Charley Han Projects 2023E

HAN

ARCHITECTURE DESIGN PORTFOLIO

LANDMARK “SUPER BRISBANE” URBAN REGENERATION RIVERSIDE EXPRESSWAY, BRISBANE The vision for this project is to synergise innovative technologies with natural flora in order to create revolutionary and hybrid environments. Ultimately, we aim to design creative ‘green’ spaces which incorporate interactive and adaptive technologies. These smart environments would allow users to experience the natural world in a new way. It would encourage smart interactions between the user and the natural environment as well as provide an exemplary model for futuristic design within Brisbane. Overall, this approach would become an exciting response to urbanisation and ensure a sustainable, prosperous and inclusive future for its citizens.

COMPLETED WITH RHINO, ILLUSTRATOR & PHOTOSHOP

Elizabeth St

Margaret St Alice St

system of pavilions

Neville Bonner Bridge

QUEENS ST. SHOPPING DISTRICT

Environment - Vegetation

Activation Activation

The new vegetation layout on site is conceived as more than a flat layer, but a volumetric layer.

QUEENS ST. GAMBLING The REX will re-facilitate theGAMBLING natural environment and reconnect broken NEW SECTIONS SHOPPING DISTRICT NEW SECTIONS & HOTEL DISTRICT & HOTEL DISTRICT OF REX REX ecosystems in the vegetation corridor,OFand be sustained throught the new infrastructure.

The implication of vegetation along the North Bank will adhere to the Embedded Information Structural skeleton as well as the activities and functions.

The marked volumes of layer spaces on this layer include: The marked volumes of spaces on this include: 1.

2.

F

E RIVER

Pavilions QUEENS STREETQUEENS STREET Pavilions

Energy will be stored in Energy Light Houses, where the pavilions will be located.

REDDACLIFF The energy harnessing system andPLACE storages are connected through a network QUEENS WHARF which to collect or distribute energy not only on site but also in the QUTwill be usedQUT surrounding context within the city fabric.

Interactive floor and wall tiles will be utilised at intervals along the REX to engage its inhabitants.

There is potential to implement autonomous electric transport VICTORIA BRIDGE along the REX’s expanse to promote movement and ease of connectivity between activated areas.

GOODWILL BRIDGE

AXONOMETRIC - SCALE 1:5000 SCALE 1:5000

BOTANICAL GARDENS BOTANICAL GARDENS

SITE ANALYSIS SITE PLAN - SCALE 1:5000

QUT

The new vegetation layout on site is conceived as more than a flat layer, but a volumetric layer.

PAVILION 3 PAVILION 3 The REX will re-facilitate the natural environment and reconnect broken PAVILION 2 PAVILION 2 ecosystems in the vegetation corridor, and be sustained throught the new infrastructure.

PAVILION 1 ThePAVILION implication of vegetation along the North Bank will adhere to the Embedded 1 Information Structural skeleton as well as the activities and functions.

REX TO FACILITATE GREENER ENVIRONMENT THROUGH SMART TECHNOLOGIES

The pavilions will provide access, activation on andthe circulation on the REX. They The pavilions will provide access, activation and circulation REX. They be activated through interactive programs, educational will be activatedwill through interactive programs, educational programs and programs and participatory urbanism. participatory urbanism.

BRISBANE RIVERBRISBANE RIVER

BRISBANE RIVER

QUEENS STREET

REDDACLIFF PLACE

QUT

SPACES WHERE function as the vertical channels that physically and spatially align Pavilions Pavilions function as the vertical channels that physically and spatially align ENERGY CAN BE STORED layers at significant alongare thethe REX. They are of theinterest keys points of interest layers at significant points along thepoints REX. They keys points REDDACLIFF to break existing REX barrierbyasthe supported

by Information the Embedded Information PLACE to break the existing REXthe barrier as supported Embedded QUEENS WHARF QUEENS WHARF concept.

Masterplanning Masterplanning concept.

GOODWILL

GOODWILL BRIDGE

AXONOMETRIC - SCALE 1:5000

BOTANICAL GARDENS

SOUTH BANK

ARCH7016

ARF

CREATING A SYSTEM FOR ENERGY COLLECTION AND STORAGE ENSURES A SUSTAINABLE REDDACLIFF AND AUTONOMOUS INFRASTRUCTURE PLACE

All spaces to adopt participatory urbanism and way innovate All spaces striving to adoptstriving participatory urbanism and innovate a new of a new way of with the environment to create the people of Brisbane interacting with interacting the environment to create experiences for experiences the people offor Brisbane VICTORIA VICTORIA City.

City.

BRIDGE BRIDGE

DIAGRAM BRIDGE MOVEMENT AFTER RE-IMAGINED REX

RE-IMAGINING THE REX

Environment - Vegetation

The pavilions are located at points of the most The pavilions are located at points of the most complexity with complexity intimate with intimate connections to dominant services in the surrounding context. connections to dominant services in the surrounding context.

State of the Art Technologies will be implemented to harness from sustainable TECHNOLOGIES PLACED TECHNOLOGIES PLACED energy sources such as the solar &ATuser generated kinetic energy from people INTERVALS ALONG AT INTERVALS ALONG MOST PROMINENT/ MOST PROMINENT/ interacting with the REX. ACCESSIBLE LOCATIONS ACCESSIBLE LOCATIONS

INTERACTIVE FACILITIES ALONG THE WATERFRONT FOR UNIVERSITY STUDENTS / REX VISITORS

BOTANICAL GARDENS BOTANICAL GARDENS

BOTANICAL GARDENS

QUEENS STREET

STUDENTS / REX INACTIVE SPACES VISITORS ABOVE THE REX REQUIRE ACTIVATION THROUGH INTERACTIVE DESIGN

AXONOMETRIC - SCALE 1:5000 AXONOMETRIC - SCALE 1:5000

AXONOMETRIC - SCALE 1:5000

Energy

INACTIVE SPACES ABOVE THE REX REQUIRE ACTIVATION THROUGH INTERACTIVE DESIGN

WILL ENCOURAGE NEW WILDLIFE AND ECOSYSTEMS TO GROW

Theseinto arethe integrated into Information the Embedded Information These are integrated Embedded Structure as partStructure of one as part of one THICK layer. THICK layer.

REX TO FACILITATE GREENER ENVIRONMENT THROUGH SMART TECHNOLOGIES

AXONOMETRIC - SCALE 1:5000 ALE 1:5000

BOTANICAL GARDENS BOTANICAL GARDENS

INTERACTIVE FACILITIES ALONG THE WATERFRONT FOR UNIVERSITY

1. that the that we in our analysis as inactivated the spaces we spaces identified in our site analysis as site inactivated THE identified REMOVAL OF VEHICLES FROM 2. that the spaces bring good value after activation the spaces bring good that value after activation THE RIVERSIDE

QUEENS STREETQUEENS STREET SOUTH BANK

SITE PLAN - SCALE 1:5000 SITE PLAN - SCALE 1:5000

ARCH7016 RE-IMAGINING THE REX RE-IMAGINING THE REX

QUT

GOODWILL BRIDGE

BOTANICAL GARDENS BOTANICAL GARDENS

SOUTH BANK

REDDACLIFF PLACE

QUEENS WHARF QUEENS WHARF

GOODWILL BRIDGE

AXONOMETRIC - SCALE 1:5000

BOTANICAL GARDENS

QUEENS STREET

25

REDDACLIFF PLACE

QUEENS WHARF

AXONOMETRIC - SCALE 1:5000 AXONOMETRIC - SCALE 1:5000

23

REDDACLIFF PLACE

QUEENS WHARF

23

THE REMOVAL OF VEHICLES FROM THE RIVERSIDE WILL ENCOURAGE NEW WILDLIFE AND ECOSYSTEMS TO GROW

Final Pavilion: this building’s potential is released by 9 towers of thin meshes which will provide anchoring support of any tensile structures. Those towers along with other meshes and the REX surfaces themselves recreate a complex arteficial topography that will become venues for outdoor sports activities, physical educations & designed adventures.

Main Pavilion: a Community Centre consisting an array of different spaces that are equipped with smart technologies such as interactive transparent digital screens, customizable spaces, collaborative working spaces, performance spaces. etc. the structure which supports those spaces also provide an superstructure to cultivate many species of plants that take different forms of existence.

Second Pavilion: a simple mesh structure that supports a ramp that enables pedestrians on the Neville Bonner Bridge to descend onto the new REX. The entire structure can be summarised as “wall-shaped”, but it functions as a traffic “sphere” where multiple movement paths on different heights intersect or overlap. This pavilion, although looking simple, attempts to provide an architectural solution to a space that would otherwise be messy and boring.

Final Pavilion: this building is not a building but a space which its potential is released by 9 towers of thin meshes which will provide anchoring support of any tensile structures.

Those towers along with other meshes and the REX surfaces themselves recreate a complex arteficial topography that will become venues for outdoor sports activities, physical educations & designed adventures.

Suspended Mesh for shading & creeper cultivation Public project rooms

Creepers (Hanging Plants)

Monastic rooms

The “future proof” pavilion has a primary structural frame made of steel but all of its secondary structure as well as structures that will be added on top in the future use completely sustainable materials such as recycled cardboard tube columns, CLT and Particle boards made from recycled timber.

Plantation Boxes

The cruciformed space half suspended from the megastructure above, half floating on the water is a music performance space at the water level. The benefit of such layout is that all amphitheatres (sitting areas) are located under the REX structure, in the centre of the cruciform plan, provided with shading and shelter for audiences.

By looking at ecology & the built environment context that is immediately next to the site, two main elements of significance can be identified: the Central Business District and the Botanic Garden. Whilst they fiercely contrast each other, they have established an intimate, relationship with each other where the park is horizontally linked to the pedestrians via streets.

Vertical Circulation

Waterfront Theatre

The pavilion is future proof because the structure is designed to support additional structures on top that can provide spaces that far exceeds the amount of spaces provided at the moment. The structure will be able to “grow” by adding units of cubical skeletons following an orthogonal rule. Those cubical skeletons have a dimension of 2.7 x 2.7 x 2.7 meters, so that spaces can be created and connected inside those structures. However, this structure also enables dockings of compatible preafabricated units such as the pod shown in the image to the left. As long as the docking part has a matching dimension to the standard subical units, any kind of prefabricated pods can be supported.

The CBD, the Botanic Garden, each play their part.

They not only established a difference in identity and purpose in the mind of citizens but they are also clearly separated by a physical boundary due to grid-planning. An extended line can be drawn, it is nicknamed as “the invisible line” in red font. This extended boundary advices further analysis for design decisions.

After further analysis, it can be found that although the direction of existing connection between the CBD and the adjacent Botanic garden is horizontal, the grain of street blocks in fact runs perpendicular to that direction, meaning there are more streets running towards the REX compared to the Botanic Garden. This also means that the REX can provide a destination that is more connected to the CBD compare to the Botanic Garden. The Botanic garden is a relatively undisturbed sanction of nature, making REX a suitable candidate for another kind of space with bustling activities and experience that should still offer a sense of retreat from the intense shadow of CBD.

REX is an overall linear structure that runs along the river. However, after the previous analysis, it could also be understood as a linear array of destinations at the end of each streets of the CBD which are connected to form a grand linear shaped destination for the entire CBD and Southbank.

LANDMARK “FUTURE OF OFFICE” COMMERCIAL OFFICE DEVELOPMENT MELBOURNE, AUSTRALIA

MACRO CONTEXT - MELBOURNE CITY COUNCIL AREA

SITE PROXIMITY - ACCESS AND AMENITIES

Findings by Layer

1. Located inside CBD

2. Proximity to Universities

Prime location within and near the south-west corner of the Melbourne CBD 10 min public transport to university precinct Outside but close to the heritage overlay area Located at Southern Cross Station and is serviced by multiple existing public transport networks.

Not much greenery around, but is close to a number of urban parks Located on Flinders Lane, a relatively quit and less visited part of the CBD. Located approximately 30 meters away from the Yarra River. Conditions must be met to avoid overshadowing the river beyond the designated percentage threshold.

Located on the currently less focused part for development.

A Urban Linkages 3. Heritage overlay

4. Railway infrastructure

5. Urban greenery

6. Urban Tissues

A. Southern Cross Train Station - one of the most visited public transport station in Melbourne B. Colin St - Melbourne CBD’s most prominent luxury goods shopping street. Widely visited for Luxury brands and its link to Southern Cross Station.

C. King St - connected directly into M1 Monash Freeway; one of the main entry and exit way to Melbourne CBD for visiters from the South-East Suburbs travelling by car.

D. The Yarra River, originally known as the Birrarung by the aboriginal people, although does not offer options for transportation, is one of the most significant features in Melbourne.

B C

D Suitability for Development

7. Waterway

8. Onging development

The site is located in a currently less developed part of Melbourne CBD, the convenient location is fully serviced by urban amenities and is well connected to other activity centres. This presents an opportunity for the site to be developed into a future centre of activities, a vibrant and forward-thinking mix-used commercial office precinct that support both work and leisure activities.

COMPLETED WITH RHINO, & LUMION

Citizen Gardens are profoundly embedded in the network where office occupants, visitors and customers meet in the podium. They are publc spaces at the threshold between the lobby and street. They connect to circulations at different levels of the podium and provide a place to rest and converse.

Below the pods, a void is created which opens the underground restaurant tables to the air and volume overhead. This void also help creating a street in front of the pods, giving them visual prominence to pedestrians. The void forces pedestrians to go around the pods and create presence for the architectural spectacles.

To enable these design features, the entire steel structure hangs off the primary podium structure.

Top beams form an X and four columns are hang from them; together forming a basic box which are reinforced by horizontal square sections and steel waffle slabs.

The pod structure is fixed to the main structural grid of the tower and have considerable stiffness. Therefore, additionally, those pods are counter weights to the primary podium structures.

CITIZEN GARDENS

COMPLETED WITH RHINO & LUMION

Beginning in the 1850s, Manhattan had become the hotbed for skyscraper competitions. Wealthy developers hire architects to materialise their wealth and display their power and achievements.

The singular minded pursuits of height may have lost interest to a certain degree today but commercial high rise developments have unfortunately never been able to escape from singular minded pursuits. Where height may not suffice, the luxurious use of materials in interior will make up. It is therefore difficult to make people believe or feel that those office buildings are designed for them to use, although it is true to an extend that they are not, as they are merely to accomodate employees during work hours, not to make them comfortable. However, the days of thick marble lobbies and offices with cheap and ugly carpets are gone, although not for long yet, the world has undergone significant politcal change which puts office workers in a different mindset which create a desire in them to prefer office spaces that are closer to human-scale, more friendly on the eyes and generally more comfortable and feel at home with.

accept the feet so friendly that you consciouly feel safe and happy to walk on it. The black steel stairs and balustrades gently reflect your figure and responds to you when you use them, but they don’t make excessive noise to cause th space to lose dignity.

Yes, this building tries to create some poetry but instead of being arbitrary, it does so by responding to human needs. The poetry is solid here, it may be counter-intuitive but it feels tangible. Our bodies are very intelligent and it will be able to tell if this building is of genuine quality. It will be like summer that puts the children into an excited and happy mood. As the building shows modesty, the occupants may find their confidence returning to them and cause them to experience new things, thus also forming a bond between the people and the space. Such is the harmony that should be aimed to achieve via the creation of built environment. It is a form of respect, if us designers lose this respect, then we all lose respect to ourselves. In seeking peace, there is at least the gesture to be proud of one’s identity.

Recalling the different office typlogies that appeared since the 1920s, some interesting examples would be the cube farm and the landscape office. They proved to be at different levels of efficiency and comfort but nowadays these archtypical examples should be treated as extremes so they function as precedents or references when we design more specific and refined solutions.

It is difficult to not fall into the traps of the past whilst also staying safe from the danger of overdesigning. This building is inspired by the high tech movement but did not strife to achieve the same complex level of aesthetics in expression. In being however, although the building has a minimal appraoch to its exterior and interior language, it does try to use genuine and high tech materials to ahieve a minimalist effect; returning the attention back to the built quality instead of the skin. The tactile, colours and geometries of the elements are carefully arranged so that visitors can have a simple experience: comfort. For example, the floors would meet with the eyes gently and would

The black steel and the grey colour accent creates a cool atmosphere for the interior. Although the colour tone of the flourescent light is not significantly different to the white-grey interior surfaces, the south-facing orientation significantly limits the natural light available which puts arteficial lighting in a prominent position to condition the interior space. The embedded lightings in the ceiling creates rythms in spaces through shadow and shades of darker grey; contrasting the open floor spaces with the dark metal fixtures that does not reflect much light.

This building is more than a reflection of the past design appraoches and the current interests in high-rise office building functions and aesthetics. As architecture is never independent to its socio-economical context, this building attempts to re-state the importance of human-centred design practice where possible.

There has not been a balanced transfomration of the architecture design practice and this building precisely tries to bring attention to the shorter ends that have been left out of attention.

The podium structure is designed like two bowls melted into each other. Each tower has its own set of inclined columns to transfer its load down to the foundation. However, at where the transfer structures meet, inclined columns are extended beyond the podium level via the cross bracing system explained before; melting the tower and the podium together and increase structural efficiency through interdependency. The steel strucure also finishes at one level below the ground level, as the slabs brace the columns, the steel structure effectively has concrete lateral bracing with the depth of one level. This structure works much like a an I-beam, a very big one at that.

SYNERGETIC STEEL STRUCTURE

COMPLETED WITH RHINO, ILLUSTRATOR & VRAY

The entire structure is designed with redundency so that the building is more capable of withstanding structural failures. This should be an additional design consideration for all projects especially after the terrorist events in the recent century. Buildings need to respond to the complex fabric of its context. They need to be beautiful, responsive and robust and this building structure is designed with all of those criterias in mind.

For example, the inclined columns at the bottom are the seemingly weak points in the structure but each set of columns are backed up by another set of columns for support so that in a worst scenario, for example a corner of the podium is lost, the building could still stand before evacuation is complete; decreasing its vulnerability towards terrorist attacks. Overall,, the building structure could be best understood as a parasitic tree that has merged with another tree: the interwoven structure provides multiple options for load to travel to the foundation from any point in the building.

The isometric diagrams are in order to explain how the structures work together to enable the following design features: a. the triple height ground floor lobby spanning large distances without obstructions. b. the split tower configuration for 2/3 of the total building height c. the exposed steel structure in interior spaces including the inclined columns and beams as part of the architectural experience: 1. the cross bracing unites the bottom tower and podium structures to increase their stiffness 2. the podium structures transform the tower grid to the GF lobby grid through primary and secondary transfer columns.

3. complete the podium framing 4. the tower steel frame 5. the steel column heads provide shear resistance and increase structural stiffness

As a part of both the architectural experience and structural design solution, a number of standardised steel joints are designed.

The demonstrated Y joints are connectors in the bracing system. This bracing system merges the twin towers at the lower 1/3 which increases the overall structural stability and raises the height of the theoretical pivot point (to which the towers will rotate around under lateral load) so that the towers structure are less effected by bending moment.

DISTRBUTION OF ABORIGINAL FISH TRAPS ALONG QUEESNLAND COAST

RESIDENTIAL DESIGN “COUNTRY IN CITY”

PAPA NEW GUINEA

BUILDING ON COUNTRY

ABORIGINAL FISH TRAPS

THIS PROJECT UNDERTAKES A DECONSTRUCTIVE, LITERATUREINFORMED APPROACH TO “BUILDING ON COUNTRY” IN ADDITION TO FORMAL REFERENCE TO INDIGENOUS SYMBOL AND PICTURES, AS SYMBOLISM UNEXPLAINED OFTEN PUSHES “COUNTRY” FURTHER FROM OUR LIVES. IN THIS PROJECT, WE HAVE EXAMINED THE PATTERN AND INFLUENCES OF ABORIGINAL FISH TRAPS TO ABORIGINAL SOCIETY AND ESTABLISHED THE NOTION OF “FRAGMENTATION”, “CULTIVATION OF NATURE”, “POCKETS” AS DESIGN ELEMENTS. THE FISH TRAPS SHOW THE INDIGENOUS DESIRE TO ESTABLISH ORDER BUT NOT DESTROY NATURE. THESE NOTIONS HAVE BEEN SHAPED INTO SPECIFIC DESIGN OUTCOMES AS DEMONSTRATED ON THIS PAGE, WHERE THREE DIMENSIONAL LANDSCAPE POCKETS REFERENCE INDIGENOUS SOCIAL/CULTURAL ESTABLISHMENT AROUND TERRITORISED NATURE.

BTO DEVELOPMENT ST LUCIA, QUEENSLAND

TOWNSVILLE

BRISBANE

IMMEDIATE PARK ACCESS

RENDERED WITH D5 RENDERER

DESIGN CONCEPT & SITE CONTEXT

COMPLETED WITH REVIT & ILLUSTRATOR

HERITAGE ON SITE

PANORAMIC VIEWS

INDEPENDENT DEVELOPMENT

AXIAL MONUMENTALITY

UHI MITIGATION

TECTONIC FORMATION

SUMMARY OF AMENITY SPACES PUBLIC AMENITIES

M2

PRIVATE AMENITIES

M2

CAFE

42

GYM

46

BIKE

31

CO WORK

27

HEALTH 1

30

HEALTH 2

30

30 LOBBY

RESTAURANT 91

RL 6000

77

1:8

118

IT & REPAIR

30

SECURITY

10

MINI MART

61

PARCEL

10

RL 6000

RL 7500

1:5

RL 7500

1:8

13 TOTAL

315

TOTAL

331 RL 6800

RL 7100

RL 7500

1:20

1:8

1:5

RL 7500

RL 6000

RL 8000

GROUND FLOOR PLAN 1:200

TAGS

FCR = FIRE CONTROL ROOM

FPT/FT = FIRE PUMP TANK

EW = ELECTRICAL SWITCHROOM

PWP = POTABLE WATER PUMP

PARC = PARCEL ROOM

FPR = FIRE PUMP ROOM

ES = ELECTRICAL SUB STATION

CM = COMMS ROOM

HWE = HOT WATER ENCLOSURE

SEC = SECURITY OFFICE

NOTES

*ALL RAMPS HAVE A GRADIENT OF 1:20 OTHERWISE INDICATED

MAXIMUM UNLESS

LEGEND

PRIVATE AMENITIES

PUBLIC AMENITIES

N ATIVE TREE

N ATIVE SHRUB

LEVEL 1 & 2 1:200 @A3

LEVEL 3 & 5 1:200 @A3

LEVEL 4 & 6 1:200 @A3

SUMMARY OF QUANTITIES BUILDING A

GFA M2 LEVEL 1&2

683

LEVEL 3&5

683

LEVEL 4&6

664

SUB TOTAL BUILDING B

4060 LEVEL 1-6

5988 1

TOTAL

1 : 200

10048

LEVEL 1 - 6 1:200 @A3

TYPICAL FLOOR PLANS BUILDING A 1:200 @A3

Section 1to200 Long

COMPLETED WITH REVIT

1

Section 1to200 Long 1 : 200

LEGEND

LIVING SPACE

VERTICAL CIRCULATION

WET AREA

2

A R CH 7 1 2 0

Drawing:

Section 1to200 Short 1 : 200

Sections

OUTDOOR AREA

orth

200

NORTH ELEVATION 1:200

4

WEST ELEVATION

West Building B

3

1 : 200

BUILDING West Building AA 1 : 200

1:200

ROOF 31300

LEVEL 6 27700

LEVEL 5 24400

LEVEL 4 21100 WEST

EAST

LEVEL 3 17800

LEVEL 2 14500

LEVEL 1 11200

GROUND 7500 NORTH BOUNDARY HEIGHT 6000

uth

200

BASEMENT 01 3100

BASEMENT 02 100

LONG SECTION 1:200 Section 1to200 Long

1

1

1 : 200

SUMMER SOLSTICE

North 1 : 200

ANNUAL RADIATION SIMULATION

WINTER SOLSTICE

TYPICAL FLOOR LEVEL 1 & 2 BUILDING A WITH FACADE SHADING

85.6

39.1

SUN PENETRATION ELEVATIONS BUILDING A & B 1:200 @A3

COMPLETED WITH REVIT, RHINO & 2 GRASSHOPPER

FACADE THRESHOLD

South 1 : 200

TYPICAL FLOOR LEVEL 3 & 5 BUILDING A

TYPICAL FLOOR LEVEL 4 & 6 BUILDING A

TOP RAIL WELDED TO BALUSTERS PERFORATED STEEL PANEL

ALUMINIUM SLAT TOP HANGED FROM STEEL ANGLE STEEL ANGLE SCREW FIXED TO PRIMARY FRAME

CONCRETE ROOF SCREED TO FALL COVERED BY GRAVEL LAYER

ROOF 31300

ALUMINIUM SLAT

WATERPROOFING TO CONTINUE AROUND THE HOB

BALUSTRADE CONNECTOR PLATE SCREW FIXED TO TOP OF THE HOB

EXTRUDED STEEL C SECTION

FILLET LEVEL 6 27700

TILE 300 X 600

HOT ROLLED STEEL C SECTION SCREW FIXED TO SLAB EDGE

ADJUSTABLE PAVE PODS 75MM - 150MM

2

1

MORTAR SCREED TO FALL WATER PROOFING MEMBRANE

1

LEVEL 2 17800

DRIP

DETAIL 1:10 @A3

STEEL STUD HEADER Sheet Size

evelopment ONELL DR & 23-35 MACQUARIE ST, ST LUCIA BOTTOM SILL

n

WATERPROOFING TO CONTINUE AS INDICATED

Scale

@ A1 Drawn

Date

YH

24.04.2023

Issue

Drawing No. FIXED PANEL GLAZING

Revision

LEVEL 1 11200

DEVELOPMENT DESIGN

BLOCK TO CREATE STEP UP TO STOP FURTHER WATER PENETRATION

FOUNDATION WITH SAND OVER CRUSHED ROCK BED

GRATE UNDER BRACKET WITH FLASHING

TIMBER FLOOR BOARD FINISHED TO EXTERNAL LEVEL

TRANSFER BEAM

DRAINAGE HEAD CAST-IN PVC DOWNPIPE

FLOOR BATTEN

RAISED GARDEN BED

WATER PROOF MEMBRANE SCREED TO FALL

GROUND FLOOR 7500

CONCRETE RAMP

BACKFILL AGAINST RETAINING WALL

NORTH BOUNDARY HEIGHT 6000

DYNABOLT ANCHOR ANGLE BRACKET METAL HOOK

PELMET BOX ROLLER BLIND

ADJUSTABLE SUSPENSION BRACKET TOP CROSS RAIL (MEMBER) RONDO LOCK AND KEY FURRING CHANNEL PLASTERBOARD

2

TOP SILL

STEEL STUD HEADER (92MM X 35MM AT 1.2MM THICK WEATHER RESISTANT)

BASEMENT 01 3100

DOUBLE PLYWOOD OR SIMILAR ALUMINIUM SLAT WITH TIMBER PATTERN FINISH BASEMENT 02 100

STEEL BATTEN EXTERNAL CEILING SYSTEM

WALL SECTION BUILDING A WEST FACADE 1:50 @A3

DETAIL 1:10 @A3

DETAILS & CONSTRUCTION CLIMATE SOLUTIONS

COMPLETED WITH REVIT

WALL SECTION BUILDING A NORTH FACADE 1:50 @A3

FLOOR PLAN BASEMENT 2 1:500

GIVEWAY

SUMMARY OF QUANTITIES BASEMENT 1

RL 3100

235 CARS 33 BIKES

BASEMENT 2

RL 100

240 CARS 33 BIKES

GROUND

RL 7500

36 BIKES

GIVEWAY

FLOOR PLAN BASEMENT 1 1:200

CARPARK DESIGN ACCESS & PROVISION

TOTAL

475 CARS 102 BIKES

PARAMETRIC DESIGN TIMBER ADAPTION URBAN REGENERATION RIVERSIDE EXPRESSWAY, BRISBANE

INTRODUCTION The grid from the original concrete design does not have standard grain sizes. We can see that the old grid (below) stems out from the concrete cores, and the location of the core suggests that they act as a spine for the building, structurally speaking.

The Engineered Timber structure demands a denser grid and its design largely depends on the standard sizes of which CLT Floor Panels are offered by their manufactures.

Therefore, there was no promise that CLT columns will be able to rest exactly where the concrete columns of the podium below do whilst also maximising NLA and structural efficiency.

Therefore, to maximise the advantage of existing structure, the new grid is also designed to depend on the core in a similar behaviour.

FACADE DETAILING This visually illustrates the basic concept of how the detailing might be done, the fundamental elements: Frame, Glass & Facing are included, their relationships defined. The Facing extrudes outward by 600mm to achieve an articulated facade.

ELEVATION 1

ELEVATION 2

PERSPECTIVE SECTION 1

PERSPECTIVE SECTION 2

LIFT CORE OPTION 1

LIFT CORE OPTION 1

LIFT CORE OPTION 1

LIFT CORE OPTION 1

LIFT CORE OPTION 1

GFA

GFA 1040

GFA 1040

GFA

GFA

1040

776

NLA

NLA

NLA

NLA

1040 NLA 875

906

906

808

644

Efficiency Ratio

Efficiency Ratio

Efficiency Ratio

Efficiency Ratio

Efficiency Ratio

84%

87%

87%

78%

83%

LIFT CORE OPTION 2 50% INCREASE

LIFT CORE OPTION 2 50% INCREASE

LIFT CORE OPTION 2 50% INCREASE

LIFT CORE OPTION 2 50% INCREASE

LIFT CORE OPTION 2 50% INCREASE

GFA 1040

GFA 1040

GFA 1040

GFA 1040

GFA 776

NLA

NLA

NLA

NLA

848

879

790

626

Efficiency Ratio

Efficiency Ratio

Efficiency Ratio

Efficiency Ratio

Efficiency Ratio

76%

76%

85%

76%

81%

NLA 848

GRASSHOPPER SCRIPT Construct Basic Slab Contour & Grid All Base Slab Geometries

Bracing (K-Bracing & Shear Core)

Facade System (Glazing & Facing)

NLA & GBA Comparison

Itemisation & Volume

Obtain Core Base Geometries

Primary Structure (Floor, Columns, Beams & Core)

Exporting Data to Excel

FLOOR PANELS

CLT COLUMNS

CLT BEAMS

K-BRACING

CLT SHEAR CORE

CORES

ASSAMBLED

Additional Datasets

DATA OUTPUT

FACADE ITEMISATION

PRIMARY STRUCTURE ITEMISATION

Floor Name

NO. of GLAZING UNITS/FLOOR

NO. of GLASS FRAME UNITS/FLOOR

NO. of FACING ITEMS/FLOOR

61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 53

61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 61 53

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2

Top of Podium (Level 4) Lower Typical Level 5 Lower Typical Level 6 Lower Typical Level 7 Lower Typical Level 8 Lower Typical Level 9 Lower Typical Level 10 Lower Typical Level 11 Lower Typical Level 12 Lower Typical Level 13 Lower Typical Level 14 Lower Typical Level 15 Lower Typical Level 16 Lower Typical Level 17 Higher Typical Level 18 (Plant) Higher Typical Level 19 (Plant) Higher Typical Level 20 Higher Typical Level 21 Higher Typical Level 22 Higher Typical Level 23 Higher Typical Level 24 Higher Typical Level 25 Higher Typical Level 26 Higher Typical Level 27 Higher Typical Level 28 Higher Typical Level 29 Higher Typical Level 30 Higher Typical Level 31 Higher Typical Level 32 Higher Typical Level 33 Higher Typical Level 34 Higher Typical Level 35 Higher Typical Level 36 Higher Typical Level 37 Higher Typical Level 38 Higher Typical Level 39 Higher Typical Level 40 Higher Typical Level 41 Higher Typical Level 42 Higher Typical Level 43 (Plant) Higher Typical Level 44 (Plant) Roof 1 Level 45 Roof 2 Level 46 Roof 3 Level 47 Top of the Building

Floor Name

NO. of CLT PANEL/FLOOR

Structural Slab Thickness (mm)

Finished Floor Thickness

No. of CLT Columns UNIT/FLOOR

No. of CLT BEAM/FLOOR

NO. of K-Bracing UNIT/FLOOR

0 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 39 33 39 33

250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250

550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550 550

0 31 31 31 31 31 31 31 31 31 31 31 31 31 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 32 27 22 17

0 80 80 80 80 80 80 80 80 80 80 80 80 80 80 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78 57 57 57

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 0 0 0 0 0

Top of Podium (Level 4) Lower Typical Level 5 Lower Typical Level 6 Lower Typical Level 7 Lower Typical Level 8 Lower Typical Level 9 Lower Typical Level 10 Lower Typical Level 11 Lower Typical Level 12 Lower Typical Level 13 Lower Typical Level 14 Lower Typical Level 15 Lower Typical Level 16 Lower Typical Level 17 Higher Typical Level 18 (Plant) Higher Typical Level 19 (Plant) Higher Typical Level 20 Higher Typical Level 21 Higher Typical Level 22 Higher Typical Level 23 Higher Typical Level 24 Higher Typical Level 25 Higher Typical Level 26 Higher Typical Level 27 Higher Typical Level 28 Higher Typical Level 29 Higher Typical Level 30 Higher Typical Level 31 Higher Typical Level 32 Higher Typical Level 33 Higher Typical Level 34 Higher Typical Level 35 Higher Typical Level 36 Higher Typical Level 37 Higher Typical Level 38 Higher Typical Level 39 Higher Typical Level 40 Higher Typical Level 41 Higher Typical Level 42 Higher Typical Level 43 (Plant) Higher Typical Level 44 (Plant) Roof 1 Level 45 Roof 2 Level 46 Roof 3 Level 47 Top of the Building

PRIMARY STRUCTURE CARBON CONSUMPTION

Quantity (Unit)

Total CLT Floor Panels

Total No. of CLT Columns Under

Total No. of CLT Beams

Total NO. of K-Bracing Items

Total NO. of SHEAR CORE Items

1704

1365

3397

240

121

GHG Emission (m^3/Unit)

115.83750

654.845100

288.000000

460.10000

416.39000

Carbon Consumption (kg)

197387

893863

978336

110400

50383

PARAMETRIC DESIGN UQ LAKE WOOD-SCAPE Skeleton Timber Frame Structure University of Queensland 2021

ITERATIVE BEHAVIOUR GRID DENSITY

MUTATION

IMAGE SAMPLING

0

-8

0.01

25

-6

0.03

LATITUDINAL PART 3/24

LONGITUDINAL PART 3/24

40

-4

0.12

55

-3

0.18

70

-1

0.3

90

0

0.6

LINTEL LONG SIDE 2/16

LINTEL SHORT SIDE 2/16

SPLIT COLUMN PIECE 8/64

0

-8

0.01

25

-6

0.03 BOTTOM BRACING LONG SIDE 2/16

40

-4

0.12

55

-3

0.18

70

-1

0.3

BOTTOM BRACING SHORT SIDE 2/16

ANCHOR LOCKER POSITIONER T1 8/64

ANCHOR LOCKER POSITIONER T2 8/64

ANCHOR LOCKER POSITIONER T2 4/32

90

0

0.6

ANCHOR LOCKER 8/64

DESIGN & OPTIMIZATION COMPLETED WITH GRASSHOPPER

GENERATIVE ITERATIONS

This pavilion system is about expression as much as it is about function. This brings an opportunity to design 2D patterns for purely artistic purposes. During the generative process of finding interesting patterns, the basic structural capability of these pieces must be preserved, therefore, areas for joints are left out as solid for post production.

In the rest of the surface area where the patterns will be generated, multiple images are sampled and edited using graph mapper and the output is a set of numbers that correspond to the patterns in the sample images. These numbers are used to scale a grid of rectangles over the surface which are used to cut the patterns. Where there is an overlap, rectangles are merged.

TYPOLOGY ONE CONTINUOUS ADVANTAGES

High level of complexity in the overall shape.

High potential of experimental variations.

Variably pieces distributed over generated patternwith variable 2D geometries Upper-to-Lower Layer Connectors

High density Regular Frame Grid to provide Foundation for generative top

DISADVANTAGES

Intense resource committment: time, computer power. etc.

High difficulty for controlled outcomes & fabrication.

High number of invalid parts generated.

Longitudinal Grid of individually variable geometries

Latitudinal Grid of individually variable geometries

TYPOLOGY TWO MODULAR ADVANTAGES

High level of parametric operability with reasonable level of shape complexity.

Fully controllable outcomes with no invalid parts.

Easy fabrication and assembly workflow.

DISADVANTAGES

Lowered typological complexity and potential for complex variations.

Top Lintels uniformly generated to provide predictable and reliable foundation for more variable geometries above Split Column Pieces as the primary components for vertical load transfers Lower Bracings to provide lateral stiffness to prevent anchor systems from buckling Lockable Anchor footing system on existing bridge balustrades

Existing Bridge

The structure is anchored on the balustrades of the existing foorbridge at UQ Lakes. The existing balustrades are robust.

The split column design not only improves the aesthetic but also reduces the weight of the structure whilst maintaining structural accountability. the columns are braced by split lintels at top and bottom. Those lintels are part of the structure that transfers the load vertically down to the anchor system which are designed to eliminate any potential wobbly behaviours when the structures are subjected to wind loads.

EXPLODED AXONOMETRIC

Before the sturctural typology was finalised, there had been a complete different logic behind the design. The pavilion was to be a “continuous system” where a set of beams are generated based on image sampling on a uniform grid. The problem that arose during the process of achieving this system was that it generates too many unique pieces and more importantly: it was difficult to determine which ones are usable because joints cannot be individually designed for some thousands of pieces and had to be mass generated based on the same method that created the pieces in the first place.

The level of uncertainty and defects were not acceptable. The key issues to resolve were to limit the number of unique pieces to one digit and to design an randomised pattern so that the entire structure maintains a level of complexity to the observers. As the bridge is shaped by a curve with a linear gradiant, it was realised that one module can be designed and repeated across the bridge. Designed to have a “gateway” aesthetics, like “Torii”, the pattern pieces are oriented perpendicular to the bridge so that they are always in the view of the pedestrians as they cross the bridge. The previously designed split columns & anchor systems are used, the only changes that occurred were the way which the structure is braced on top and how the lateral stability is maintained; again, the number of unique pieces are kept to a minimum after achieving the strutural stability. Overall, the modular system greatly increases the level of sophistication of the design and the buildability.

The exploded isometric diagram showcases both typology systems; the top one being the continuous system. As demonstrated, the height, size and orientation of the top pieces in the continuous systems all have their individual variations, same goes for the beams and bearers below them. The top pieces themselves served as the pattern as graphic parameters assign random locations to individual pieces. Joints are made where perpendicular pieces intersect but the locations of interesection often result in defective pieces. The modular system in use provides a more sophisticated way to deliver patterns and the curvature of the bridge gives the repeated modules a picturesque effect as they look unique from different view points.

GRASSHOPPER SCRIPT SNAPSHOT

INTENTIONALLY BLANK

PARAMETRIC DESIGN “LARGE SPAN SAILS” CABLE-NET SYSTEM STRUCTURAL DESIGN MELBOURNE UNIVERSITY STUDENT PRECINCT 2018 This project is designed to be a festival architecture; an investigation on temporary structure and reusable installations.

CAD - CAM process is one of the focuses of thsi project and it demonstrated an important process of negotiation between form-finding and manufacturing process.

This structure is designed to provide shading and create an atmosphere for large crowds to shape the “festival experience”. Its form carries the purpose of breaking the conventional box-like stages for musical festivals.

Several offsets are done in this design. Offsetting provides a very convenient and reliable way to define new corners and boundaries.

The curves for pattern generation are offset from central axis that connect the centre of the panel to each corner.

It has been estimated that a majority of forces travels along those axis from the centre when the panel is under tension.

PANEL CROSS-SECTION

3D PANELS UNROLLED

PLAN VIEW

Brocken lines indicate where panel unfolds From the digital model, each panel is not flat in place but slightly bent. As a result, they cannot be directly fabricated stright off what’s on the model.

The panels can now be laser-cutted from flat sheeted materials such as Polyproplyene, which is translucent and bendable.

FORM - FINDING, PANEL FORMING, PANEL GEOMETRIC ITERATION

6 sides Hexagon

TESSELLATION, PLANARIZATION, PREPARATION FOR FABRICATION

PROTOTYPING - PROJECT MANAGEMENT

Handy Steel is the long-term contractor as Melbourne University Fablab’s Material Supplier. We contacted them directly due to shortage of time.

Connector Strastegies

Delivery tendering: Panda Van offered the cheapest same-day delivery service for the materials.

Loading/Unloading materials at Fablab loading zone

Metal Laser Cutter machine calibration

Panel manufacturing in progress

Assembly of 1:5 Prototype with joints

Completed Joint

Mock-up of panel in-place

PARAMETRIC NORTH FACADE SHADING PROGRESSIVE ISOMETRIC DETAIL 1:50 @ A1

GENERATIVE DESIGN “WHITE HARBOUR” MIXED USE COMMERCIAL DEVELOPMENT STUDENT PRECINCT ADMINISTRATIVE OFFICE PROVISION UNIVERSITY OF QUEENSLAND

01 Facade Glazing Unit

02 Create Base Ref

03 04 05 Manipulate Obtain Create Faces Wireframe Metal Iterations Frame Geometry

06 07 Create Unit Fillet Completed Surface Plate Geometry

GENERATIVE FORM FINDING PROCESS

PARAMETERS FOR GENERATIVE PROCESS TOWN PLANNING PARAMETERS 1. plot ratio According to design & planning regulatory guidelines, a building between 15 - 25 storeys allows for a plot ratio value range of 7.2 - 9.8.

2. number of storeys As per the suggestion from the assignment guideline, 15 - 20 storeys will be the range to search for solutions with.

3. location references A square grid of points is applied onto the site footprint. The location at each of these points will be tested for feasibility. The spacing of the grid is 3750 which will define the level of resolution of the search. There are a total of 67 points .

GEOMETRY PARAMETERS 4. taper strength the amount of transformation 5. taper axis the reference of transformation 6. taper side to taper at top or bottom

OBJECTIVES 1. building height to maximise 2. building volume to envelop area Ratio to maximise 3. total shadow area on surrounding to minimise 4. building occupants view range to maximise

PARAMETRIC MODELLING “POMPIDOU-METZ” Re-engineered Master Precedent Structural Analysis (FEA)

FROM BEAM CURVES TO FINITE ELEMENTS STRUCTURAL ANALYSIS (KARAMBA3D)

FROM BEAM CURVES TO ARCHITECTURAL MODELLING IN GRASSHOPPER

HEXAGON BASED GEOMETRY

FIND FORM WITH KANGAROO PHYSICS

OBTAIN BEAM GEOMETRIES ALONG SAIL

The gridshell functions like a mesh or a piece of fabric under tension ideally speaking. Therefore, a fabric geometry can be used as an structurally informed base to model the beams. This fabric is generated using the Kangaroo plug-in for Grasshopper , which finds forms by minimising total energy. The beam geometries are obtained by projecting planar cure sets onto a smoothed mesh surface.

Structural Design and FEA analysis by author Completed with Grasshopper and Karamba3D

EXPORT MODEL GEOMETRIES TO VRAY FOR ARCHITECTURAL VISUALISATION

BASE GEOMETRIES: CURVES/BREPS

LOCATE ANCHOR POINTS

1. FORM FINDING AND MESH OPTIMIZATION

2. BEAM MODELLING

The optimization process started from identifying structural inadequacies of unrefined meshes; which resulted in 4 key findings: 1.

2.

3.

4.

Mesh Perimeter Naked Edges (together to be a Hexagonal Ridge Beam) Mesh (Nodes) Density Mesh Top Naked Edges (to be Circular Ridge Beams at the top of chimneys) Column Tilt

MESH PARAMETERS: EDGE ELASTICITY ALLOWANCE & MESH SUB-DIVISIONS

The beam centre lines are used to: 1. make beam footprints (offset width) 2. be projected and become curves for structural analysis in Karamba3d.

3. FINITE ELEMENT ANALYSIS (KARAMBA3D)

MESH RELAXATION (STATIC LOAD)

4. ARCHITECTURAL VISULATION WITH VRAY 3.

3.

2.

2.

4.

1.

1.

4.

LANDMARK “FRAMING YARRA” Re-adaptation of ruin heritage Boat House Melbourne, Australia 2019

The existing boat storage was windowless, dark and small. It was clear that the space was for no other purposes than to serve as storage.

And it was the most staunch defender to the prejudice of the separation of human from nature. The new boat storage is not the closed and bullied space that it used to be, but it has gained additional confidence to welcome nature in to stay. The grass that continues into the interior of the boat storage acknowledges the omnipresence of nature and the walls are merely an indication to ourselves that this space had been arteficially designated with a certain function but in its existence, it gained a new cultural identity which provides license to paint a beautiful picture with a new language.

All brick walls are the remains of the previous boathouse. When the archaeology began, the existing building was made to first collapse from its 4 dimentional being - a 3 dimensional object that has an abstract meaning of concept linked to it. After the building was broken down into a 3 dimensional object - point, lines & planes, the walls are either removed or modified to get ready to accept their new identities. Most of the preserved brick walls are on the ground floor, retaining their old roles as load bearing structures for the boat storage. Because those structures were repeatedly damaged by floods, they are assisted by newly added beams and columns. The old walls, in the body of the new building, serves as DNA or visualised memories of the past natural events. The flood marks shown in the render was one of such embedded memories. In the old boathouse, they may be frowned up on as defects and evidence for the lack of passion to the architecture but in the new building, they are fossils in this informal museum and they provide an enjoyable visual experience that never tells specific messages directly but asks the observers to take the effort and create their own interpretation.

The existing building - Studley Boathouse Park, is a heritage style riverfront dinning and recreational facility. It is old and under disrepair due to historical flood damage and lack of maintenance. Over the years, the restaurant was modified and extended but without careful architectural considerations. At the moment, the building is on its path to slowly return to the nature around it. Instead of watching the situation to spiral out of control, a complete overhaul/rebuild is proposed.

The questions of establishing the boundary between the built structures and the corrosive nature to protect what we build has always been an assumed practice. However, as reality has proven to us once and once again, nature always claims our creations. It is true that as human beings we hope our buildings stand as long as possible. But what is longevity and monumentality? This project boldly claims that we can re-establish our understanding of architecture in nature, hence also of our relationship with nature through the apparatus - “buildings”.

The contemporary practice of architectural design claims to respond to local contexts, but the truth is that the buildings are created with a fixed approach to look at our understanding of the human relationship to the environment and therefore our buildings have failed to be what they claimed to be and this began from a culture where architects failed to establish a sufficient enquiry to the subject of design. What must be done to make our buildings to break free from the current constraints is to embrace what designers have generally become accustomed to avoid confronting; for example, to accept nature as it is and to accept that a building is a guest in the nature and the nature is not obliged to put up with all the defences which new buildings build around themselves. In this project, the building accepts the natural behaviours of water and vegetations. In creating this building, a new culture of honest and brave inquiry is established and this helped creating a place that does not evoke any immediate connection to the traditional image of a building yet this space would induce curiosity and interest which leads visitors to recall the long neglected parts in their thoughts.

HERITAGE RUIN

ARCHEOLOGY

RE-SYNERGISE

ADAPTATION COMPLETE

When the users of the spaces are artists, a designer may fall easily into the trap of becoming an artist himself. It is clear however, to deliver the best space that can inspire and support creative activities and reflections, the building itself must be humble, fading into the background even.

To achieve so, the residence emphasis on the living aspect whilst opening up the surrounding environment to the interior in an unoticable way.

The different sized openings can be operated in different ways to condition the light and air that can be accessed from within the living room/ creative space. Inspirations could come to a person under any possible circumstances, the design of the building creates an omnipresence of the environment around the artists so they may get an idea just when they start to get comfotable.

FIRST FLOOR PLAN

0

1

2

3

4

GROUND FLOOR PLAN

0

1

2

3

4

RESIDENTIAL DESIGN “HOUSE OF AIR” ARTIST’S RESIDENCE HERON ISLAND, QLD 2021

ARTIST’S STUDIO is designed to directly respond to the many inconveniences that happens to residents whilst living on the island. For example, the drain that surrounds the exterior and connect to the interior means that people can wash off the sand and potential bird dumps easily as they enter the premise; a design feature that connects the outdoor experience into the dry and clean indoor living.

M

The building features a large warehouse sliding gate which helps to condition the space and the views. All construction materials are transported by barges from the mainland and an item of this scale cannot be shipped and craned into place on site. The gate comes in modular meshes and steel beams for assembly on site and is installed during its assembly process. The light weight gate is hanged from the roof structure so that it does not have direct contact to the ground which prevents any potential jamming caused by fallen branches and leaves.

The climate on Heron Island is dry. The extremely rare occasions of rainfall can be very aggressive but the building envelop is designed for a dry environment where sitting and walking between outside and inside are prominent activities. This building magnifies what the environment speaks to the artists and it responds differently to different weather conditions. When it is dry, the artists will feel it, when it rains, it will be known. Again, the building envelop is not designed to be a traditional device that keeps the weather out and the internal space air and water tight. However, a boudnary is stil set but not at the the envelop but inside the envelop. That is, the building skin allows a controlled penetration by weather into the living space. This penetration can be controlled by operable openings as outlined by the detail drawing on the left. To the artists, the building is like a radio-telescope to the astrophysicists. They may use this device to examine and observe the subjects of enquiry and make their argument or model (a piece of art. etc.) The building is finished with a masonry aesthetic but has a construction system of steel framing.

The building system is designed to be robust and resilient to withstand the occasional challenge by the extreme oceanic weather including cyclones which cause the structurally weak Pisonia trees to bend and break on a large scale.

SOUTHERN ELEVATION 1:100

0

1

2

3

4

M

WESTERN ELEVATION 1:100

0

1

2

3

4

This unique post-modern master piece was done by Kevin Borland in 1977. It is a one storey building with a massive foot print sitting on a significant slope. The entire building is exclusively supported by a steel super structure which was infilled with design-to-standardise modular partitions. This structure liberates the shape and sizes which the internal rooms have to take and fully embodies the idea of “open” classrooms by introducing differences of internal levels and flexible connections between spaces.

1:200 @ A1

VSBA PRIMARY SCHOOL HERITAGE MAINTENANCE 2022

Original Structural Plan Site Visit Overlay

N

The primary structural framing of the building consists of columns of two sizes and beams of two sizes; in total only four unique types of structural members.

The grid is designed to be 4.8m x 4.8m. Due to the complex nature of the building’s structure, this overlay was required to locate the correct structural elements during first-hand documentation of the existing condition.

EXISTING SOUTH EAST ELEVATION 1:100 @ A1

EXISTING NORTH EAST ELEVATION 1:100 @ A1 EP2231 EP2231 EP2231

NOTES

The Builder/Contractor shall verify job dimensions prior to any work commencing. Figured dimensions shall take precedence over scaled measurements

3. All materials, workmanship and quality shall be in accordance with the current Australian Standards including all amendments, all other codes of practice and the statutory authorities regulations, except where varied by the contract documents.

In accepting and utilising this document the recipient agrees that Archiphilia Pty Ltd ABN 38 621 401 518, retain all common law, statutory law and other right including copyright and intellectual property rights. The recipient agrees not to use this document for any purpose other than its intended use; to waive all claims against Archiphilia Pty Ltd resulting from unaurthorised changes; or to reuse the document on other projects without the prior written consent of Archiphilia Pty Ltd.

1. Drawings to be read in conjunction with all other Architectural, Engineering & Building Services drawings, specifications & written instructions. Any discrepancies or omissions in these documents shall be referred to the architect for a decision or clarification before proceeding with the work.

Rev. No.

Date

Revision

Checked

Rev. No.

Date

Revision

Checked

2. All dimensions shall be verified on site by the contractor before set-out, construction &/or fabrication is commenced. No dimensions are to be obtained by scaling these drawings. Unless otherwise noted, all levels are given in meters and all dimensions are in millimetres.

Rev. No.

PROPOSED ELEVATIONS 2. All dimensions shall be verified on site by the contractor before set-out,

construction &/or fabrication is commenced. No dimensions are toRev. be obtained Rev. No. Date Revision No. byDate scaling these drawings. Unless otherwise noted, all levels are given in meters and all dimensions are in millimetres.

all dimensions are in millimetres.

rdance with3.theAllcurrent materials, workmanship and quality shall be in accordance with the current any

Project

Sheet Size

Scale

MOUNT ELIZA NORTH PRIMARY SCHOOL 6 Moseley Drive, Mount Eliza, 3930

@ A1

1:100

Drawn

Revision

Checked

Rev. No.

Date

Date

Revision

Revision

Checked

Checked

Rev. No.

Date

Revision

Checked

Rev. No.

Project

Date

Revision

Elevations & Details

Checked

Project

TENDER ISSUE

A04

-

Sheet Size

Scale

MOUNT ELIZA NORTH PRIMARY SCHOOL 6 Moseley Drive, Mount Eliza, 3930

@ A1

1:100

Sheet Size

Scale

@ A1

1:100

Drawing

CH

Drawn

Date

CH

19.08.2022

CH Issue

3 / 45 railway road blackburn vic 3130 t 03 8821 4778 info@archiphilia.com.au

Revision

Project

Sheet Size

Drawing

Drawing No.

Drawn

archiphilia pty. ltd.

19.08.2022

Issue

PROPOSED OPTION 12 HIGHLIGHT GLAZING DETAIL 1:5 @ A1

MOUNT ELIZA NORTH PRIMARY MOUNT SCHOOL ELIZA NORTH PRIMARY SCHOOL @ A1 Elevations & Details 6 Moseley Drive, Mount Eliza,63930 Moseley Drive, Mount Eliza, 3930 Drawn Drawing

Checked

Date

CH

Drawing

PROPOSED OPTION 1 HIGHLIGHT GLAZING DETAIL 1:5 @ A1

ectural, 1. Drawings & to be read in conjunction with all other Architectural, Engineering s that Engineering 3. All & materials, workmanship and quality shall be in accordance with the current The Builder/Contractor shall verify job dimensions prior to any tructions.

Anywork Building Services drawings, specifications & take written instructions. Any law, Australian Standards including all amendments, all other codes of practice and the commencing.

Figured dimensions shall precedence ctual e referred to the discrepancies architect or omissions in these documents shall be referred to the architect statutory authorities regulations, except where varied by the contract documents. over scaled measurements for eent work. for a decision or clarification before proceeding with the work. sr before set-out, 2. All dimensions shall be verified on site by the contractor before set-out, anges; sions are to be construction obtained by &/or fabrication is commenced. No dimensions are to be obtained by r are given inscaling els metersthese and drawings. Unless otherwise noted, all levels are given in meters and

EP2231

1. Drawings to be read in conjunction with all other Architectural, Engineering & Building Services drawings, specifications & written instructions. Any discrepancies or omissions in these documents shall be referred to the architect for a decision or clarification before proceeding with the work.

EP2231

In accepting and utilising this document the recipient agrees that Archiphilia Pty Ltd ABN 38 621 401 518, retain all common law, statutory law and other right including copyright and intellectual property rights. The recipient agrees not to use this document for any purpose other than its intended use; to waive all claims against Archiphilia Pty Ltd resulting from unaurthorised changes; or to reuse the document on other projects without the prior written consent of Archiphilia Pty Ltd.

EP2231

existing highlight glazing to be replaced as tender options

Fully framed single glazing butt jointed internally. Vertical frame to be 100mm away from edge of I-beam. Allow perspex infill between glazing and I-beam, silicon seal to edges.

EP2231

existing highlight glazing to be replaced with scope of work

EP2231

LEGEND

Date

archiphiliaScale pty. ltd.

archiphilia pty. ltd.

3 / 45 railway road blackburn vic 3130 t 03 8821 4778 info@archiphilia.com.au Date

3 / 45 railway road blackburn vic 3130 8821 4778 Drawing No. t 03 Revision info@archiphilia.com.au

1:100

TENDER ISSUE 19.08.2022

Architects

archiphilia pty. ltd.

3 / 45 railway road blackburn vic 3130 t 03 8821 4778 info@archiphilia.com.au

19.08.2022

A04

-

Architects