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SEBASTIAN CHU selected academic and professional projects


CONTENTS

01.

Room & Garden + Fragment

10.

Zhejiang Medicine - David Chipperfield Architects

02.

Virginia Society AIA Competition 2014

11.

West Bank Art Center - David Chipperfield Architects

03.

IKEA + Bakery + Condominiums

12.

Concert Hall - Structural Design

04.

Virginia Society AIA Competition 2015

13.

Bodies in Motion - Inner City Highschool

05.

New Castle, Virginia Library Complex

14.

Barangaroo Highrise Structural Design

06.

Facade Renovation - Poff Federal building

15.

Jakarta Transit Network Hub

07.

Roanoke Trinity of Commerce

16.

The Embrace - Waterloo Mixed Use Complex

08.

Virginia Society AIA Competition 2016

17.

The Flow - Sydney Town Hall New Civic Square

09.

Undergraduate Thesis - Dynamic Architecture


Sebastian Chu chu1029@vt.edu Virginia Tech University The University of Sydney Full Digital Portfolio:

(Po-Ching Chu) 0488 695 231 Bachelor of Architecture Master of Architecture https://issuu.com/chusebastian


ROOM & GARDEN + FRAGMENT This project is a realization of a conceptual room in conjunction with a garden space. The room is single-story, with CMU comprising the primary loadbearing structure. The garden deals with questions of entrance and exit, guiding an individual through the space. Regarding constructional realities, a full-size fragment of the room & garden was constructed in studio.


ROOM & GARDEN + FRAGMENT For this project, a play with directionality was envisioned, whereby an individual enters and is guided through the garden in a specific manner to reach the room. Upon reaching it, one is halted by a beautiful flip panel door that rotates open after a slight push. The interior of the room is thermally comfortable and passively lit. Though built out of CMU cavity walls, it is wrapped with a wood finish on the inside, creating a warm atmosphere. After one is settled within, the horizontal directionality of the wood leads the view back out into the garden.


ROOM & GARDEN + FRAGMENT There exists a degree of disconnect between designing architecture in a studio versus having it being constructed on site. Therefore, an essential part of this project was the exploration of a life-sized fragment in order to bridge the gap between studio design and the reality of construction. The chosen fragment was a flip panel door (Torggler door) along with the concrete wall it was anchored onto.It was chosen because it most strongly embodied the concept of horizontality that was evident in my design of the room and garden.

The journey from design to fabrication of the fragment took several weeks. Working in the woodshop, metalshop, and casting concrete gave me a more heightened awareness of materiality, joints, and building assembly. I laminated oak wood for the door panels, then laser cut holes and notches to ensure that the mechanics of the door would fit snugly and perform well after installation. The end result was a portable concrete wall weighing 400 lbs, with a fully functional rotating Torggler door on it.


ROOM & GARDEN + FRAGMENT Both panels of the rotating door are conjoined by a twin rod system, inspired by the Torggler door. This allows simultaneous rotation by gently pushing on either of them. The bottom half is installed with steel counterweights to allow a semi automatic response, whereby the panels continue to rotate open automatically after a slight push.


ROOM & GARDEN + FRAGMENT

As a junior, I made the necessary transition into understanding constructional realities. I studied CMU cavity wall structure primarily through hand drawings of building sections. By drawing, sizing, and labeling every part of the wall, I could finally begin to understand how the room would actually be constructed.


VIRGINIA SOCIETY AIA COMPETITION 2014

The two-day competition asks for students to renovate an existing highway interchange, with the inclusion of “hybrid infrastructure” to blend public space, housing, and the highway interchange together. How can innovative urban spaces encourage community building across the highway, not just along the highway?

First and foremost, the old highway interchange was re-routed out to the sides to create new space in the center spanning several hundred feet. Next, the ground was sunken down to nestle residential buildings into that space. The difference in elevation facilitates dispersion of noise from the highway interchanges on either side, and eases the installation of noise cancelling barriers above. Then a public walkway and plaza were stiched on each end of the interchange, elevating them above both the residential buildings and the highway. Finally, a curved shelter was placed over the entire residential area, with voronoi apertures sized according to daylighting algorithms to provide more light into deeper areas of the residential complex.


IKEA + BAKERY + CONDOMINIUMS

Situated on the main street of Virginia Tech University, this program calls for a functional symbiosis between an IKEA showroom, a bakery, and several condominiums within a 7,500 s.f. building area by renovating a parking lot located beside an old post office.


IKEA + BAKERY + CONDOMINIUMS

The form for this project originated from an attempt to weave a modern IKEA showroom into the conjoining brick post office in a graceful manner, while providing a functional arrangement for a bakery on the floor level as well as condominiums above. For my proposal of the IKEA storefront, I realized a parametric showroom that flows from the conjoined post office corner out onto the sidewalk and curves back into the courtyard at the main entrance. This not only created a nestled retreat and an inviting opening to the street, but also blended the modern showroom into the existing context of the univeristy main street.

Tension curves that govern the form of this project are visible in the retreat of each successive floor level. This zoning creates proper daylighting for each of the condominiums and opens up accessible terraces facing the front of the street. The teardrop plaza in the center of the courtyard is enveloped by a ramp and path leading to the back of the building, rerouting the original walkway.


IKEA + BAKERY + CONDOMINIUMS

With daylighting and privacy in mind, I designed and 3D printed a set of brise soleil for the exterior of the condominiums. The sun screen is regulated by selective parametric openings. This allows more light to enter the living room out front while simultaneously inhibits public visibility into the more private areas in the back. On the other hand, the array of structure that comprises the white IKEA showroom on ground level allows straight from the interior while blocking most sunlight overhead. The first photo on top illustrates how the IKEA showroom curves out onto the sidewalk from street view. The second photo below depicts the view of a person looking down from a condominium terrace.


VIRGINIA SOCIETY AIA COMPETITION 2015

As a two-day competition, the program calls for a wind farm designed as a public work of land art. Situated on a mountain ridge-line in Eagle Rock, Virginia, a wind turbine array is to be placed along the ridge. In conjunction with the wind turbines, several structures must be created to include a museum, ampitheatre, education center, observation building, classrooms, exhibition room, cafe, bathrooms, and parking. The proposal works with the architectural mediation of two differently scaled experiences: the landscape of the wind farm and the human scalein relation to discrete elements within the larger construct. The form of the wind farm was born from the study of wind forces, with a circular organization of buildings that flow outward and face various wind turbines along the mountain ridge. The building program was also organized radially, allowing one to experience the embodiment of wind flow.


VIRGINIA SOCIETY AIA COMPETITION 2015

A tall, open space was created for the exhibition hall(top), with a 150’ life-size propeller blade on display. Following the direction of the blade, one is led out to the front of the hall, with an unencumbered view of a wind turbine in the near distance. The radial form of the buildings spiral out from the center, where an open ampitheatre is situated (left). The directions of the buildings project out toward the wind turbines. Inspired by studying wind forces, each building is shaped so that the concept of air flow is embodied in the dynamic form (right).


NEW CASTLE, VIRGINIA LIBRARY COMPLEX

Situated in New Castle, Virginia is a multistory modern library built beside the existing town courthouse, and replaces the old town library. The library was designed with very specific structural, spatial, and programmatic requirements in mind. Through the measure and play of architectural elements, the proposition for the library was crafted. The modern library responds to its neighbors via changes in materiality and form. The side facing the old town of New Castle recognizes the old architecture with its use of brick, while the other side facing the courthouse utilizes modern materials. The library contributes to the town via a plaza space with a water feature, and and accessible rooftop garden. Much attention was paid to the control of interior lighting conditions as well as circulation to provide a pleasurable experience for individuals using the library spaces.


NEW CASTLE, VIRGINIA LIBRARY COMPLEX


NEW CASTLE, VIRGINIA LIBRARY COMPLEX

As a semester long project, the library received much attention in the development of details. The selection and integration of a steel frame structural system was created and tested in Revit. Vertical circulation, life safety, and accessibility compliance with code was also studied. Detailed floorplans and reflected ceiling plans were designed. In addition to that, the practicality of the library was of great importance, and therefore the beginnings of construction documents as well as door schedules, windows schedules, and room schedules (chart on bottom) were also drafted.


NEW CASTLE, VIRGINIA LIBRARY COMPLEX


F A C A D E R E N O VAT I O N - P O F F F E D E R A L B U I L D I N G


F A C A D E R E N O VAT I O N - P O F F F E D E R A L B U I L D I N G

Tasked to renovate the South facing facade of the Poff Federal Building in Roanoke, Virginia, the proposal provides thermal comfort, views, and shading. The facade has two layers. An interior layer of double-pane curtain glass provides an airtight enclosure with decent insulation. An exterior aluminum brise soleil anchored to the main frame controls south light with a sine algorithm, creating an undulating form.

A second algorithm regulates circular apertures on a grid. The circles contract in the direction of afternoon sunlight and expand toward the concave half of the undulating form, maximizing views while preventing glare and overheating.


F A C A D E R E N O VAT I O N - P O F F F E D E R A L B U I L D I N G

The exterior aluminum brise soleil is parametric in nature. The undulating form is partitioned into equally sized panels for fabrication. With custom-designed spider joints (left), the aluminum panels are held together at the corners with minimal structure. To counteract wind forces at the higher levels of the Poff Federal building, tension cables are used to take on lateral loads, transferring them to the mainframe.


F A C A D E R E N O VAT I O N - P O F F F E D E R A L B U I L D I N G


ROANOKE TRINITY OF COMMERCE

A semester long project with the site situated in Roanoke, Virginia, the mix-use trinity of commerce stitchs apartments, offices, retail, public spaces, daycare, and recreational facilities together into a functional complex. In the center, a highrise containing apartments and offices is created, and a parametric skin is stretched over it on the south side to control light and heat gain. The tower flows downward and melds with the daycare, retail, and public spaces below and allow them to act as a platter to present the tower.


ROANOKE TRINITY OF COMMERCE


ROANOKE TRINITY OF COMMERCE

As the mix-use complex is organic in form, the floor plans likewise are organic and flowing, allowing residents to experience the twist and turn of the external form from within. The rendering on the left also illustrates two twisting columns that course through the tower, allowing residents to once again experience the twist of the mix-use complex indirectly.


ROANOKE TRINITY OF COMMERCE

The central courtyard slopes up gradually toward the east. The roof of the east building curves downward to blend in with the courtyard. The curved part is equipped with stairs that allow passage from the courtyard directly onto the roof. This creates a space where visitors can transition from ground floor to the second level in a special manner. It is also a threshold that allows people to sit and rest.


VIRGINIA SOCIETY AIA COMPETITION 2016 In Hampton, Virginia, Fort Monroe had a complicated and contradictory history involving African Americans and slavery. In 1861, the fort was transformed into a safe haven for African American refugees of war. Situated at the waterfront, the site currently has historical marker placed to highlight the first African Americans brought to Virginia in 1619. The two-day competition asked for the creation of a place for contemplation, congregation, participation, celebration, and performance in the area surrounding the historical marker. The design needs to respect the history of the place, to touch the site lightly, and to weather elegantly. Regarding the program, it must provide a variety of activities while adjusting to the seasons. The proposed design is a dynamic form derived from three volumes. The first volume, facing north toward Fort Monroe, houses programs related to communal activities. This includes conference rooms and a stage for performances. To the south at the waterfront, the second volume lightly touches the ground and cantilevers over the water. This gesture symbolizes the sensitive topic regarding events related to slavery in the past. The volume contains programs related to appreciation and remembrance, including a historic gallery as well as a room for meditation and reflection. The third, slimmer volume branching off toward the west houses retail and smaller multipurpose rooms for the community. The three volumes are melded in the center, joined by a bridge that arches over the existing road. This symbolizes the history of African AMericans at Fort Monroe, and the act of moving on while reconciling with events in the past.


VIRGINIA SOCIETY AIA COMPETITION 2016


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

Since architectural dynamism is a process or mechanism responsible for the development or motion of a system, dynamic architecture in this thesis responds to human, contextual, and environmental stimuli originating from the site. It responds to the context to develop a relationship with the city and its inhabitants. Generally speaking, in architecture this response may occur through structural dynamism or actual kinetics. This thesis excludes kinetics and focuses on structural dynamism, which resembles or embodies movement in form rather than possessing actual movement of architectural parts.

Dynamic, Responsive Architecture Architecture is deeply rooted in typology. The static nature of architecture is in a sense paradoxical to the world in which it exists, which is in a constant state of flux and transient rather than static. Perhaps contemporary architecture could reflect dynamism in its space, and embody the nature of this world in its form and design.

neighboring buildings influence flow of people

Forces that are derived from surrounding buildings or primary and secondary influence. Various forms of external forces influence how the dynamic architecture developson site. Forces derived from the flow of people between the residential and commercial districts.

This thesis seeks to understand dynamic, responsive architecture relative to human, contextual, and environmental stimuli. Its premises are based on the motions of a city, the relationships with its surroundings, and changes in programs to better serve its modern inhabitants.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

thesis project proposal

The thesis on dynamic, responsive architecture is explored through the design of a mixed use highrise in downtown Roanoke, Virginia.

project programs

The proposed mixed use highrise provides retail, office, apartment, exhibition, recreational, and public spaces for the community.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

location

The site for the proposal is located in downtown Roanoke, Virginia, two to three blocks south of the Taubman Museum of Art by Randall Stout. The site is currently an empty parking lot.

junction

The site is unique because it sits at the junction of the residential and commercial districts, with a main road and highway east of it.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

With the development of the ground floor plan, the highrise connects and reacts more closely with its surroundings. The functions of the diagonal pathway are evident in the plan. It compresses pedestrians through the southeast, and releases them into the open courtyard space. Those leaving from the northwest are once again compressed through the pathway and released to the small street, beside Center in the Square, a signature building in downtown Roanoke. The ground floor plan relates well to the highrise in the sense that it is also dynamic in its circulation. The western half of the ground floor houses most of the retail spaces, which curves in a form that faces inward and cradles the courtyard. The storage and service spaces are curved and connected behind the stores in a long strip, creating a spine for circulation. On the eastern half, a curved corridor provides circulation that doubles as a buffer space for the main lobby, conference room, and other programs nestled in this section.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

A main road borders the site on the east, and a highway lies two blocks further down in the same direction. The combination of traffic from the road and the highway produces noise and movement. These are two physical forces that the highrise responds to.

A ninety degree, clockwise twist is introduced to the ovrall form of the highrise.

A typical tower stands vertical and erect, distinct from its immediate surroundings on the ground level. Through the design of a curved facade, the form of the highrise flows down, blending in with the ground floor level to become “rooted” into its immediate surroundings.

An indentation into the east side of the highrise opens a direct view from the core to the outside. The circular glass elevator in the center of the highrise transports passengers vertically. The vertical movement relates to the horizontallity of traffic flow on ground level.

This dynamic twist provides a slight difference to the orientation of apartments on each individual floor level, creating unique, differential views.

Along the south and east sides with the twisted indentation, pockets of green spaces are introduced in the highrise.

The indentation of the floor slabs doubles as an initial step toward creating awareness of verticality for people within various floors of the highrise as well as those moving vertically through stairs or elevators.

The twist is the second step toward the experience of verticality in the highrise. The indentation coupled with the twist heightens the awareness of verticality while looking either upward or downward

Looking down from the edge of the green spaces, the dynamic verticality of the highrise is evident. The twist allows portions of subsequent floor levels to peek out.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

Located at the junction between the two districts, the ground level of the site recognizes and responds to the movement of people by opening a diagonal pathway to bridge the gap between the two sides.

Giving back to the city, a public space is carved into the center of the site, with the diagonal pathway passing through its heart.

The ground floor plan guides pedestrians into the long, diagonal pathways. Moving through, they are “compressed” and subsequently “released” into the wide public plaza within the site.

Owing to the unique form of the tower, it would be difficult for standard vertical columns to support the edges of the floor slabs.

Therefore, twisting columns were designed to thread through the edge of the floor slabs, following the profile curve of the form.

As the highrise developed, changes were made to the overall form near the top.

With concerns in regards to wind as well as a more dynamic floorplan, the form of the highrise became tapered toward the top.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

The following diagram illustrates a more recent iteration reflecting changes in the form of the highrise as well as the circulation. As the form of the highrise becomes tapered toward the top, the individual floorplans are filleted at the corners as part of a more dynamic form. The two stairs have also been relocated to the center of the highrise to fuse with the core. Rather than being vertical, the stairs twist along with the form of the highrise to provide a dynamic experience.

This holographic axonometric diagram illustrates how the original circulation was designed. The first elevator shaft is located in the core, rising through the center of the highrise. Two fire stairs are consolidated in the northeast side of the tower. This initial design was an attempt to maximize usable floor area by consolidating circulation and service spaces, providing a more open floor plan. However, it loses much in terms of being dyamic.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

One critique regarding highrises is that the verticality of the architecture is difficult to be experienced from within. This is due to single story floors being stacked one upon the other, creating the feeling of being on flat ground while an individual is actually elevated. This thesis proposal tackles the difficulty of vertical experience by introducing dynamic variables such as the indentation into the south and east sides of the highrise as well as twisted columns.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

north perspective elevation render

east perspective elevation render

south perspective elevation render

The north facade is distinct from the other faces of the highrise. The current concept is to incorporate actual windows on this side rather than aluminum screens. This allows unobstructed views to the Taubman Museum of Art as well as the mountain ranges to the north, while also providing inhabitants with maximum indirect north light for apartments located in this section of the highrise.

Driving up the 581 highway from the southeast, this is the view presented to passersby. The perforated aluminum facade conceals the apartments while leaving the core open. As drivers move past twisted opening of the highrise, a different part of the central elevator is revealed relative to the driver’s location on the highway. This dynamic change relates to the dynamic movement on the highway, and engages individuals from afar.

Directly from the south, the function of the perforated aluminum screen is most evident. With the tower twisting from east to south as it rises, the size of the perforations on the facade decreases to control light and heat gain from morning to afternoon.


U N D E R G R A D U AT E A R C H I T E C T U R E T H E S I S

While the aluminum screen controls light and heat gain during the day, it acts as a permeable membrane in the evening, allowing light from within the highrise to effuse with a soft glow. Activities of inhabitants in more public areas of the highrise such as anterooms, corridors, and living rooms are partiall visible to outsiders.


Z H E J I A N G M E D I C I N E - DAV I D C H I P P E R F I E L D A R C H I T E C T S

Zhejiang Medicine is a pharmaceutical company with five subcompanies, specializing in the large scale production of vitamins, antibiotics, and other products. David Chipperfield Architects was appointed to design the first headquarters for Zhejiang Medicine, as well as surrounding buildings which would form a new industrial complex for the company. I was heavily involved with the new project from the beginning of the schematic design phase, and was placed in charge of multiple design responsibilities including producing renders such as the one above. The rendering was produced by first modeling in Rhinoceros, then exporting to Maxwell Render for the textures and lighting effects. Finally, post production was done in Photoshop.


Z H E J I A N G M E D I C I N E - DAV I D C H I P P E R F I E L D A R C H I T E C T S

While the aluminum screen controls light and heat gain during the day, it acts as a permeable membrane in the evening, allowing light from within the highrise to effuse with a soft glow. Activities of inhabitants in more public areas of the highrise such as The site to be developed lies between an industrial district and an organic agricultural district. At anterooms, corridors, and living rooms are the junction of these two districts, it was important to address both sides in terms of connection, partiall visible to outsiders. view, and segregation of waste treatment. The area of the trapezoidal site is approximately 39,000 m2


Z H E J I A N G M E D I C I N E - DAV I D C H I P P E R F I E L D A R C H I T E C T S

While the aluminum screen controls light and heat gain during the day, it acts as a permeable membrane in the evening, allowing light from within the highrise to effuse with a soft glow. Activities of inhabitants in more public areas of the highrise such as anterooms, corridors, and living rooms are partiall visible to outsiders.


Z H E J I A N G M E D I C I N E - DAV I D C H I P P E R F I E L D A R C H I T E C T S

The diagram on the left as well as the ones above illustrate my first task at the beginning of the schematic design phase for this project. I was in charge of consolidating the pharmaceutical company’s programs for both the complex and headquarters. Then I created the allocation of different programs as well as the general floor areas necessary for accomodating these programs. Finally after much research, I designed the ciruclation between different departments in terms of privacy and types of individuals such as visitors, staff, etc. This allowed proper security to be implemented at various stages of the circulation, and hid the production and transportation from public view.

After the initial programmatic consolidation and allocation, we moved on to the massing of the complex and headquarters. I was assigned to create massing and initial structural models with foam. The style used for these models were appropriated from David Chipperfield’s London office, where similar methods were used in the past to create a visually appealing model while removing the distractions of textures, materials, and colors so that the architectural design could be the main focus in the beginning.


Z H E J I A N G M E D I C I N E - DAV I D C H I P P E R F I E L D A R C H I T E C T S

Apart from models, programmatic studies, and circulation planning, I also worked on producing multiple renderings for presentations at client meetings. These were produced by 3D modeling in Rhinoceros, rendering in Maxwell, and post-producing in Photoshop.


Z H E J I A N G M E D I C I N E - DAV I D C H I P P E R F I E L D A R C H I T E C T S


W E S T B A N K A RT C E N T E R - DAV I D C H I P P E R F I E L D A R C H I T E C T S


W E S T B A N K A RT C E N T E R - DAV I D C H I P P E R F I E L D A R C H I T E C T S

The West Bank XuHui masterplan development covers a former industrial area 7 km from the center of Shanghai. Most facilities in the area have been demolished with only a few remaining original structures on site. Within the masterplan, an art museum will be designed along the riverbank. The building will have a strong relationship to its surroundings. Due to its situation as a solitaire at the north most point where the road and the river diverge to form a generous green park, the West Bank Art Center will be the prime cultural entity visitors encounter when coming to the Xuhui Riverside District via the Shanghai Corniche. The building will be a prominent feature of the masterplan on the West Bank of the Huangpu River.


W E S T B A N K A RT C E N T E R - DAV I D C H I P P E R F I E L D A R C H I T E C T S

The aim of the deisgn is to create a special place at the riverside where visitors can visit a museum and also enjoy the riverside and the views to downtown Shanghai and the surrounding areas. Three exhibition gallery volumes approximately 18m tall define the building massing on the North, West and South sides of the site. The exhibition galleries are stacked and the heights are configured to provide clerestory lighting to the lower level galleries, while the upper level galleries are mainly top lit. In addition, each upper level gallery contains an expansive window providing views to downtown Shanghai, the local Huangpu river bank, and the park to the south. The volumes are positioned on the outer edges of the site on these three sides to create a unique space at the riverside. The central area of the building contains 3 main space defining elements; a three storey lobby with a central triple-height atrium, a single storey long café pavilion located along the river’s edge with a rooftop viewing terrace connecting the upper lobby with the riverside, and a landscaped sunken courtyard connecting the underground museum level with the riverside terrace and promenade.


W E S T B A N K A RT C E N T E R - DAV I D C H I P P E R F I E L D A R C H I T E C T S


W E S T B A N K A RT C E N T E R - DAV I D C H I P P E R F I E L D A R C H I T E C T S I entered the West Bank Art Center project during the schematic design phase, and was tasked to work on atrium skylights as well as the design of the main stairwell and its handrails. I worked with the project architect to define the atmosphere of the main stairwell using frosted glass panels to create soft, diffused light. Given the constraints of a minimalistic style with concrete and steel, I researched and tested multiple materials and handrail styles, arriving at the design of stainless steel handrails installed within indentations carved into the concrete walls of the stairwell. This simplistic style of creating handrails via subtraction added to the minimalistic qualities of the stairwell as a whole, inducing pleasant feeling to both sight and touch for individuals who enter the space. When the project progressed into the design development phase, I continued to dedicate a large amount of time for the detailing of the main stairwell. I worked on the design of the primary loadbearing structure as well as the enclosure of the main stairwell, drafting sectional drawings with AutoCAD. With the office’s strong emphasis on a clean, minimalistic design, I was also tasked to design the dimension, placement, and concealment of fire curtains in the main stairwell, and successfully designed a completely concealed fire curtain system that still met standard building codes in Shanghai. In conjunction with the section drawing, I also drafted the detailed floorplans for all levels of the main stairwell. This included the design of MEP spaces adjoining the stairwell, as well as the sizing and placement of elevators. After successive revisions of redlines for all plan and section drawings, the 100% DD drawings were eventually completed and successfully submitted on time.


W E S T B A N K A RT C E N T E R - DAV I D C H I P P E R F I E L D A R C H I T E C T S


W E S T B A N K A RT C E N T E R - DAV I D C H I P P E R F I E L D A R C H I T E C T S


W E S T B A N K A RT C E N T E R - DAV I D C H I P P E R F I E L D A R C H I T E C T S


CONCERT HALL - STRUCTURAL DESIGN


CONCERT HALL - STRUCTURAL DESIGN

THE CONCERT HALL Our approach to the National Concert Hall is to create an organic form that flows with the contours of the site within the natural and urban setting of Vilnius, Lithuania. In order to achieve this form, curved, long-spanning structural members are used as the skeletal system that would sustain a flowing canopy roof that drapes over the building. To house the main hall, a series of 11 glulam arches of the same curvature is constructed to create a large vaulted space sustainably and efficiently. The large arches are constructed in 3-pieces with the bases attached to concrete pedestals. The pedestals have monolithic action to the concrete slab and are placed to cascade down with the slope of the site to make use of the topography for the seating arrangements in the 1500 seat shoebox auditorium. Glulam beams connect each of the arches in the middle and sides to create a rigid structure. Steel trusses sitting above the arches follow the curvature of the vaulted space and hold up the light-weight roof whilst accommodating mechanical equipment for the theatre. Joining the main hall to the small hall is an administration and lobby area, where the curvature of the glulam arches transition into rigid glulam portal frames. As this middle area of the building is the entry to the building where patrons are directed to either the main or small hall, the transitioning of arches to portals look to reflect this movement between spaces. The roof in this area dips downwards as the wave moves along the building and the transitioning primary members in the lobby accommodates this with their varying size and curvatures. Going into the small hall from the lobby area sees the use of 3 large identical glulam portal frames arranged in a hexagon with a connection point in the middle of the horizontal members. The connection is located above the stage of a 500 seat vineyard auditorium and centralises the hall both structurally and architecturally to the performance space in the middle. Steel inverted king post trusses that support each of the portal frames also meets at this point. Below the seats is the back-of-house area that is excavated into the flatter surface of the site, where concrete foundations holding the glulam portals reside, out of the sight of patrons. Above these portals are steel trusses that follow the curvature of the rounded roof whilst holding the mechanical equipment of the hall.

SITE PLAN 1:1000 @ A2

With the free-flowing and organic form of the concert hall achieved by having a lightweight, draping roof, the National Concert Hall sits seamlessly within the natural context of the site. By using materials to their maximum structural potential, the building provides the city of Vilnius with a cultural landmark that is sustainable and architecturally appealing.


CONCERT HALL - STRUCTURAL DESIGN

GEOMETRIC LAYOUT CUT-AWAY FROM RECTANGLE

LEGEND 25°

COLUMN PLACEMENT COLUMN GRIDS GEOMETRICAL SHAPE OUTLINES

SMALL HALL

MAIN HALL ENTRYWAY

LOBBY

SHAPE CUT-AWAYS MAIN HALL

SYMMETRY LINE

25°

OVERALL BUILDING GEOMETRICAL LAYOUT + PRIMARY COLUMN PLACEMENTS 1:300 @ A2 The concert hall uses linear shapes to define the layout of the building. The entry lobby area is a simple rectangle that links to a hexagon that articulates the small hall. The main hall is connected to the lobby via a rectangle with cut-outs that form a trapezium, which then links to a larger rectangle that is the auditorium space for the main hall. The interiors for both halls also use simple and linear shapes to create a geometrical layout that is easy to navigate through for patrons, and order in construction. The primary structures’ standing points (ends of the primary arches and columns of the portal-frames) are placed on the perimeter of the combination of these shapes. This way, construction of the building is organised and efficient.

SEATING SPACE ELEVATED BALCONY

ENTRYWAY

SEATING SPACE

SEATING SPACE

STAGE

SYMMETRY LINE B.O.H

ELEVATED BALCONY

STAGE


CONCERT HALL - STRUCTURAL DESIGN

STRUCTURAL HIERARCHY TERTIARY The tertiary structures include the concert hall roof and non load-bearing walls. The loads are carried throughout the roof panels and exterior walls downwards.

CLT ROOF PANELS

SECONDARY This category includes supporting structures, which is mostly comprised of steel trusses. The steel trusses carry the load from the roof above.

PRIMARY The primary structures include the concerete slabs and pedestals. Primary timber structure includes the glulam arches, portal frames, and beams.

EXTERIOR WALL

STEEL TRUSSES & INVERTED KING POST TRUSS

GLULAM ARCHES

LEGEND TERTIARY SECONDARY PRIMARY


CONCERT HALL - STRUCTURAL DESIGN

LATERAL FORCES MAIN HALL

C

C

C

C

C

C

C

C

C

C

C C

T

C

C

C T

C

C

C T

C T

C

C T

C

C T T

C

C T

C

C

C

C

C T

C T

C T

C T

T

C

T

T

LATERAL LOAD PATHS Not To Scale

DEFLECTED SHAPE UNDER LATERAL LOADS (SHORT) Not To Scale

The bases of the primary arch experience bending with lateral forces and so pin joints are used to accommodate the rotation. The concrete pedestals are fully fixed into the slab which hold the structure in place.

The triangular form created with balcony slabs and supporting members near the base of the arch moves with any deformation the arch experiences by using pin joins. These balcony slabs do not aid in resisting lateral forces in this direction.

DEFLECTED SHAPE UNDER LATERAL LOADS (LONGITUDINAL) Not To Scale Horizontal glulam beams work as secondary support members connecting the primary arches to resist lateral forces by working in compression. The balcony slabs work in tension and transitions into compression to brace against lateral forces.

SMALL HALL T

C

LEGEND LEGEND

C T

T

C

C

C

GRAVITATIONAL LOAD FORCES T

C

LOAD PATHS LOAD TRANSFERS

REACTION REACTIONSFORCES FORCES DEFLECTION DEFLECTION COMPRESSION COMPRESSION

LATERAL LOAD PATHS Not To Scale

DEFLECTED SHAPE UNDER LATERAL LOADS Not To Scale

Arranging the portal frames in a hexagonal array connected in the middle with a compression point allows the portals to resist lateral loads by creating a rigid, radial structure. This way, lateral forces from every direction is braced by a portal frame.

Pin joints at the bases of the portal allow for any bending of the column. The full-fixed joints at the knee makes the structure rigid and able to work in the hexagonal arrangement of portals.

TENSION TENSION

BENDING BENDINGMOMENT MOMENT


CONCERT HALL - STRUCTURAL DESIGN

GRAVITATIONAL FORCES MAIN HALL

T C

LEGEND LEGEND

T C

C

GRAVITATIONAL LOAD FORCES

T T

C

C

LOAD PATHS LOAD TRANSFERS

T

REACTIONSFORCES FORCES REACTION DEFLECTION DEFLECTION

GRAVITATIONAL LOAD PATHS Not To Scale Gravitational loads are brought down to the ground with the curved roof (tertiary structure) transferring the loads to steel trusses (secondary structure). The trusses then bring the loads to the 2 hinge glulam arches that are connected to concrete pedestals through a pin joint (primary structure). The concrete pedestals then

COMPRESSION COMPRESSION

FRAME DEFLECTED SHAPEPORTAL UNDER GRAVITY LOADS WITHOUT SUPPORTS Not To Scale

TENSION TENSION

BENDING BENDINGMOMENT MOMENT

2 pin joints to ground

The primary portal2 full frames without secondary supports experience fixed joints at haunches/knees excessive deflection in the beam element. With 2 full fixed joints at HYPERSTATIC STRUCTURE the knee, the columns buckle under this deflection. (9 - 3 - 3 - 2 - 2 = -1)

SMALL HALL C

C

T

C

C

C T

C C

C

GRAVITATIONAL LOAD PATHS Not To Scale Gravitational loads have the curved roof (tertiary structure) transferring loads to steel trusses (secondary structure). The steel trusses here take loads to a glulam portal frame (primary structure) with an inverted king post truss (secondary structure) which then brings forces to the slab and ground.

C

T

T C

DEFLECTED SHAPE UNDER GRAVITY LOADS Not To Scale

PORTAL FRAME WITH SECONDARY SUPPORT Not To Scale

The primary arches are in compression under gravitational loads. Bending is experienced at the base of the arches so a pin joint is designed here to allow for rotation. The seating structure near the base is attached to the arch with pin joints to move with any deflection the rigid arch experiences.

An inverted king post truss as a secondary structure works to support the primary portal frames by having steel rods in tension and a vertical rod in compression. This allows the columns of the portal to be only in compression and prevents beam deformation.

This structure is a hyperstatic structure (3 - 2 - 2 = -1).

This structure is a hyperstatic structure (9 - 3 - 3 - 2 - 2 = -1).


CONCERT HALL - STRUCTURAL DESIGN

LEGEND

FUNCTIONAL LAYOUT PLAN

11

11 FLY TOWER ABOVE

TOTAL NUMBER OF SEATING MAIN HALL: 1570 GROUND LEVEL: 1306 MEZZANINE LEVEL: 264 SMALL HALL: 764

GROUND FLOOR PLAN 1:300 @ A2

LONG EAST ELEVATION 1:300 @ A2


CONCERT HALL - STRUCTURAL DESIGN

LEGEND

TOTAL NUMBER OF SEATING MAIN HALL: 1570 GROUND LEVEL: 1306 MEZZANINE LEVEL: 264 SMALL HALL: 764

MEZZANINE FLOOR PLAN 1:300 @ A2

N-S LONGITUDINAL SECTION 1:300 @ A2


INV

ARCHITECT OF RECORD STEEL TENSION ROD

0 61

NOT FOR PERMIT OR CONSTRUCTION.

62 0 150°

CLT ROOF PANEL

10 0°

TIMBER SCREWS (TYP)

WOOD BLOCKING (PT)

STEEL TRIANGULAR TRUSS

90 R1

20 0 10

GLULAM ARCH

STEEL RING CONNECTOR

0 10 50 1 : 10

0 61 1 : 20

100 20

RIGID INSULATION

50 100

ROOF SHEATHING

CLT ROOF PANEL

WATERPROOF MEMBRANE

TIMBER SCREWS (TYP) METAL L ANGLE WOOD BLOCKING (PT)

STEEL TRIANGULAR TRUSS

GLULAM ARCH

1

ROOF TO ARCH CROSS SECTION SCALE:

1 : 10

STEEL CONNECTOR

STEEL RING CONNECTOR PLAN DETAIL SCALE:

1 : 10

STEEL REINFORCEMENT BARS

STEEL CONNECTOR STEEL KNIFE PLATE CONNECTION

(YY/MM/DD)

600

GLULAM ARCH TO STEEL CONNECTOR SCALE:

1 : 20

STORE #:

56055

PROJECT #:

81458-001

GLUBOLT-

CONCEPT: NEW CORE PROGRAM MANAGER: LORI CRANDALL DESIGN MANAGER: TOSHIKO WATANABE LEED ® AP: STEPHEN GIBSON PRODUCTION: KIRA HOMEAK/D.CHEN CHECKED BY: BRIANNE TONER GLULAM ARCHES SHEET TITLE:

610

14 5°

SCALE:

CONSTRUCTION DETAILS As indicated

0 30 SHEET NUMBER:

129°

6/16/2020 10:58:06 PM

MEZZANINE SEATING

GLULAM ARCH TO STEEL CONENCTOR 1:20 @ A2

N

-

STEEL BOLTED CONNECTION STEEL KNIFE PLATE CONCRETE PEDESTAL

890

E-W SHORT SECTION (MAIN HALL) 1:200 @ A2

REINFORCED CONCRETE SLAB

REVISION SCHEDULE REV DATECONCRETE BY SLAB DESCRIPTION

PROJECT NAME:

SCALE:

2

STEEL BOLTED CONNECTION REINFORCED CONCERETE SLAB

150°

ROOF TO ARCH DETAIL

GLULAM ARCH

STEEL TENSION ROD FROM INVERTED KING TRUSS

62 0

SCALE:

1460

0

ROOF TO ARCH CROSS SECTION E:\Darrin\Desktop\USYD\Semester 1 - 2020\Advanced Technologies 1\Assignment 2\CONCERT HALL DETAILS.rvt

56

1

BOLTED STEEL

GLULAM ARCHES TO CONCRETE PEDESTAL

SCALE: 1 : 20 GLULAM BEAM (TYP)

GLULAM ARCH

GLULAM ARCH

300

STEEL TRUSS

STEEL BOLTED CONNECTION (TYP)

1 : 10

UNIT 883 PARK ROYAL NORTH, WEST VANCOUVER, BC V7T 1H9

METAL L ANGLE

6° 10

SCALE:

PROJECT ADDRESS:

WOOD BLOCKING (PT)

-

STARBUCKS - PARK ROYAL SC NORTH

100 20

CLT ROOF PANEL

-

ISSUED FOR CONSTRUCTION

1

WATERPROOF MEMBRANE STEEL KNIFE PLATE (TYP)

50 100

WATERPROOF MEMBRANE

RIGID INSULATION

890

ROOF SHEATHING RIGID INSULATION

STEEL RING CONNECTOR PLAN DETA

ISSUE SCHEDULE DATE BY DESCRIPTION STEEL BOLTED CONNECTION 18/05/25KH/DC 90DD 18/06/19 DC 90CD STEEL KNIFE PLATE 18/06/21 DC BUILDING PERMIT 18/07/05 DC TENDER CONCRETE PEDESTAL 18/09/19 DC IFC

129°

ROOF SHEATHING

170 TYP

2

14 5°

1 : 20

1460

SCALE:

0 30

ROOF TO ARCH DETAIL

20

GLULAM ARCHES

THIS DRAWING MAY HAVE BEEN MODIFIED FROM ITS ORIGINAL FORM WITHOUT AOR INVOLVEMENT AND IS NO LONGER GUARANTEED BY THE AOR.

CONCERT HALL - STRUCTURAL DESIGN

ULAM ARCH TO STEEL CONNECTOR ERTED KING TRUSS DETAIL 1 : 20

ORIGINAL DRAWINGS WERE PRODUCED BY GUSTAVSON WYLIE ARCHITECTS INC.

610

10 0°

STEEL REINFORCEMENT BARS

6° 10

CONCRETE SLAB

GLULAM ARCHES TO CONCRETE PEDESTAL

GLULAM ARCHES TO CONCRETE PEDESTAL 1 : 20 1:20 @ A2 SCALE:

60

STEEL


6

STARBUCKS COFFEE COMPANY 610

2401 UTAH AVENUE SOUTH SEATTLE, WASHINGTON 98134 (206) 318-1575

ALL RIGHTS RESERVED. ORIGINAL DRAWINGS PROPERTY OF GUSTAVSON WYLIE ARCHITECTS INC. USE OR REPRODUCTION PROHIBITED WITHOUT PRIOR WRITTEN PERMISSION. THE GENERAL CONTRACTOR SHALL REVIEW THE DOCUMENTS FOR CONFORMANCE WITH CODES AND BYLAWS AND SHALL ADVISE THE ARCHITECT OF ANY DISCREPANCIES. THE GENERAL CONTRACTOR SHALL CHECK AND VERIFY ALL DIMENSIONS AND REPORT ALL ERRORS AND OMISSIONS TO THE ARCHITECT. DO NOT SCALE DRAWINGS.

1570

25°

CONCERT HALL - STRUCTURAL DESIGN

ARCHITECT OF RECORD STEEL TENSION ROD

2 -

STEEL RING CONNECTOR

ORIGINAL DRAWINGS WERE PRODUCED BY GUSTAVSON WYLIE ARCHITECTS INC. THIS DRAWING MAY HAVE BEEN MODIFIED FROM ITS ORIGINAL FORM WITHOUT AOR INVOLVEMENT AND IS NO LONGER GUARANTEED BY THE AOR. NOT FOR PERMIT OR CONSTRUCTION.

STEEL BOLTED CONNECTION (TYP)

STEEL TRUSS GLULAM BEAM (TYP)

20

GLULAM ARCH

STEEL TENSION ROD

90 R1

0 10

STEEL RING CONNECTOR

0 10

50

N-S SHORT SECTION (SMALL HALL) 1:200 @ A2 56

0

STEEL TENSION ROD FROM INVERTED KING TRUSS

TAL

INVERTED KING TRUSS DETAIL 0 61

SCALE:

1 : 20

2 -

170

STEEL RING CONNECTOR

ROOF TO ARCH DETAIL SCALE:

2

1 : 20

STEEL RING CONNECTOR PLAN DETAIL SCALE:

1 : 10

ROOF SHEATHING RIGID INSULATION

TYP

WATERPROOF MEMBRANE

1 ROOF SHEATHING

620 100 20

RIGID INSULATION

50 100

CLT ROOF PANEL

WOOD BLOCKING (PT) STEEL TRUSS

WATERPROOF MEMBRANE

TIMBER SCREWS (TYP)

610

MEZZANINE SEATING

GLULAM BEAM

-

CLT ROOF PANEL

90 R1

GLULAM ARCH

25°

WOOD BLOCKING (PT)

20

300

METAL L ANGLE

0 10 50

1570

0 10 STEEL TRIANGULAR TRUSS

56 0

GLULAM ARCH

ROOF TO ARCH CROSS SECTION

SCALE:

STEEL KNIFE PLATE (TYP)

C 2015 STARBUCKS CO

STEEL BOLTED CONNECTION (TYP)

STARBUCKS COMPA

GLULAM BEAM (TYP)

2401 UTAH AVEN SEATTLE, WASHIN (206) 318-

ALL RIGHTS RESERVED. OR PROPERTY OF GUSTAVSON W USE OR REPRODUCTION PR PRIOR WRITTEN PE THE GENERAL CONTRACTOR DOCUMENTS FOR CONFORMA BYLAWS AND SHALL ADVISE T DISCREPANCIES. THE GENE SHALL CHECK AND VERIFY A REPORT ALL ERRORS AND ARCHITECT. DO NOT SC

STEEL RING CONNECTOR

STORE #:

56055

PROJECT #:

81458-001

1 : 10

INVERTED KING TRUSS DETAIL LAYOUT ROOF TO ARCH DETAIL INVERTED KING TRUSS DETAIL 1:20 @ A2 1 : 20 1 : 20 SCALE:

(YY/MM/DD)

SHEET TITLE:

0 61

SCALE:

REVISION SCHEDULE BY DESCRIPTION

CONCEPT: NEW CORE PROGRAM MANAGER: LORI CRANDALL STEEL TENSION ROD FROM DESIGN MANAGER: TOSHIKO WATANABE ARCHITECT INVERTED KING TRUSS LEED ® AP: STEPHEN GIBSON PRODUCTION: KIRA HOMEAK/D.CHEN CHECKED BY: BRIANNE TONER

STEEL TENSION ROD

1

REV DATE

ISSUED FOR CONSTRUCTION

1570

WOOD BLOCKING (PT)

UNIT 883 PARK ROYAL NORTH, WEST VANCOUVER, BC V7T 1H9

-

25°

CLT ROOF PANEL

PROJECT ADDRESS:

610

STEEL KNIFE PLATE (TYP)

WATERPROOF MEMBRANE

1

ISSUE SCHEDULE DATE BY DESCRIPTION 18/05/25KH/DC 90DD 18/06/19 DC 90CD 18/06/21 DC BUILDING PERMIT 18/07/05 DC TENDER 18/09/19 DC IFC

-

STARBUCKS - PARK ROYAL SC NORTH

TYP

ROOF SHEATHING RIGID INSULATION

ISSUED FOR CONSTRUCTION

170

PROJECT NAME:

1 : 20

SCALE:

GLULAM BEAM

620

INVERTED KING TRUSS DETAIL

SCALE:

ORIGINAL DRAWINGS WE GUSTAVSON WYLIE AR

THIS DRAWING MAY HAVE BEE CONSTRUCTION ORIGINAL FORM WITHOUT AOR NO LONGER GUARANTE DETAILS

STEEL RING CONNECTOR PLAN DETAIL SHEET NUMBER: STEEL RING CONNECTOR PLAN DETAIL 2 1:10 1@ : 10 A2 SCALE:

N

OF

As indicated

NOT FOR PERMIT OR C

-

-

DATE

ISSUE SCHE BY D


CONCERT HALL - STRUCTURAL DESIGN

STEP 01

STEP 02

Excavate and locate foundations on site.

Pour concrete mix into columns and floor slab locations after formwork is placed.

STEP 03

STEP 04

Temporary scaffolding is placed while prefabricated items are brought to site.

Temporary supports placed to support glulam beam attached to pedestals for seating.


CONCERT HALL - STRUCTURAL DESIGN

STEP 05

STEP 06

Cast in-situ concrete mezzaine lifted in place.

Gluelam arches bolted onto concrete pedestals with temporary supports in place to hold the two base pieces. Middle pieces are then lifted in between afterward.

STEP 07

STEP 08

Process is repeated across into the lobby further down.

Perpendicular gluelam beams placed to laterally support the arches.


CONCERT HALL - STRUCTURAL DESIGN

STEP 09

STEP 10

Curved gluelam haunches with steel ring connector lifted into small hall after temporary supports are placed.

Repeating process of Step 9 until hexagonal shape is completed. All temporary supports are removed except at the center.

STEP 11

STEP 12

Top layer of temporary support removed to install the inverted king truss.

Steel trusses are lifted and bolted onto the top of the gluelam arches.


CONCERT HALL - STRUCTURAL DESIGN

STEP 13

STEP 14

Steel trusses are lifted and screwed into the curved gluelam haunches at the small hall side.

Parallel Strand Lumber struts are placed diagonally with temporary supports.

STEP 15

STEP 16

Cross Laminated Timber roof panels are lifted into place across the whole concert hall.

Exterior applications such as doors, windows and walls are placed to complete the building envelope.


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BODIES IN MOTION - INNER CITY HIGHSCHOOL


BARANGAROO HIGHRISE STRUCTURAL DESIGN


BARANGAROO HIGHRISE STRUCTURAL DESIGN

01

05

02

06

03

07

04

08


BARANGAROO HIGHRISE STRUCTURAL DESIGN


BARANGAROO HIGHRISE STRUCTURAL DESIGN


BARANGAROO HIGHRISE STRUCTURAL DESIGN


BARANGAROO HIGHRISE STRUCTURAL DESIGN


BARANGAROO HIGHRISE STRUCTURAL DESIGN


BARANGAROO HIGHRISE STRUCTURAL DESIGN


BARANGAROO HIGHRISE STRUCTURAL DESIGN


J A K A R TA T R A N S I T N E T W O R K H U B


J A K A R TA T R A N S I T N E T W O R K H U B

LOCALITY PLAN - DISCONNECTED COMMUNITIES

1935 Kemayoran Airport

1950 Most popular markets in Jakarta

1970 Major highway development

2020 Proposed development for Jakarta

2050 Jakarta moves to East Kalimantan


J A K A R TA T R A N S I T N E T W O R K H U B


J A K A R TA T R A N S I T N E T W O R K H U B

1

Average Flood Levels 2020

3.9m

2

2050 LAND SUBSIDENCE 130mm/yr

350mm

SEA LEVEL RISE 7mm/yr

300mm

AVERAGE FLOOD LEVEL INCREASE

500mm

EXTREME FLOOD LEVEL INCREASE

Extreme Flood Levels 2020

3

Expected Sea Level 2050

4

Average Flood Levels 2050

Extreme Flood Levels 2050


J A K A R TA T R A N S I T N E T W O R K H U B


J A K A R TA T R A N S I T N E T W O R K H U B


J A K A R TA T R A N S I T N E T W O R K H U B

CHANGE ROOM

TOILET AMENITIES BIKE CONCOURSE BIKE PARKING STATION COFFEE STAND SHOWER FACILITIES WATER COLLECTION AND FILTRATION SYSTEM CLIMATE RESPONSIVE CANOPY


J A K A R TA T R A N S I T N E T W O R K H U B

BRIDGE AMENITIES

BIKE CONCOURSE

CLIMATE RESPONSIVE CANOPY

PEDESTRIAN ACCESS

UNDISRUPTED CYCLE ACCESS

PUBLIC TRANSPORT ACCESS


J A K A R TA T R A N S I T N E T W O R K H U B

PEDESTRIAN ACCESS

UNDISRUPTED CYCLE ACCESS

PUBLIC TRANSPORT ACCESS


J A K A R TA T R A N S I T N E T W O R K H U B

COFFEE STOP

LOCKERS

SHOWERS

A small coffee stand to sell coffee or other small goods for people on their way to work, about to hop on public transport, or for people at the end of their trip after using the change facilities.

A place for people to lock away and store their belongings for the day. There would be a timing system associated to these lockers to ensure availability.

“End of trip” shower facilities for cyclists to refresh after their commute. Water that is collected from the roof is stored and used for the showers, run off is then stored once again and filtered.

CHANGE ROOM

BIKE CONCOURSE

A space designated to provide vanity space and bench seats for the users. The change room space circulates around the center focal point - the water harvesting roof.

An exchange across the canal between two areas which were originally disconnected. The cycle link across the river promotes for a greener and more cyclable city. The bike hub on the upper level includes bike storage, viewing platforms over the canal, and a cycle street-way for cyclists.


J A K A R TA T R A N S I T N E T W O R K H U B


J A K A R TA T R A N S I T N E T W O R K H U B

Timber roof panels

PTFE membranes

Climate Responsive Canopy

Steel tension cables

Prefabricated triangular panels of the roof structure consist of laminated wood which are CNC cut in shop, then assembled on site with polytetrafluoroethylene membranes stretched between each panel.

Concrete columns

Concrete columns at the center of each roof structure support the elevated bike concourse via steel tension cables which extend downward through the roof and are secured on the slab edges.

Stainless steel bike racks

Spiral staircases

ROOF PANEL ASSEMBLY

ROOF PANEL ASSEMBLY

Example of an assembly for the roof structure, with right side facing up.

Assembly flipped upside down to expose a clearer view of structure.

Bike concourse ramps

Bike Concourse Level Concrete slabs of the elevated ramps that form the bike concourse are supported by both concrete columns underneath as well as steel tension cables overhead. The center of the bike concourse hosts several integrated programs including bike racks for storage, as well as two spiral staircases that lead down to the bridge amenities level on the ground.

Concrete support columns

Bridge Amenities Level Bamboo screens

The essential programs are hosted on the bridge amenities level on the ground floor. These include the bridge crossing itself, as well as lockers, showers, change rooms, coffee shop, small goods stand and extra outdoor seating areas.

Ground floor amenities

The lower walls of the bridge amenities level are concrete, while selective upper and outer parts are vertical bamboo strips to create shading while allowing airflow and granting views.

CLOSEUP UNIT

Climate Responsive Canopy

The one unit closeup diagram shows the structure in more detail, as well as the precise locations of connecting parts. Climate Responsive Canopy

Other Primary Loadbearing Structures Climate Responsive Canopy

On the ground floor, the slab and the programs above are supported by ribbed concrete beams that span across the river. The beams sit on top of shelves and substructures on either side of the canal, which allow for expansion joints.

EXPLODED AXONOMETRIC The exploded axonometric diagram illustrates each individual component of the roof panel and the order of assembly.


J A K A R TA T R A N S I T N E T W O R K H U B


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

THE EMBRACE


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

Pressing issues in modern society result from mankind’s shortsight in terms of underestimating population growth. Examples include widespread food shortage in Less Economically Developed Countries, unsustainable usage of resources, increased manmade waste accumulation and difficulty in providing adequate housing and buildings of other programs to accommodate the growing population.

Between the Green Square development to the south and Waterloo to the north, the government’s projected residential development plans are inadequate to meet the housing demands of the increasing population. In addition, other issues in year 2030 include the lessening of public green spaces and unfriendly street corners.

Scaling down then subsequently applying these issues to the context of suburbs such as Waterloo and its neighbors Zetland and Alexandria, the apparent seriousness is diminished. However, relatively speaking, Waterloo has witnessed a massive and unprecedented increase in population growth, even though it appears insignificant when compared to major cities.

This project’s urban response is a mixeduse development that, rather than trying to solve the housing crisis, instead acts as inspiration to encourage similar future projects in this area of lower activity which is sandwiched between the two major developments.

Statistics show a net positive of 4,000 residents per five years, which has caused Waterloo’s population to increase from approximately 10,657 to 14,616 between years 2011 to 2016. That is more than a 37% increase in population, justifying the use of “massive and unprecedented growth” as the phrase of choice to describe the phenomenon.

The project responds to waterloo’s changing environment by providing interactive green spaces, activating street corners, protecting spaces from traffic noise and doing what it can to lessen the strain from population growth.


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

Intuitive understanding of the site, immediate surroundings and the essence of Waterloo, Zetland and Alexandria are explored via graphic analysis of surrounding elements. Urban and architectural transects for Elizabeth St., George St. and Bourke St. are illustrated in detail via collage to represent an initial , holistic understanding of the site at first glance. The proportion of nature to man-made constructs are represented in the map via the bokeh of green colors. In the bottom right corner, abstract mapping of several notable buildings near the site are exaggerated as a method to represent mental impression in graphic form.


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

Boundaries and transitions

Public buildings and monuments, and historically significant structures.

Established through material junctions or changes in spatial characteristics, the transitions across the site are commonly abrupt in nature. The transformations from exterior to interior, and from solid wall to entrances, are characteristically defined by sharp corners and short setbacks. In a neighborhood full of residential developments and commercial buildings, this theme is likely due to a deemed waste of floor area for transitional space. It does have a distinct impact on the environment of the street. Sharp juxtapositions and a tighter sense of enclosure on the pavement can reduce engagement with people and the built environment. Material Transitions:

Public Buildings + Cultural Spaces Heritage Listed Properties Conservation Areas

Grass

Tiled Pavement

Painted Brick

Asphalt

Trees

Painted Steel

Unpainted Brick

Painted Steel

Shrubs/Bushes

Glazing

Painted Wood

Painted Concrete

Spatial Transitions:

NATURAL

PATTERNED

UNIFORM

A list of the materials encountered on site is arranged on the left. They are placed into three general categories for a more cohesive understanding. Natural elements on site exist in the forms of trees, grass, shrubs and bushes. Each of these are distinct from one another, but most appear to be used as boundary elements on the side of sidewalks facing the road. Tiled materials are mostly seen in actual construction of buildings on and around the site, with the exception of pavement and steel. Uniform material textures can also be observed on the site, with most being used on buildings as well, with the exception of asphalt.


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

Intersection Close-up

Note: At the intersection of Allen St. and George St., the bicycle lane of George St. continues through the intersection while the one on Allen St. cuts off. Cyclists must share either the road or the sidewalk when transitioning into other roads and streets. Possible alterations of cyclist and pedestrian pathways may be required in the future due to development of project on site. On and near the site, most blocks are bound by sidewalks, which often have trees and/or shrubs placed on the side bordering the road. Intersection Sidewalk Bicycle Lane

Train T8

Sydney CBD

Sydney Airport

Project Site

Project Site

Project Site

Project Site

Train Station

Medical

Supermarkets

Bus Stops

Medical (out of bounds)

Supermarkets (out of bounds)


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

1.

2.

3.

Directional Flow of Foot Traffic.

Due to the proximity of the site the location is a prime one. However currently most of the foot traffic opts to move along Bourke Street, too and from the station, on the opposite side of the road for ease and convenience. Secondary streets, to the South of Bourke street, are also widely used due to the increased amenity in the journey around the station and new Green Square precinct development. In addition to the train station, parks, the Green Square School, cafes and the Bourke Street commercial areas draw pedestrians to various locations surrounding the site. These drive the foot traffic moving around this location, in addition to the residents of the large number of low to mid rise residential buildings making up the bulk of the area. 1. Waterloo Park 2. Green Square School 3. Green Square Development

Paths to the Site.

ABS Data: Alexandria - Darlington - Waterloo

Structures that draw pedestrians to site.

Age: Median age:

28

0-4 years:

6.4%

5-14 years:

16.0%

15-24 years :

19.6%

25-34 years:

18.2%

35-44 years:

13.5%

45-54 years:

13.2%

55-64 years:

7.5%

65+ years:

5.6%

(Australian Bureau of Statistics, 2019).


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

Site Services Residential

N

Institutional Commercial

200m

Green spaces

Bourke George Elizabeth

N 200m

City CBD 3.7km

Beach 7km

Train 300m

Airport 4km

Within a 700 square meter radius of the site, most buildings fall under the residential and commercial categories. The ratio of the two types of buildings is comparable, with more residential buildings but neither overpowering the other within the radius of analysis. Residential buildings were mostly lowrise and mid-rise, with several exceptions such as the new Ovo Tower highrise designed by FJMT, as well as few other ones under construction. The site is within several kilometers of areas of interest such as the Green Square Train Station, green spaces, the Sydney Central Business District to the north, the beach to the east and the airport to the south.

Elizabeth St. views north + south site.

George St. views north and south.

Bourke St. northeast & southwest.


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

This plan helps to establish an understanding of the public and private spaces and the level of enclosure established by the buildings in relation to the open spaces and the street. For the most part, the buildings on and around the site have a limited engagement with the pedestrians and the street. Long blank walls of concrete and brick are common. There are few porous street fronts, and windows connecting passers by to the interior environment. The area surrounding the site, thus gives off a sense of privacy and exclusivity, by shutting out exterior activity. Least Porous - e.g. Blank Wall

1.

Most Porous - e.g. Curtain Wall 2.

3.

4.

5.

7.

6.

8.

1. 2. 3. 4.

5. 6. 7. 8. Figure Ground - Public vs Private and Enclosure Mapping


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

01

02

03

Redefining site boundary

Public green space

Pedestrian Access

Extruding initial volume to represent full site usage.

Indentation into center of volume for central courtyard

Increasing permeability via two-way access east and west

04

05

06

Concept of “embrace” takes shape

Apartments and offices

Solar access

Forms bending inward to shelter & increase privacy

Taller programs pushed south toward Bourke St. to further shelter courtyard

Slanting down toward north & west to provide afternoon sunlight for courtyard & balconies


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

07

08

09

Ground Floor

Building Height Restrictions

South corner treatment

Thickening ground floor volume for commercial programs & allowing rooftop terraces as well

Maximum of ten storeys at 40 meters tall

Transforming harsh Bourke St. corner into relaxed, comfortable and spacious area

10

11

Rooftop Terracing Creating accessible staggered rootop terraces to service residents at each loor level Using similar language to generate sculptural elements in courtyard for public interaction


T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

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10/27/2019 7:06:14 AM

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T H E E M B R A C E - WAT E R L O O M I X E D U S E C O M P L E X

12

Finalizing parametric facade with programmed balconies & windows based on solar access and views. Installing water feature in central courtyard space for entertainment


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

The project initially began with an exercise, where designers were tasked with an intervention of the Centennial Hall within Sydney Town Hall. The envisioned Centennial Hall is a public plaza and exhibition space for showcasing design projects. The form of the plaza’s steps adheres to a grid of squares. Near doorways and corners, larger cubic structures hold exhibition spaces for projects to be showcased. The steps undulate upward, seemingly drawn toward the exhibition spaces, likening them to the focal points of the public plaza. Finally, the steps flow upward toward the end of the hall, granting visitors close proximity to the massive organ instrument in the Centennial Hall.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

The Centennial Hall intervention exercise adhered to designed principles based on the studies of several design innovators’ work. As the assigned innovator to be studied, the design principles extracted from Alice Potts’ PERSPIRE project formed the basis from which the Centennial Hall geometry was to be designed. PERSPIRE was a project where Alice Potts utilized human sweat to grow salt crystals on fabric and wearable garments, and the Centennial Hall intervention design drew upon this process of salt crystallization to form the undulating cubic shapes which created dynamic plaza steps and exhibition cubicles within the Centennial Hall.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

With the design innovator Alice Potts’ PERSPIRE project being closely related to biology and biomimetics, this went on to influence the form and organizational structure of the main project, which was the deisgn of a new civic square on the block adjacent to Sydney Town Hall. With biomimicry being a core design element of the new civic hall project, several biomimetic solutions were studied and extracted from living organisms, and programmed into Grasshopper as dynamic, logical components that could form efficient structures for retail and exhibition spaces during later stages of the new civic square design.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

In the project, the biomimetic strategies extracted from the study of the Venus basket sea sponge developed into a parametric retail space on the corner facing Sydney Town Hall, acting as an attraction point and a partial enclosure to the green plaza of the new civic square.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

New Civic Square Existing Issues Lack of substantial green public space Tight street corners without shelter High crime index in the immediate vicinity Privatization of information and technology

New Civic Square Proposed Design Mixed use highrise for innovators & researchers Enticing, flowing form for attraction Encouragement of collaborating retailers Activation of street corners for shelter Extension of original Town Hall steps Public green spaces & accessible roofs Weaving & intermingling of research


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

Interactive map of non-domestic assaults in Sydney. 08.09.2020. NSW Bureau of Crime Statistics and Research. [accessed 16.03.2021] <https://www.bocsar.nsw.gov.au/Pages/bocsar_news/Non-DV-related-Assault-Map-with-Alcohol-flag.aspx>

According to the NSW Bureau of Crime Statistics and Rsearch, non-domestic assaults fall into two categories: alcohol related incidents and non-alcohol related incidents. When lockout laws were introduced to the Sydney CBD and Kings Cross in February 2014, assault incidents have increased ever since. The Sydney Local Government Area (LGA) accounts for over 10.2% of the NSW total number of assault incidents. Zooming into Town Hall and its immediate vicinity, there appears to be a large concentration of assault incidents, particularly along George Street.

Alcohol related non-domestic assault incidents. Approx.1km radius from Town Hall.

1:2500

Alcohol related non-domestic assault incidents. In the immediate vicinity of Town Hall.

1:2000

Random scale, just extra lines if you want them

On George Street further north of Town Hall, non-alcohol related non-domestic assault incidents are more prominent. This bears a positive correlation to the lack of CCTV cameras in this location.

1000

12.18Further CCTV cameras east on Pitt Street, only one CCTV camera is presper 1000 people ent. This correlates with a high activity of both alcohol-re-

Crime Index

lated and non-alcohol related non-domestic assault inci36th most surveilled city in the world dents in the area. Public CCTV Cameras: installed on public buildings, used by law en As expected, the maximum number of recorded non-dolance capabilities (i.e. automatic number plate recognition) mestic assaults is clustered around the Town Hall Station. It is interesting to note that a larger number of CCTV cameras at the train station is not associated with a de80 creased number of assault incidents. Another observation is that assault incidents appear to beLondon largely concentrated on or near majorTaiyuan road intersections, with much lower assault activity occurring further along longer roads or streets.

60

40 Sydney CCTV Surveillance Camera Locations

20 Wuxi 0

40 60 80 No. of CCTV Cameras per 1000 people

Correlation Between No. of CCTV Cameras per 1000 people and Crime Index

CCTV Camera locations. City of Sydney

Analysis of CCTV Cameras and Assault Incidents. Approx.1km radius from Town Hall.

20

Analysis of CCTV Cameras and Assault Incidents. Immediate Vicinity of Town Hall.

22.07.2020. 2021 Comparitech Limited. [accessed 15.03.21] <https://www.comparitech.com/vpn-privacy/the-worlds-most-surveilled-cities/>

100

120


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

Double Height Communal Levels The mixed use highrise of the new civic square is designed with double height communal levels which bridge the single height research facility levels, granting shared communal spaces for socialization and exchange of ideas between occupants from different backgrounds throughout the day. The external spiral staircases bridge the green plaza and the communal levels, allowing visitors from the ground floor to flow up into the vertical communal spaces as well.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

1

Ground Floor Plan This volume houses retail store fronts populated primarily by brands collaborating with innovators and researchers in the towers to produce joint products. Parametrically designed concrete landscape elements promote visual compression and release, and hint toward the back exit onto Pitt St.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

2

Double Height Communal Levels Every third floor, a double height level is introduced, bridging both towers. The facade louvres become thinner for these public spaces for views.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

4

Small Research Facility Levels The tapering form of the tower results in smaller floor plates on higher levels. Research facility floor plans are adjusted accordingly.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

3

Large Research Facility Levels Both the tall and short towers house a two story module for design studios and research centers. Facade louvres thicken to provide privacy and shading.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

Parametric Tower Facade The tower facade is designed with parametric brise soleil which reveals pleasant views to the cityscape and courtyard at certain angles, while maintaining sufficient shading. This is achieved by the rippling geometry of opaque and transparent glass panels blocking afternoon sunlight overhead, but allowing downward views to be exposed.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

Retail Volume & Courtyard Seeking beautiful moments in the new civic square, one can be found at the edge of the retail store facade as the light shines through the parametric enclosure at certain times of the day.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

Loading Dock & Street Corners From site analysis, it was understood that street corners were not friendly, and a safe drawback was necessary. Pockets of space were designed for the new civic square, with undulating paths connecting them and sheltering pedestrians from the traffic.


THE FLOW - SYDNEY TOWN HALL NEW CIVIC SQUARE

Plaza Landscape Design & Flow Inspired by innovator Alice Potts, in particular her Perspire project with sweat crystallization, the landscape elements emulate the lattice structure of salt crystals, and flow upward to connect with the gree nroof of the multipurpose volume.

Profile for Sebastian Chu

Architecture Portfolio - Sebastian Chu  

Architecture portfolio containing selected design work from academic and professional projects Bachelor of Architecture - Virginia Tech Uni...

Architecture Portfolio - Sebastian Chu  

Architecture portfolio containing selected design work from academic and professional projects Bachelor of Architecture - Virginia Tech Uni...

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