significant in comparison to porcelain which as a virgin material embodies “2.5(MJ/Kg)” (Alcorn, 2003, A.2). This means copper must stay in use 28.3 times longer than porcelain to account for initial processing. According to Bowen Li (2008) “Copper has both antibacterial and antifungal properties” (p.3). Tests against “Escherichia coli (E. coli), Staphylococcus aureus (S. aureus), and Klebsiella pneumoniae (K. pneumoniae),” (Li, 2008, p.34) “show that the copper vermiculite has strong antibacterial activity against E. coli” (Li, 2008, p.55). Beyond appropriate material selection, the circular economy model is embraced through proportions that consider reusability within alternative bathroom configurations. Prototyping Prototyping involved research into ceramic and copper materials alongside processes of slip casting, CNC milling, glazing, hand building, pipe bending, and polishing. The sink prototyped was milled from 100 x 50mm pine clears, which were laminated into a blank 1400 x 125 x 280mm. Multiple cutting passes were set up on the CNC 10
router, and routing in two halves accommodated the tapered sides and draft angles providing a flat datum to machine from. Halfway through the blanks were flipped giving access to rough out the interior and underside. Further clean-up was required, flattening, biscuit jointing, and gluing the two halves together. The copper spout performed well, providing an interactive flow of water, as desired in concept design. Whilst suitable for the spout, copper plumbing supplies were expensive, and more commonly found in chrome or nickel. This made sourcing the wall flanges and bottle trap difficult. Further Avenues This sink will act as a master for future prototypes from which plaster moulds can be cast for slip casting. Designing and locally manufacturing fittings rather than specifying existing products could improve circularity, allowing exploration into alternatives to copper that reduce cost and energy embodied in the lifecycle. Local craft could become more prevalent, perhaps implementing varying finishes used by potters within the region. Wai Manu considers its place within the Living Pā Project and a circular economy; however extensive prototyping is needed to improve its merits over other wash basins. Wai Manu must aim to encompass the manufacturing of the basin alongside its fixtures.
CONTEXT New Zealand’s current social and political climate calls for recognition, reconciliation, and the development of Maori culture. A paradigm spearheaded by the efforts of the Waitangi Tribunal act, set up in 1975 to provide a “permanent commission of inquiry that makes recommendations on claims brought by Māori relating to Crown actions which breach the promises made in the Treaty of Waitangi” (Ministry of Justice, 2021, Par.2). In recent years widespread efforts have started to open dialogue with Maori, as iwi start to be consulted over development, and business decisions. THE LIVING PA PROJECT As tertiary education providers Victoria university looks to lead with cultural initiatives being implemented throughout the institution. The living Pā Project will redevelop the university’s existing marae precinct, with the objective of, “connecting to the past to inform our future” (Victoria university of Wellington, 2020a, Par.1). While fostering a strong foothold within the university for Maori culture, this new development also seeks to reconnect Maori with the land (papatuanuku), through promoting sustainable building practices through the living building challenge. Victoria University describe the living pā as an “incubator for innovation, and a place for multiple communities and disciplines to come together to discuss how we can build a more equitable, fair, and sustainable society” (2020a, Par.4). From 1978 Victoria university has used premises along Kelburn Parade to house the Department of Anthropology and Maori studies along with a
14
marae which was built in 1980. This identifies the study of Maori culture as a key topic within the anthropology department. By 1986, “256 students and 13 ‘known’ staff of Maori descent were enrolled” and the Te Tumu Herenga Waka was opened. Further development occurred until 1995 with the marae precinct entered in Victoria’s capital works programme. In 2017 further acknowledgement of Maori culture was made with the living pa project phase one initiated. This phase saw preliminary consultation commenced with primary stakeholders. In the following year the projects core group, review group, Tikanga and business model, and advisory group were established. In 2019 core design consultants were contracted & phase 2b initiated. This phase was an engagement and consultation process. Phase three began in 2020 resulting in a preliminary design confirmed and planned to commence mid 2021 with the Pa opening in 2023 (Victoria university of Wellington, 2020b).
A LIVING BUILDING The Living Building Challenge provides an evolving standard for sustainable development. Promoting 20 imperatives grouped into seven petals of sustainable initiatives. Place, water, energy, health + happiness, materials, equity, & beauty. Its holistic approach defines core imperatives which are built upon with further scalable imperatives. Two levels of certification are offered, with petal certification requiring fewer imperatives to be fulfilled over living certification, which fulfills all 20 (International Living Future Institute, 2019). Listed below are the objectives outlined for the living Pā Project…
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Nurture the whakapapa (relationship) between humans and ecosystems.
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Create places where people can congregate and have access to alternative working and break out spaces.
Materials •
Use no red-list materials. This is a list of 22 worst-in-class toxic chemicals pervasive in the built environment (e.g. chlorofluorocarbons, formaldehyde, phalates, chromium 6, PVC).
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Reduce the embodied energy of construction materials and in the construction process— to sequester more CO2 than our carbon footprint.
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Advocate for responsible industry.
Place •
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Establish connections for community benefit, restoring natural ecosystems, supporting urban agriculture, and reconnecting people to land via on-site food production. The functionality of indigenous ecosystems will be emulated, habitat for wildlife will be provided, and native plantings will be used.
Water •
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Work in harmony with the natural water flows of the site and its surroundings”. “Supplying 100% of our water needs by captured rain or other closed-loop water systems and/or by recycling used water. Treat and manage storm water and water discharge onsite, including grey and black water, through reuse, a closed loop system, or infiltration.
Equity •
Provide universal access to nature, space, and place.
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Design a building that facilitates human connection.
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Promote neutral space, culture, and interaction.
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Provide a public realm, such as street furniture, public art, and gardens, that is accessible to all.
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Support charitable enterprise. For every dollar of total project cost, a half cent or more will be set aside for student scholarships.
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Work with local people, artists, manufacturers, professionals, and contractors to conceptualise, design, and supply our building.
Energy • •
Achieve net positive energy (105%) and provide onsite energy storage. Passive design principles used and are exploring ground-source heat pumps situated under the ātea (forecourt) and solar panels.
Health & Happiness •
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Ensuring comfortable access to natural light, fresh air, and visual stimulation.
Beauty •
Meaningfully integrate public art and contain design features intended solely for human delight and the celebration of culture, spirit, and place.
EXPLORATION The Living Pā Project presents a developing model for institutional architecture in New Zealand. Opening dialougue to local Mau Whenua, demostrates an awareness of social responsibility. The involvement of the local Mau Whenua is fostered by the celebration and recognition of their values of place and environment. David Hakaraia identified that his approach would look beyond the scale of the Mau Whenua, and find value in celebrating one’s own personality and design preferences. Bringing diversity to the project is reflective of the maraes contemporary use and userbase of the university and wider Kelburn area. He acknowledges that the Marae is non-traditional by nature serving the university for education and
functions rather that strictly limiting itself to Maori only from the area. It was recommended that with an open brief many avenues could lead to a valid idea, and that a starting narrative, material or structure could lead to design options. ‘Fail and fail fast’ Due the wide and free scope of this project it would be benificial to expand beyond typical expectations and definitions of furniture within the an institutional building. Opportunities are provided to tackle larger scale demands for furnishings, however a greater opportunity for experimentation perhaps lies in more overlooked spaces.Well designed, comfortable furnishings within service areas, kitchens or bathrooms may have become more prominent due to new founded perspectives on hygiene. Possible Themes
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Circular economy
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Collective assembly
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Adaptive design
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Flat Pack furniture
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Water recycling processes
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Biophilic design
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Whakapapa
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Narative
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Health & Wellbeing
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Craft
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Momumentality
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Rejuvenation
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Play
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Sculpture
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Material explorations
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Techtonics
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Style
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Home
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Possible typologies
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Reconfigurable dining arrangement
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Side tables, coffee tables
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Lap table for engagement area
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Handrail detailing
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Sofa’s
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Kitchen stools
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Kitchenette benchtop
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Kitchenette light
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Reconfigurable partitioning. (flexible space definition). (tensioned ceiling system fabrics)
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Standing work and eating tables
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Study cubicles
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Conference tables
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Storage units
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Lighting fixture
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Bathroom furnishings
REFLECTION The Living Pa project offers a dynamic and broad framework to develop a brief within. Its large and progressive nature provides ample opportunity for a furniture design project to provide impact. However also provides the opportunity to focus on a detail as the design planning should take care of the big moves. My current research helps to gain an understanding of the scope of the project however a further understanding of Maori architecture and furnishings may help to develop a project that references a material, structure, or technique. To give this research direction it would be useful to select an identified option of interest which provides opportunity moving forward. It is desired that the project results in a project of a resolved nature and addresses the detailing, material quality, and its sustainable manufacturing.
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(Frutos, 2014)
INTIAL BRIEF To design a bathroom sink for use in Victoria University of Wellington Te Herunga Waka’s living pā project on Kelburn Parade. It is essential to acknowledge the living pā’s involvement in the living building challenge, and therefore the responsibly to consider the impacts of materials, processes, and how as a product it could fit within a circular economy model. Concepts will be presented on 25/03/21, followed by detailed design due 28/04/21 and prototyping due by 06/05/21. Key stakeholders of this project are Rhonda Thompson and Lincoln North of Victoria University of Wellington’s living pā project team, who are available for contact through James Evans. Wider stakeholders, consultants, and manufactures are acknowledged at the beginning of this report. General Constraints
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One sink located within each cubicle of unisex bathrooms.
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17 sinks are specified for the living pā. Therefore, production should consider a medium volume for a short run.
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Accessible cubicles are specified at 1.9m x 2.1m, containing a sink, toilet, and shower, with an outwards opening door.
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Standard cubicles are specified at 1.05m x 2.1m, containing a sink and toilet, with an inwards opening door.
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Consider typical budget of ‘off the shelf’ options as no budget has been outlined currently by stakeholders.
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Must comply to Compliance Document for
New Zealand Building Code Clause G1 Personal Hygiene – Second Edition. (ref) •
Concept design due 25/03/21.
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Detailed design due 28/04/21.
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Prototype due 06/05/21.
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General Specifications
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Must accommodate needs of a diverse public, considering ages, disabilities, and ethnicities.
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Materials and products used must consider the LBC red list due to its fixture to the building.
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Water within the building is harvested from the surrounding environment, only reliant on town supply for emergency circumstances. A sink must consider that water used will be recycled as grey water.
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Consider Whakapapa (connection), and identity.
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(For further technical specifications, consult production drawings and documentation).
(Swalwell, 2018)
(Merello, 2010)
(Arstide, 2016)
(Joliot, 2014)
(Alves, 2014)
(Ida&Billy Architects, 2016)
(Waehler, 2009)
(Philcox, 2020)
Formed from recycled sheet metal, concept one offers a comunal basin. Custom faucets are sensor activated, and height adjustable. The drain forms a mirrored negative void to the tap. Sight of the draining water is maintained after streaming into the drain, disapearing underneath the base of the tap. This concept could accomodate many faucets, and be backed by a greenwall system. The theme would be sheet metal processes, such as roll forming, press forming, bending and welding. All significant components would be made from a single sheet.
CONCEPT ONE Ben Waddington Waddinbenj@myvuw.ac.nz 300444816
1. Section of proposed concept, considering collecting water underneath with folded V profile brackets. 2. Section considering height adjustable faucet. 1.
2.
3. 24
3. Card model tests proportions and provided quick iteration. View from front elevation.
Spilling from the two ends waterfalls emerge celebrating the overlooked beauty of fresh sanitary water. A ceramic slip casting process, or a pressed sheet metal forming process could be used to construct this design. Slip casting locally would reduce its environmental impact, however would require a more expensive tooling process reyling on production to pay it off. Grey water could be collected by a tray underneath or a drain onto or down the back wall. A ceramic basin would naturally progress from the development
CONCEPT TWO Ben Waddington Waddinbenj@myvuw.ac.nz 300444816
1. Section exploring split stone with formed stainless steel top. Faucet made of plate steel. 2. Long section through basin 600mm x 250mm x 250mm. Water runs off outside into tray. 1.
2.
3. End of sculpted clay model. Decided against splitting model. 4. Side view of clay model, chamfering outside edges and filleting interior edges. Clinical outside vs fluid interior.
3. 26
4.
Concept three offers a compact design. Shifting the tap to the side offers a larger space for hands and a different viewing angle to the water. As it hits the basin the ramped surface accelerates the water to where it seamlessly disapears into the tray below. By angling an end, water is prevented from splashing out next to the toilet and it gives precedent to begin the ramp towards the drain. The gap between the basin and the collection tray is accentuated with opportunity for shadow gap and LED lighting.
CONCEPT THREE Ben Waddington Waddinbenj@myvuw.ac.nz 300444816
1. Clay model was used to test the basin formally, struggled to sculpt its inside.
1.
3. 28
2.
4.
2. Recycled 15mm copper pipe. Thin proportions utilise strength of a tray to support it giving added durability. 3. From this mock up the depth of 250mm seems adeqate, however it was too shallow. 4. Water from other direction matches to basins angle. Thinking about structure underneath and possible shelf.
A stone basin is parted to reveal an atmospheric space between. Water showers onto the naturally sculpted interior of a monolithic form. The dramaticly lit water sheds away from the user, disapearing beyond eyeline. All plumbing is hidden conveying the natural process of rain apon the land. With five axis CNC routing or local scultors this project could be constructed. A scene could be set by implementing a green wall or planted system behind. A rock within the bush.
CONCEPT FOUR Ben Waddington Waddinbenj@myvuw.ac.nz 300444816
1. Rain head could be dramatic and artificially lit, potentially with UV light. 2. Considering water moving down a hill like surface and into dark void. 3. Physical model looks heavy and clunky. However its narrative is strong.
1.
2. 30
3.
REFLECTION Stakeholders at concept presentations were receptive to the proposition of a bathroom sink being designed. Lincoln North confirmed that the project was still valid as no bathroom fixtures had been specified to date. Lincoln also mentioned that while having unisex toilets, concept one may still be valid. Bobby Luke identified the scope within the project to take a typically general experience and turn to heighten and please users such as providing a spalike experience. It was also suggested that textiles with a man-made fibre could perform within a wet environment.
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REFINED BRIEF To prototype and develop to production specification, the second bathroom sink concept presented to project stakeholders and advisors at the end of concept design. This sink will be fit for production by the 27th of May 2021, fit for use within the living pā project. Development will prioritise research into low environmental impact ceramic processes, and its local craft identity. Detailed design will be completed by the 28th of April 2021 and prototyping by the 6th April 2021. Rhonda Thompson and Lincoln North of Victoria University of Wellington’s living pā project team remain key stakeholders in the project, with Lincoln available for contact through James Evans. Wider stakeholders, consultants, and manufactures are acknowledged at the beginning of this report.
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Prototype due 06/05/21.
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Final specification due 27/05/21
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General specifications
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Sink 850mm above FFL as required by NZBC clause G1.
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A max depth of 250mm between the front basin edge and the wall is required to not impede the operation of the cubicle door.
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150mm between the basin and faucet is optimal to allow access for hands while reducing splashing.
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Area between the sink and the wall should be easily cleaned, and not serve as a place which harbours bacteria, mould, and dirt.
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Water will be contained within the sink unit, to retain the cleanliness of the overall facility. The soaping and drying process and the ergonomics associated with this process should be considered.
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The basin will be ceramic, of local material and craft.
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Pipework will be of recycled copper pipe, cleaned, bent, formed, and polished.
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Must accommodate needs of a diverse public, considering ages, disabilities, and ethnicities.
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Materials and products used must consider the LBC red list due to its fixture to the building.
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Water within the building is harvested from the surrounding environment, only reliant on town supply for emergency circumstances. A sink must consider that water used will be recycled as grey water.
General constraints
34
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One sink per cubicle in unisex bathrooms.
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17 sinks are specified for the living pā.
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Accessible cubicles are specified at 1.9m x 2.1m, containing a sink, toilet, and shower, with an outwards opening door.
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Standard cubicles are specified at 1.05m x 2.1m, containing a sink and toilet, with an inwards opening door.
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Consider typical budget of ‘off the shelf’ options as no budget has been outlined currently by stakeholders.
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Must comply to Compliance Document for New Zealand Building Code Clause G1 Personal Hygiene – Second Edition. (ref) and Clause G13 Foul Water (ref)
•
Detailed design due 28/04/21.
Roun clums
Considering impact of remov against as it makes it harder
Considering plumbing and how it could resemble concept two. Bringing up through basin creates a nighmare waterproofing detail around it and a catchment tray. 21mm copper pipe being used. Good interaction to slot however. Keeping angled sides, bringing to a slotted drain, bringing back feature from concept one.
A ro
Digital Model of Concept 2. En that a second component is ne water. This creates cost, work, enviromental impact.
VICTORIA UNIVERSITY OF WELLINGTON TE HERUNGA WAKA
DRAWN BY:
THE LIVING Pā
BEN WADDINGTON Waddinbenj@myvuw.ac.nz 300444816
LOCATI
4
SCALE:
nded sides instead of straight. This looks sy.
ving sides. Decided r to clean.
Implementing angled sides from concept 2 into new form. Wide drain.
Linework used for generating interations. Lines were scaled, rotated and shorted to improve the basin.
Addressing end conditions through conventional ounded ends.
nd conditions meant eeded to catch , and further
ION:
42-50 Kelburn Parade, Wellington on drawing/A3
JOB #:
01
SECTION:
SHEET:
ISSUE DATE:
REV:
Furniture - Wharepaku 05/04/2021
12 01
VU.511 Development process
MATERIAL SELECTION The Living Pa Project’s involvement in the living building challenge makes material selection extremely important. Selected materials must fulfil the requirements of their function, while having low embodied energy and low environmental damage. Circular design must consider what happens to detrimental materials in use, with a responsibility of the designer to integrate these materials into the cycle or to design them out. Whilst containing the highest embodied energy of the materials investigated (Alcorn, 2003), copper can be found within the existing buildings. The copper plumbing is prioritised during demolition due to its high financial value. In the basin it can be recycled and used for tap fittings or handles.
Copper possesses many aesthetic qualities as it patina’s, affected by touch, or cleaning chemicals. Copper has been used by plumbers for decades due to its ability to conduct heat, and its anti-bacterial properties. It is malleable and hides defects once aged. The extraction and processing of copper is highly energy intensive and therefore it must be ensured that only recycled stock is used. Porcelain provides a durable material for the basin. Within New Zealand a host of local clays exist. From the 1940’s - 60’s Crown Lynn crockery used the white burning Halloysite clay from the Matauri Bay clay pit, that was coated with a clear glaze (Te Papa Tongarewa. n.d. Par. 5). Today the Matauri Bay pit is owned by IMERYS ceramics a multi-national company providing minerals for a host of industrial ceramics. This company have experience producing sanitary products such as toilets and sinks however this is done overseas (Emerys, 2021) and therefore
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only the supply of clay fits within the scope of the brief. Softwood timbers could be applied in the tooling process required for slip casting. Research suggests that a rough sawn, and air-dried timbers
have the least energy tied up in their manufacture, however dressing it would be required for tooling. Softwood timber production also commonly involves treatments, using harmful chemicals such as copper-chromium arsenic salts, light organic solvent preservatives, boron salts and alkyl ammonium preservatives. Alternatively, locally sourced hardwood timbers contain reduced embodied energy, and no harmful treatments. The impact of this material comes from the destruction of established and long cycle forests, containing much wildlife and ecology that a softwood forest on a 20-year cycle does not develop. Hardwoods can also be sourced as one-off feelings from old trees on typically farmers property. An alternative to porcelain is the use of pressed steel or aluminium, however due to the inherent footprint in comparison to porcelain the decision has been made not to use it. Sheet metals are also industrial in aesthetic which is undesirable compared to porcelain.
STUDY BY BRANZ (2019) C02nstruct-V1 Embodied carbon
Embodied energy (total)
Embodied energy (nonrenewable)
Embodied energy (renewable)
kg CO2eq/unit
MJ (NCV)/unit
MJ (NCV)/kg/unit
MJ (NCV)/unit
WC, sanitary ware (ceramic vitreous china) (toilet - mass = 18 kg)
17.60
921.60
298.80
622.80
WC, sanitary ware (ceramic fine fire clay) (toilet - mass = 18 kg)
19.35
921.60
298.80
622.80
Ceramic basin sanitary ware (ceramic vitreous china) (basin - mass = 9 kg)
8.80
460.80
149.40
311.40
Ceramic basin sanitary ware (ceramic fine fire clay) (basin - mass = 9 kg)
9.68
460.80
149.40
311.40
0.26
4.13
3.84
0.29
0.53
8.32
8.32
0.00
1.18
15.05
14.34
0.71
Timber, soft wood, dressed, kiln-dried sections [from sustainable forest management practices] [Note 1, 2, 3]
-1.15
28.05
5.69
22.36
Timber, soft wood, sawn kiln-dried sections [from unsustainable forest management practices, don’t know or won’t ensure from sustainable forestry] [Note 4, 5, 6]
0.49
28.05
5.69
22.36
Material
BATHROOM & KITCHENWARE
CLAY & BRICK Brick, clay
Tiles (ceramic)
GLASS Glass, clear float
TIMBER SOFTWOOD
STUDY BY ANDREW ALCORN (2003) VICTORIA UNIVERSITY OF WELLINGTON
(MJ/Kg) Copper Embodied energy virgin material
70.6
Clay Embodied energy virgin material
2.5
Hardwood Timber Embodied energy air dried, rough Sawn
Embodied energy kiln dried, rough sawn
0.5 2
Steel Embodied energy virgin general
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Embodied energy recycled general
10.1
Embodied energy virgin galvanised
34.8
Aluminium Embodied energy virgin general
191
Embodied energy virgin, extruded, anodised
227
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1. Laminated clear pine blank is milled to 1400 x 280 x 125. This took 9 1400mm lengths and in hindsight removing 1 length could have greatly reduced the machining time. 2. Blank is glued down to the CNC router bed with 3M industrial strength superglue. 3, 4, 5. First path made around the perimeter of basin top, no draft angle. 12
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6, 7. Outside perimeter milled on basin bottom half. No draft angle. 8. Clean finish besides faceting from line resolution of the file. 9, 10. Second file cutting the relief where the cut will pass through towards the drain. 11, 12. Parallel finishing cuts to complete draft angle. 13. Draft angle cut, along with drain pocket to reduce blow out when cutting out the inside. 14, 15. Routing out around the slotted drain. Pass was made with a 6mm cutter in a radial pass, this caused an inconsistent finish on the ends.
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27 16. Radial pattern is too course
and would require more sanding than required. 17. Changing cutters from 6mm to 16mm bullnose reduced tearout and matches texturing on the upper half. 18. Blanks removed and outer
line scribed into the table allowing them to be flipped and remounted.
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19. A significant amount of waste material could be reduced with a 25mm overhang instead of 50mm. Reducing offcuts. 20, 21, 22, 23. This pass is
beginning the rough out of the inside of the basin. A 16mm Roundover bit is being used in a helical pass. 24. Roughing and finishing passes made over bottom side. 25. A parallel finishing cut is used to mill the draft angle on the top side. 26. Testing ergonomics, curving back wall could give more space. 27. Machining of both sides complete.
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28. Hand sanding needed to preserve interior radial finishing texture.
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31. Copper tap oxidation after one day. 34
32. Copper tap oxidation after two days. 33. Copper tap oxidation after three days. It is important to consider that regular exposure to cleaning products will reduce oxidation. 34. Basin after two coats of Everdure epoxy finish. Recomended for its waterresistance, typically used in marine applications. 35. Issues with tearout where endgrain was cut.
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36. Finish should have been thinned to around 70% on first coat to improve absorption on soak coat.
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4x Fix.3
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8x Fix.1
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1. EXPLODED ISOMETRIC (1:5)
DRAWN BY:
BEN WADDINGTON
LOCATION:
42-50 Kelburn
WORKS CITED
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