OUTPOST M:FACTORY - STUDIO 17 JOURNAL

OUTPOST M:FACTORY

STUDIO 17 JOURNAL George R. H. Avraam SM2 2021

Journal

CONTENTS. 01.

INTRODUCTION

INTRODUCTION 06

02.

MATERIAL PRODUCTION TAXONOMY

MATERIAL RESEARCH

10

OYSTER FARMING GROWTH & EXTRACTION

14

SHELL-LIME PRODUCTION

16

HEMP GROWTH & EXTRACTION

18

HEMP SHIV & FIBRE PRODUCTION

20

MATERIAL TAXONOMY & USAGE

22

03.

SITE ANALYSIS

THE PUMPING STATION

34

THE MELBOURNE GLASS BOTTLE WORKS

36

MOLLUSKS IN PORT PHILLIP BAY

38

04.

PAVILION DESIGN

PAVILLION DESIGN

05.

47

PROGRAM & SITE

RE LEARNING PERSPECTIVES

56

ROBERT CRAWFORD - THE EPIC DATABASE

58

SCHEMATIC PROGRAM DIAGRAM 60 SITE TAXONOMY

62

SITE TAXONOMY

64

DETAILED SPATIAL MATRIX

70

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06.

THE RETURN BRIEF & DESIGN PROCESS

07.

MID SEMESTER

CONCEPT 104 PERSPECTIVE SECTION

106

PRODUCTION DIAGRAM - A HOLISTIC SYSTEM OF CREATING

108

SITING PRINCIPLES

110

FLOOR PLANS

112

DETAILED SECTION

114

ISOMETRIC 122 MID SEMESTER REFLECTIONS

08.

124

PAVILLION DESIGN 2.0

FLOOR PLANS

128

SHUCK PAVILLION

129

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09.

INITIAL PROJECT DEVELOPMENT MATERIAL SCIENCES RESEARCH LAB

MEMORY WORK II

136

INITIAL PROJECT DEVELOPMENT - Spaces & Connections

138

SITING PRINCIPLES DEVELOPMENT

142

DESIGN MASSING OPTIONS

144

DESIGN MASSING OPTIONS

146

FORM INITIAL SKETCH IDEAS

148

WORKING FLOOR PLANS & AXO

150

DEVELOPMENT OF VIEWS & SECTIONS

152

SPATIAL AXONOMETRIC

154

DETAIL PROGRESSION

155

10.

MATERIALITY

TRANSITION MATERIAL SCIENCES & AQUACULTURE PRECINCT 164

CONCEPTS 166 EXPERIENTIAL MAPPING

168

TAXONOMY OF BUILDINGS

170

TAXONOMY OF HISTORICAL DETAILS

172

SITE PLAN & SITING PRINCIPLES

174

SPATIAL ADJACENCIES

184

GF 192 1F 194 PERSPECTIVE SECTION

196

PERSPECTIVE SECTION

198

PERSPECTIVE SECTION

200

DETAILED SECTION MATERIAL SCIENCE

203

DETAILED SECTION FACTORY

205

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EXPERIENCE 206 REFLECTION 216

11. APPENDICES. REFERENCES 222

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01.

SECTION HEADING

INTRODUCTION

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INTRODUCTION

George Robert Henry Avraam Masters of Architecture Student & Junior Designer

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Having worked as an Urban Designer, Junior Architectural Designer whilst studying the Masters of architecture it opened up a world of different scale projects from larger scale masterplanning to medium to high density residential buildings.

As a designer I’m always looking to explore new and innovative projects which reflect the current paradigmal shifts within architecture. Outpost - M:Factory interested me due to its unique nature to tackle some of the gripping issues within our industry, its focus on innovative material applications and the diverse projects of a large scale such as the factory and educational facilities. What also interested me was the idea of the return brief where program can be expanded to accommodate particular functions which best suit the design overall, this I feel can add a richness and push the boundaries of an integration between factory and educational typologies.

I expect to develop my skills throughout this studio looking at large scale masterplanning and then towards a more detailed material application. I’m hoping that looking at both the large and small scale will create a more integrated design to its context whilst develop skills as an architect to use alternative materials.

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02.

MATERIAL PRODUCTION TAXONOMY

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MATERIAL RESEARCH

Traditional Material Brick

Material Origin

Properties

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· Thermal Mass · Structural/Nonstructural applications · Colours & Varieties · Standardised units · Durability

hin

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0.32 KgCo2/Kg 1.8L/Kg 3.5MJ/Kg (EPiC

ac

· · ·

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· 7000BC Middle East/ Asia mud-brick housing sun-dried brick · 4400 BC in Neolithic China using red clay fired · 13BC Roman Bricks were fired in Kilns within Europe adopting techniques by the Greeks.

· Extraction machines · Size reduction machines · Screening particle sizes · Forming and cutting · Glazing · Kiln for Firing · Vehicles for transport

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Ecological Alternative Hemp Block

Material Origin

y

Properties

io is s

er

Em

hin

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· High thermal resistance · Structural and nonstructural applications · Insitu and block based construction · net carbon offset off its lifetime due to hemp growing and sequestering of carbon in lime carbonisation

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· -17KgCo2/Kg · (JustBiofibre Specifications, 2020)

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· Developed in France 1980s to replace wattle and daub construction hemp shiv combined with lime based binder. · Firstly non-structural applications with timber frames developed then, structural prefabricate blocks.

· Harvesting machines for hemps shiv · Extraction machines for lime · Mixing machines to production hempcrete mixture · Forming and packing as block

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Ecological Alternative Mycelium Bricks

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· Compared to standard bricks can reduce thermal conductivity by 26% · Entirely biodegratable due to its organic properties · Fast growing · Fire resistant and thermal properties

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· Difficult to determine as LCA aren’t readily available · Perceived as very low embodied energy and emissions given the use of waste material (Wang, 2020)

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· In 2014 ‘The Living’ research group created a series of bricks from mycelium fungus roots which grew off organic waste. · Moulds which organic matter was infused with spores. · These were made to form a 12m tower

Properties

Material Origin

· Machinery to pulverise organic matter · Manufacturing of packaging/moulds · Machinery to seal these moulds with Mycelium inside · Possibly a room which fosters optimal growing conditions · Heating to stop growth

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architectural examples

Hi-Fi, The Living, Queen NY, 2014

Regional House (Bioklas Fort V), BC Architects, Edegem, Belgium, 2015

HempCrete House, Hemp Homes Australia, Margaret River WA, 2019

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OYSTER FARMING GROWTH & EXTRACTION

SHELL-LIME PRODUCTION

HEMP GROWTH & EXTRACTION

HEMP SHIV & FIBRE PRODUCTION

MATERIAL TAXONOMY & USAGE

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Taxonomy of Usage

Hemp Fibre Roof Insulation 130mm

Hemp-ShellLime Panels Prefabricated

Hemp Fibre Wall Insulation

Hemp-ShellLime Blocks Prefabricated

Shell Lime based motar Shell Lime Exterior/Interior Render Hemp-Shell Lime Insitu cast between shuttering Structural Timber Framing

Shell Lime and Shell Aggregate Flooring Tiles

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Cladding & Exterior

Insitu

Prefabricated Panels

Finishes

Blockwork

Renders

Roof Insulation

Wall Insulation

Thermal Confort

Flooring

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THE ARTEFACT

AXONOMENTRIC

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FRONT ELEVATION

TOP ELEVATION

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OMA Museum in the Country Side ‘Aesthetics of the Data Centre’.

The accessibility of the data centre, the function of the centre itself is one which is void of human interaction. Its scale proven expansive and important in today’s social constructs which formulate themselves around digital storage and communication.

There is to be a change of perspective towards the ‘traditional’ museum.

Koolhaas explains that “On demand” style of exhibition which provides an exhibition of personal and unique experience could be one way to engage with such a facility. The notion of these style of exhibition is conforms more to how people engage with digital media currently.

We have on demand rideshare, streaming, music and so on this is how we consume the data now.

The merits of the project is how the human interacts with something artificial, abstract and mechanical by promoting a change in engagement with the

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museum typology.

Koolhaas explains its a place of storing data but also a place of exhibiting this data. What comes to mine for me which is the emergence of Nonfungible token (NFTs) and blockchains which tract ownership and authenticity of a digital artefact or the notion of collectable digital artefacts. Is this a way we can connect data to exhibitions? or change the notion of the museum?

Fundamentally through NFTs this is how value is added to

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a digital artefact. Similarly like a physical artefact value goes up when scarcity arises, the idea of having an original in history is what separates something of value to that of a replica.

A critique of this is that often the whole point of data is that it is accessible from anywhere. If these museums are data centric, the whole point of data is that is can be transmittable without going to a particular place. This is what is so networked about our current age.

Possibly the value of the original ‘digital artefact’ becomes something a museum can engage with rather than generic data which is infinitely replicable.

This promoting a trip to the countryside activating the void spaces of data-centres to see a slice of digital history.

1.

Koolhaas, R. and (2019), Museum in the Countryside: Aesthetics of the Data Centre. Archit. Design, 89: 60-65. https://doi.org/10.1002/ad.2390

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03.

SITE ANALYSIS

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THE PUMPING STATION

The Beginning

The Location

Electric Pump

The importance of the project was that is was the largest public infrastructure project within Melbourne during the 19th century. It aimed to bring improved sanitation to the city and improve the health of Melbourne overall.

Spotswood was chosen because its situated at he mouth of the Yarra River, the city of Melbourne is built on an open basin and the most logical design was to have the sewage drain to the mouth of the river

Additional requirements post WW1 saw the first installation of electric pumping systems this operation reduced the running costs and provided additional capacity for the sewage network.

It fuelled large economic growth through building the factories for the bricks, cement and iron pipes which supported the entire system and station itself. It established many jobs for many of the unemployed during its construction.

In 1925 there was five electric pumps which provided all the capacity of the daily flows within Melbourne at the time.

It was carry on projects the similar to the construction processes within London which brought additional sanitation and health to the cities.

The Pumping Station construction began in 1894, the buildings were finish in 1896 , and once the pumps and adequate piping were implemented it began to be used to deal with Melbourne sanitation by 1898.

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The pump itself was built by Thompson of Castlemaine, the untried design within for Australian conditions was in effective for the needs of Melbourne. After this a English design by Haythorn and Davey in Leeds was installed, this was the most successful design and further pumps were copied to expand the facility

Intake Pipers for Station (Melbourne Museum Victoria, 2021)

Werribee River Aqueduct for outfall sewage (Melbourne Museum Victoria, 2021)

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Closure In the mid 1960s the pumping station was foreclosed due to the age of the pipes situated between spots wood and Brookland.

East Elevation Spotswood Pumping Station (Melbourne Museum Victoria, 2021)

The new pumping station was developed at Brookland and therefore the Spotswood Pumping station was decommissioned.

This Pumping station is of important significance within Melbourne it provided improved sanitation for a growing city. It was a spectacular engineering milestone. It was the first integrate sewage systems which improved the heath and liveability of early Melbourne.

1.

Steam Pumping Engine - Austral Otis, No.9 Pumping Engine, MMBW Spotswood Sewerage Pumping Station, 1914 (Melbourne Museum Victoria, 2021)

Melbourne Museum Victoria (2021).

Pumping Station - The Spotswood Pumping Station. Retrived 14th Augest 2021. from https://museumsvictoria. com.au/scienceworks/resources/ pumping-station/

Exterior View Pumping Station (Melbourne Museum Victoria, 2021)

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THE MELBOURNE GLASS BOTTLE WORKS

EARLY MANUFACTURING The Melbourne Glass Bottle Works had been established at Emerald Hill by Edward Henry M. Mount in the 1860s.

The Melbourne Glass Bottle Works extract sand from the sand reserves where sand was transportedfrom Fishermans Bend to the glass works factory.

With the promise of new industrial development at Fishermans Bend in the 1920s, many sand mining sites were restored through land reclamation and these areas formed the foundation of new industrial sites.

This sand was used in bottle manufacturing and as the mortar of some of Melbourne’s nineteenthcentury buildings, and dumped as ballast more than 100 years ago in ports as distant as China.

produced bottles for the company’s pharmaceutical products and was the foundation of glass bottle manufacturing in Australia.

Historically, it is significant as the oldest continuously operating industrial building in the city of Melbourne.

The Melbourne Glass Bottle works was one of the first major industries within Spotswood.

The complex is important in the history of the site as it is able to demonstrate and show the changing technologies over the extent of the sites production over many years. These include buildings that provided housing for employers for workers in the Interwar period.

The Melbourne Glass Bottle Works Company The plant

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Series of images illustrating the glassworks history (Photos provided from the Heritage Walks Victoria App)

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MOLLUSKS IN PORT PHILLIP BAY

PORTARLINGTON OYSTER LOCAL INDUSTRY

temperature to make the oysters spawn they grows in large plastic tubes in conditioned environments2.

Portarlington mussel growers have began to grow native oysters within the southern end of Port Phillip Bay.

Once they spat progress at 5mm (5 month of growth) they can be suspended in cages or along lines at depths of five metres underwater. At 18months it is harvested and exported locally and internationally¹.

These are naturally bottomdwelling oysters that live on the floor of the bay, bedding in sand or silt.

They feed on algae and micro planton and often found along coastal shallow and sheltered areas within both Victoria and Tasmania.

per day. They provide nutrients to grow coral reefs, provide habitats for fish and stabilise the sea bed. They ultimately can be used to improve water quality and biodiversity of our oceans.3

Native oysters are great for the ecosystems within the Port Phillip Bay. They can filter up to 200L of water

Linking to elements of the past these native oysters were consumed by the Bunurong and Wathaurong people and were grown within the natural sand dunes of the bay.1 Overtime due to industry, dredging and consumption through exports, the oyster population with the area has significantly declined from the gold rush era.2 Water temperature ismanipulates the water George Avraam

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Life Cycle of Oyster Growth from Larvae to tray growing and harvesting

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OYSTERS IN HOBSON BAY AND WILSONS SPIT Regeneration projects have begun within Hobson Bay off St Kilda and also Wilsons Spit near Geelong.

Collection of farm grown oysters on a large scale

Shells are collected from restaurants and limestone rocks are placed as bases.

These are used to sprout oysters. Shells are exposed to oyster larvae to hatch new live oysters regenerate the bay’s reef ecosystem.

There have already been 245 tonnes of shells diverted from landfill since 2015.

This equating to a size of 2.5 hectares of reef already restored.2

The initiative collects discarded oyster shells from the market and uses them to restore the shellfish reefs of Port Philip Bay2

1. Cornish, R. (2021). Return of the native as grower flexes his mussels. Retrieved 19 August 2021, from https://www.goodfood.com.au/ eat-out/news/return-of-the-native-as-growerflexes-his-mussels-20130715-2pzc6 2. Bringing Victoria’s long-lost oyster back to life. (2021). Retrieved 19 August 2021, from https://www.smh.com.au/lifestyle/ bringing-victorias-longlost-oyster-back-to-life-

Native Oysters Grown in Port Phillip Bay ₁

20190808-h1gxzt.html 3. Shellfish Restoration. (2021). Retrieved 19 August 2021, from https://www. shellfishrestoration.org.au/

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MUSSELS AND OYSTERS HOBSON BAY AND DROMANA S young blue mussels and flat oysters endemic to Port Phillip Bay have eeding exercises have been udnertaked where theres the hope of rebuilding the local aquaculture of mussels and oysters within Hobson Bay.

Rock Oyster Reef under water (PC: Francisco Martinez Baena)

Shellfish used in the project include multiple tonnes of native blue mussels that have been grown aquaculture farmers at Clifton Springs1.

There are also millions of oysters grown on recycled shells at the Victorian Shellfish Hatchery in Queenscliff. These are aimed to be spread across the bay across reef bases2.

Rock Oyster Reef (PC: Francisco Martinez Baena)

Griffen, L (2021). Restore Reefs in Port Phillip Bay Retrieved 19 August 2021, from https:// www.natureaustralia.org.au/newsroom/portphillip-bay-seeding/ The Nature Conservancy (2021). Victoria’s lost reefs rediscovered Retrieved 19 August 2021, from https://www.natureaustralia. org.au/what-we-do/our-priorities/oceans/ ocean-stories/restoring-shellfish-reefs/portphillip-bay/

Flat Oyster Reef Port Phillip Bay ( PC: Chris Gillies) George Avraam

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THE OVERALL PICTURE

19 Shellfish Reefs Built 4 Locations in the Bay 6 Hectares of New Reefs 340 tonnes of recycled shells used

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OMA Museum in the Country Side ‘Aesthetics of the Data Centre’.

The accessibility of the data centre, the function of the centre itself is one which is void of human interaction. Its scale proven expansive and important in today’s social constructs which formulate themselves around digital storage and communication.

There is to be a change of perspective towards the ‘traditional’ museum.

Koolhaas explains that “On demand” style of exhibition which provides an exhibition of personal and unique experience could be one way to engage with such a facility. The notion of these style of exhibition is conforms more to how people engage with digital media currently.

We have on demand rideshare, streaming, music and so on this is how we consume the data now.

The merits of the project is how the human interacts with something artificial, abstract and mechanical by promoting a change in engagement with the museum typology.

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Koolhaas explains its a place of storing data but also a place of exhibiting this data. What comes to mine for me which is the emergence of Nonfungible token (NFTs) and blockchains which tract ownership and authenticity of a digital artefact or the notion of collectable digital artefacts. Is this a way we can connect data to exhibitions? or change the notion of the museum?

Fundamentally through NFTs this is how value is added to a digital artefact. Similarly like a physical artefact value SM2 2021

goes up when scarcity arises, the idea of having an original in history is what separates something of value to that of a replica.

A critique of this is that often the whole point of data is that it is accessible from anywhere. If these museums are data centric, the whole point of data is that is can be transmittable without going to a particular place. This is what is so networked about our current age.

becomes something a museum can engage with rather than generic data which is infinitely replicable.

This promoting a trip to the countryside activating the void spaces of data-centres to see a slice of digital history.

1.

Koolhaas, R. and (2019), Museum in the Countryside: Aesthetics of the Data Centre. Archit. Design, 89: 60-65. https://doi.org/10.1002/ad.2390

Possibly the value of the original ‘digital artefact’

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04.

PAVILION DESIGN

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SECTION HEADING

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PAVILLION DESIGN

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SHUCK MUCK PAVILION

The pavilion design was to apply the application of the brick material formed from shell aggregates and lime based mixture. I decided to mimic the form of the industrial artefact which features a spiral grinder element giving an undulating form.

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05.

PROGRAM & SITE

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RE LEARNING PERSPECTIVES

VDF x Serpentine Galleries | Dezeen With Rebecaa Lwin, Caroline Cornish and Seetal Solanki The ecologies around the wood industry the versatilities of the material and it can be used in so many different idea such as scent.

Wood is intelligent - its flexible, it has inherent properties or has bacterial protections, these characteristics need to be listened to and these multitudes of ways in which materials can use “Listen to materials” - it requires of new knowledge and understanding of the materials itself, we need multiple viewpoints on a materials, there’s an eco system around it which we need to relate to, its all about relationally. These relationship we start to build with the material is collaborative rather than take and make and dispose.

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We need to understand a material from multiple lenses, antropolitics farming and lots of different people and inputs.

The materials operate in a wider network of ecologies where then just the human society where we have to acknowledged that. Its a layered approach where it relates to the planet Value systems which we operate in are very extractive and made for human consumption, its man for economic gain and benefit and this is seen as progress. Doesn’t consider the way the planet operates.

society transfers knowledge.

These indigenous communities live on the land, The materials has its on identity, we need to look at how it functions and feels, lead with the materials it becomes more a considered outcome with little waste and its more meaningful

“The disappearance of diversity is also the disappearance of alternatives”

We need to have alternative values such are care respect and love for the planet which keep use together between humans and other species These values are NOT measured the same way as these economies, we need to live in balance Indigenous cultures pass on ideas through orally and its not written on how western

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ROBERT CRAWFORD - THE EPIC DATABASE

A NEW FUTURE OF MATERIALS AND CONSTRUCTION

be opportunities to recycle and these should be also considered in environmental impact reporting.

Factors which were discussed with Crawford were ways in which materials have such a significant impact on the world around us. He discussed emission and materials flows which ultimately add up to the culmination of the life cycled GHGE. He states that reusing materials are funder mental in reducing emissions as nothing new is being created. There should

Another key identification by Crawford was the balance between operational energy reduction and embodied energy reduction. It there is a tipping point where the improvement in materials not longer effect the operational energy enough and the embodied energy doesn’t outweigh the savings provided

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SCHEMATIC PROGRAM DIAGRAM

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SITE TAXONOMY

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SITE TAXONOMY

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OYSTER GROWING FARM 0.2m2 x 60 Cages per 120m2 2256 Oysters per 120m2 PORT PHILLIP BAY

188 Oysters Per m2 Based on 750,000 per 1 Acre 720m2 = 135 360 Oysters 80g Per Oyster Shells 10,828Kg Per 18months

TRUCK PARKING HGV 22T 212 m2

960m2

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TRUCK LOADING HGV 22T CLEARANCE 85 m2 95 m2

CONE CRUSHER PRIMARY CRUSHING 157 m2

STORAGE FACILITIES 174 m2

CONE CRUSHER 1900 DIA 6.5mm AGGREGATE PRODUCED

HAMMER CRUSHER BELT CONVEYOR INTIAL CRUSHING 855x795x862 100 m2

TRIPLE BUCKET WASHER INTIAL WASHING 800X3300 2200mm DIAM WHEEL EACH 102m2 80-120m3 Per Hour

PC300X400 SOFT TO MED ORE UP TO 320mPa STRENGTH LIMESTONE 3-8T/H

MODULAR WASH PLANT SEPERATES AGGREGATE SIZES, FINE SAND AND SPRAY WASHING 167 m2 RAW MATERIAL HOPPER 2500X3000

HYROCYCLE PUMP FILTER SYSTEM TAKES WATER SLURRY AND RECYCLES WATER TO BE REUSED

RAW MATERIAL HOPPER 2500X3000 VIBRATING SIV SEPERATES LARGE & SMALL AGGEGRATES

ROTARY KILN PRIMARY HEATING CaCO3 + Heat = CaO + CO2 270 m2

AGGREGATE HOOD WITH MIXING GATES COMBINES AGGREGATE SIZES + PRODUCT STREAMS ON WINCH FOR REMOVAL 1000X2200 FEEDBOX MIXED WITH WATER IN FREEFALL 900X900

GAS HEATING SYSTEM

RAW MATERIAL HOPPER BUCKET ELEVATOR TO SILO TOP DEWATERING SCREEN 2500X3000 2200x3000X15000 DIVIDES FINE AGGREGATES (SAND) WITH BLENDED GATE TO MIX FINE AGGREGATES

ANGLED CONVEYOR WITH HOPPER FEED & SPOUT 20° 820x7400

ANGLED CONVEYOR WITH HOPPER FEED & SPOUT 20° 820x7400

SCREW CONVEYOR 3000 BELT CONVEYORS SEPERATE AGGREGATE PRODUCT STREAMS WITH ENTRY HOPPER AND DISCHARGE POINT 900X7100

CONE CRUSHER 1900 DIA 3.5mm AGGREGATE PRODUCED

SIZING SCREEN 2 LEVEL WITH SPRAY WASHERS SEPERATES AGGREGATES & SAND FRACTIONS 1100X6000

VENTILATION SYSTEM INLET

BELT CONVEYORS SEPERATE SAND PRODUCT 900X7100

FILTRATION SYSTEM RAIL ASSEMBLY

INLET POINT TO STORAGE (ABOVE)

DRIVE ASSEMBLY

BUCKET ELEVATOR TO SILO TOP 1200x1500X11500

BRICK STACKING UNITS

MAX STACK HEIGHT 1200

HYDRAULIC BRICK PRESS 15 BRICK PER PRESS 1550x1650

ANGLED CONVEYOR WITH HOPPER FEED & SPOUT 20° 820x4800

INLET MATERIAL STORAGE PREHEATING UNIT

AGGREGATE SILO STORAGE 18m3 EACH 8000M H & 2200DIA LIME COOLER AND DISCHARGE

SLAKED LIME SILO 18m3

SLAKING SILO 12.5m2 4580X3080DIA

ANGLED CONVEYOR WITH HOPPER FEED & SPOUT 20° 820x11800

473 BRICKS PER PALLET 34056 TOTAL DRYING STORAGE FLAT CONVEYOR 1400

KILN 8000x2100

AGGREGATE STORAGE SILOS OF DIFFERENT SHELL MATERIAL 134 m2 SILO TOP SHUTTLE CONVEYOR VOLUMETRIC BATCHING & RAW MATERIAL BATCHING 1300X9600

FLAT CONVEYORS VOLUMETRIC & MATERIAL BATCHING 820x7400

WATER INPUT

FLAT MUD CONVEYOR CARRIES SHUCK MUCK 820x7400 ARTICULATED ARM 3200 DIA

PALLET WRAPPING 172 m2

BRICK PRESS SHUCK MUCK BLOCK 194 m2

SHUCK MUCK Ca (OH)2 + SHELL AGGREGATES 99 m2

PLANETARY MIXER AGGREGATES + SLAKED LIME 15m3 4800 H x 2890 DIA SLAKED LIME SILO 18m3

SCREW CONVEYOR 19.5m

DETENTION SLAKER SLAKED LIME CaO+H2O Ca (OH)2 168 m2

SLAKING SILO 12.5m2 4580X3080DIA

2456m2

DEHACKING BRICK STACKING & STORAGE DRYING 254 m2

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DETAILED SPATIAL MATRIX

OYSTER GROWING FARM 0.2m2 x 60 Cages per 120m2 2256 Oysters per 120m2 PORT PHILLIP BAY

188 Oysters Per m2 Based on 750,000 per 1 Acre 720m2 = 135 360 Oysters 80g Per Oyster Shells 10,828Kg Per 18months

TRUCK PARKING HGV 22T 212 m2

TRUCK LOADING HGV 22T CLEARANCE 85 m2 95 m2

STORAGE FACILITIES 174 m2

TRIPLE BUCKET WASHER INTIAL WASHING 800X3300 2200mm DIAM WHEEL EACH 102m2 80-120m3 Per Hour

M 1

960m2

PALLET WRAPPING 172 m2

DE BR 25

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CONE CRUSHER PRIMARY CRUSHING 157 m2 CONE CRUSHER 1900 DIA 6.5mm AGGREGATE PRODUCED

HAMMER CRUSHER BELT CONVEYOR INTIAL CRUSHING 855x795x862 100 m2 PC300X400 SOFT TO MED ORE UP TO 320mPa STRENGTH LIMESTONE 3-8T/H

MODULAR WASH PLANT SEPERATES AGGREGATE SIZES, FINE SAND AND SPRAY WASHING 167 m2 RAW MATERIAL HOPPER 2500X3000

FEEDBOX MIXED WITH WATER IN FREEFALL 900X900

HYROCYCLE PUMP FILTER SYSTEM TAKES WATER SLURRY AND RECYCLES WATER TO BE REUSED

RAW MATERIAL HOPPER 2500X3000 VIBRATING SIV SEPERATES LARGE & SMALL AGGEGRATES

ROTARY KILN PRIMARY HEATING CaCO3 + Heat = CaO + CO2 270 m2

AGGREGATE HOOD WITH MIXING GATES COMBINES AGGREGATE SIZES + PRODUCT STREAMS ON WINCH FOR REMOVAL 1000X2200

GAS HEATING SYSTEM

RAW MATERIAL HOPPER BUCKET ELEVATOR TO SILO TOP DEWATERING SCREEN 2500X3000 2200x3000X15000 DIVIDES FINE AGGREGATES (SAND) WITH BLENDED GATE TO MIX FINE AGGREGATES

ANGLED CONVEYOR WITH HOPPER FEED & SPOUT 20° 820x7400

ANGLED CONVEYOR WITH HOPPER FEED & SPOUT 20° 820x7400

SCREW CONVEYOR 3000 BELT CONVEYORS SEPERATE AGGREGATE PRODUCT STREAMS WITH ENTRY HOPPER AND DISCHARGE POINT 900X7100

CONE CRUSHER 1900 DIA 3.5mm AGGREGATE PRODUCED

SIZING SCREEN 2 LEVEL WITH SPRAY WASHERS SEPERATES AGGREGATES & SAND FRACTIONS 1100X6000

VENTILATION SYSTEM INLET

BELT CONVEYORS SEPERATE SAND PRODUCT 900X7100

FILTRATION SYSTEM RAIL ASSEMBLY

INLET POINT TO STORAGE (ABOVE)

DRIVE ASSEMBLY

BUCKET ELEVATOR TO SILO TOP 1200x1500X11500

SILO TOP SHUTTLE CONVEYOR VOLUMETRIC BATCHING & RAW MATERIAL BATCHING 1300X9600

BRICK STACKING UNITS

MAX STACK HEIGHT 1200

HYDRAULIC BRICK PRESS 15 BRICK PER PRESS 1550x1650

ANGLED CONVEYOR WITH HOPPER FEED & SPOUT 20° 820x4800

FLAT CONVEYORS VOLUMETRIC & MATERIAL BATCHING 820x7400

FLAT CONVEYOR 1400

INLET MATERIAL STORAGE PREHEATING UNIT

AGGREGATE SILO STORAGE 18m3 EACH 8000M H & 2200DIA LIME COOLER AND DISCHARGE

SLAKED LIME SILO 18m3

SLAKING SILO 12.5m2 4580X3080DIA

ANGLED CONVEYOR WITH HOPPER FEED & SPOUT 20° 820x11800

473 BRICKS PER PALLET 34056 TOTAL DRYING STORAGE

KILN 8000x2100

AGGREGATE STORAGE SILOS OF DIFFERENT SHELL MATERIAL 134 m2

WATER INPUT

FLAT MUD CONVEYOR CARRIES SHUCK MUCK 820x7400 ARTICULATED ARM 3200 DIA

BRICK PRESS SHUCK MUCK BLOCK 194 m2

SHUCK MUCK Ca (OH)2 + SHELL AGGREGATES 99 m2

PLANETARY MIXER AGGREGATES + SLAKED LIME 15m3 4800 H x 2890 DIA SLAKED LIME SILO 18m3

SCREW CONVEYOR 19.5m

DETENTION SLAKER SLAKED LIME CaO+H2O Ca (OH)2 168 m2

SLAKING SILO 12.5m2 4580X3080DIA

2456m2

EHACKING RICK STACKING & STORAGE DRYING 54 m2

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06.

THE RETURN BRIEF & DESIGN PROCESS

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CONCEPTUAL AXO DESIGN SKETCH

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VISUALISATION

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EXPERIENTIAL MAPPING

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VIEW

PERSPECTIVE SECTION

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07.

MID SEMESTER

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CONCEPT

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PERSPECTIVE SECTION

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PRODUCTION DIAGRAM - A HOLISTIC SYSTEM OF CREATING

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SITING PRINCIPLES

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Siting of the project become

There are adjacencies

fundamentally important as it

formed between the public

establishes relationships with

aspects of the project

future projects on site. The

and Scienceworks whilst

main premise was the connect

separating processing

the factory to the waters edge

allowing glimpses into the

and growth production of the

factory by the general public

oysters. This physical connection maintains a full life cycle on site, where the restaurant will serve oysters and the waste produces will be up cycled to for the Shuck Blocks.

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FLOOR PLANS

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DETAILED SECTION

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SHUCK BLOCKS PRODUCT RANGE

WHITE PIPPIE HUE

DARK MUSSEL GREY

ANGASI OYSTER GREY

PINK SCALLOP

230 460

38

265

425

CK

HU

20

TS LA EF

TH

110

230

76

I

SH

CK

HU

ES

L NG

AL

ON

ITI

D RA

ET

TH

460 920

38

ILE

RT

O LO

F TE PLA

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ISOMETRIC

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MID SEMESTER REFLECTIONS

LOOKING FORWARD I feel that my mid-semester presentation was successful in providing a strong conceptual scaffold to work off. Although a bit idealistic which some of the connections with the Yarra River they serve as areas to develop to become more pragmatic within the second half of the semester.

industry area it is currently.

Possibilities included direct connection between industry and construction or labs used by students.

Highlighted connection also through the restaurant and the grazeland precinct for foodies. There’s also a great opportunity to adjoin with science works or share possible program.

I feel like the form used which focuses on referencing the historical elements on site created a strong identity for the building differing from typical factory construction.

I would like to continue to explore the connection to place within my design, and develop the form and programmatic relationships.

Going forward it will be important to establish connections to the future educational facility and masterplanning overall will come into effect especially if we want to transition this particular area of Spotwood into something more that the George Avraam

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08.

PAVILLION DESIGN 2.0

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FLOOR PLANS

0

1

2

4

SHUCK PAVILLION

MATERIAL AND PROGRAMMATIC EXPLORATIONS This pavilion served as an exploration into how my material could be applied as a ruled surface across the site. It served as a linking element between Grazeland Foodies and the Factory. Its form remained open with large ‘wing’ form roofs to provide shelter to outdoor spaces.

My material application used was the shingle tile predominately to cover the expansive roof form.

This technique using Shuck shingles could be further applied to my Material Sciences Building,

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09.

INITIAL PROJECT DEVELOPMENT MATERIAL SCIENCES RESEARCH LAB

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MEMORY WORK II

By Georgia Nowak & Eugene Perepletchikov Memory work II explores the memory of a given material.

Basalt within the Victoria Landscape is extensive, yet this work documents and interrogates the extraction and consumption of this material (1). Its refinement and procurement are dictated by the economies and demand for the material.

Through questioning a materials origin, documenting its original location (2). Its ‘harsh’ extraction (3) and its transporting (4). This is followed by refinement, cutting (5), slicing and shaping we begin to understand the impact of such a simple material and the extensive process it goes through to formulate it for our desired uses.

This work aligns with our explorations, where we also search for a material which can be found within the Victorian Landscape. Yet like Nowak we question its origin and its creation to uncover George Avraam

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1.

Nowak, G & Pereplechikov, E (2019). Memory Work II. All images supplied from Georgias and Eugenes websites (Retrived 29-09-2021: https://georgianowak.com/Memory-work-II-c3-gallery) & https:// eugeneperepletchikov.com/

2

3

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INITIAL PROJECT DEVELOPMENT - SPACES & CONNECTIONS

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SITING PRINCIPLES DEVELOPMENT

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DESIGN MASSING OPTIONS

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DESIGN MASSING OPTIONS

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FORM INITIAL SKETCH IDEAS

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WORKING FLOOR PLANS & AXO

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DEVELOPMENT OF VIEWS & SECTIONS

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SPATIAL AXONOMETRIC

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DETAIL PROGRESSION

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10.

TRANSITION MATERIAL SCIENCES & AQUACULTURE PRECINCT

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MATERIALITY

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CONCEPTS

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EXPERIENTIAL MAPPING

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TAXONOMY OF BUILDINGS

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TAXONOMY OF HISTORICAL DETAILS

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SITE PLAN & SITING PRINCIPLES

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SECTION HEADING

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SECTION HEADING

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SECTION HEADING

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SECTION HEADING

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SECTION HEADING

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SECTION HEADING

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SPATIAL ADJACENCIES

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INDUSTRY PARTNERS PRODUCING & EDUCATING

RESEARCH ACROSS LEARNING STAGES

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A direct relationship between the factory and the fabrication lab provides a cross over of new material creation.

Engagement where factory technicians can work closely with students in the lab or more directly give lectures to the wider community.

We will see learning across all ages occur exhibition connected to science works.

From experienced factory worker to researcher or even a school kid theres something to know about the origins of our materials

Laboratory spaces are fundamental to research but integrating them with classes allows an interaction between tertiary students and researchers.

People at different learning stages and experiences can interact formally or informally within the collaboration spaces on each level.

Elements of solitude but also connection.

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INDUSTRY PARTNERS PRODUCING & EDUCATING

PUBLIC PRESENCE

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A holistic approach on site. From the growth within the Port Phillip Bay which restore oyster reefs and habitats.

The hatchery provides interactive way to teach students directly through doing, and then a connecting to the reefs in the bay.

Direct consumption in the restaurant, where you see where your food comes from and then reinvigorate the waste husk into a new product at the factory.

Creating a Circular material cycle.

A public presence is fundamental in creating an active and welcoming precinct for students and the general public.

Through attracting visitors of different types and maintaining an active frontage onto Booker St will allow people to linger and utilise public space with the area.

The student center which provides study ares and support of students and the cafe directly interfaces with the street.

Movement from Scienceworks to see the shuck exhibition and across site towards the roof top restaurant.

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EXPERIENTIAL ISOMETRIC

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GF

1F

PERSPECTIVE SECTION

PERSPECTIVE SECTION

PERSPECTIVE SECTION

DETAILED SECTION MATERIAL SCIENCE

DETAILED SECTION FACTORY

EXPERIENCE

Heading [Insert text here]

View towards building from Scienceworks Arena

Upper classroom space overlooking heritage elements and open space

The pum fea

e continuous arch form within the heritage mping station as a significant architectural ature to site

(Image courtosy of Museums Victoria Spotswood Industrial Heritage Walk , 2011)

Facade shading panels which emulate the form of the brickwork within the pumping station

Repeating roof typologies of ruled surfaces, demonstrates the vast application of Shuck Blocks with reference to the historical pa

Former ICI Glass Manufacterers Sawtooth Roof Typologies Dominating the skyline of Spotswood (Image courtosy of Museums Victoria Spotswood Industrial Heritage Walk , 2011)

Former ICI Glass Manufacterers Sawtooth Roof Typologies Dominating the skyline of Spotswood

(Image courtosy of Museums Victoria Spotswood Industrial Heritage Walk , 2011)

ast (Image courtosy of Museums Victoria Spotswood Industrial Heritage Walk , 2011)

The sawtooth roof repetition inspired the undulating building form which repeats

Arches and softi detail, the use of traditional brick patterning with a new innovative material

F

Forms inspired by the arched aqueducts formed which formed the structure to carry sewage across Melbourne (Image courtosy of Museums Victoria Spotswood Industrial Heritage Walk , 2011)

REFLECTION ON THE PROJECT

Studio 17 M-Factory engages with the origin of materials, the production process of making and how this can be applied to both a factory building and a larger scale material sciences and research hub.

With a focus on particularly sustainable materials, we researched into different and innovative technologies which reduce embodied carbon emissions.

On reflection the studio was challenging, especially considering the scale and scope of the elements. We were asked to think at both a wider masterplanning level and also detailed level down to the specific materials used. Overall it taught us how to integrate these complex elements, think at different scales and their connections between programmatic functions.

ideas. These included area such as such as adaptive reuse and a connection to heritage, grappled with innovative ideas and material fabrication on a technical level. There was also the need for an understand of how people will use the space in a rational and functional way.

This is especially important as you have a diversity of people using this precinct from industry partners, public users, student and researchers.

I want to thank both Steph and Tom for their guidance and contribution over the semester. Whilst its been a challenging year, its been great to converse through our designs together.

All of these were difficult to weigh up what takes priority and what adjacencies are important. Despite this it was also rewarding as we explored complex George Avraam

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HOW DID THE PROJECT MANIFEST & OTHER THOUGHTS Through out the semester I learnt a lot in particular about innovative technologies through lectures. From Robert Crawford, and Stefan Mee we got to understand the direct relationship materials have to the built environment and how we can mitigate the effect of climate change and material flows through redefining our construction and design principles. Mee described the composition of large scale projects which John Wardle Architects have worked on and their return on reducing carbon emissions overall compared to traditional construction.

Firstly the factory scheme which we engaged with was to house and develop a new technology which produces a material on site and which displays the inherent material properties and exhibits this to the wider public.

The material I chose is a Shuck Block, which is formulated from waste products of the food industry such as mollusk shells.

With roots in ancient tabby architecture the economy of scale in terms of the

consumption of oyster shells is significant. Each of these shells can be reused rather than be put into landfill.

student in both small and large scale teaching as well as make use of the more publicly accessible parts of the programme.

My project particularly interrogated the idea of a return brief where additional function and connection to the site could be established through the production process. This includes aquaculture and aquatics facilities which facilitate an understand towards the ecosystems of our native oyster reefs within port Phillip Bay and working to restore these to their former glory. It is for that reason I have integrated a hatchery and sorting and distribution centre on site for oysters.

This has a direct relationship to the teaching of university students and through creating an entire life cycle on site.

Research space provide both solitude but also areas of collaboration and connection between students or staff within the adaptive heritage which is reused on site directly.

The overall design wanted to integrate the factory and the research facilities as there are inherent links between learning and making within the spaces.

We see a connection between fabrication facilities directly to the factory where factory staff can engage with

These spaces are connected directly to laboratory areas for research staff and Student teaching alike.

Activation and connection to Booker St was fundamental to the project as this provides a frontage to the building and is the both pedestrian and car access route to site.

Through commercial entities such as cafes and the student centre which provide a presence to the street, along with Grazeland playground for foodies.

We see a connection to sciences works being formed as for the scope of this studio it’s important to engage of these ideas. It was noted that this connection were made with the idea that science works would potentially be completely redeveloped in the future. Therefore although connected physically and creation of a separate adjoining wall can be made.

e

Im intrigued how this

how the complexities

project will actually be

of the brief which we

developed in reality.

uncovered works in the

Meaghan Dweyer

industry. Only time will tell,

expained JWA’s process

once developments for

in designing on site but

these design progress!

it would be good to see

11. Appendices.

Appendix A

References

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REFERENCES

A, Reilly & O, Kinnane (2017). The Thermal Behaviour and Embodied Energy of Hemplime Construction. https://tinyurl.com/2h2kknt5 Bringing Victoria’s long-lost oyster back to life. (2021). Retrieved 19 August 2021, from https://www.smh.com.au/lifestyle/bringing-victorias-longlost-oyster-back-to-life20190808-h1gxzt.html Cornish, R. (2021). Return of the native as grower flexes his mussels. Retrieved 19 August 2021, from https://www.goodfood.com.au/eat-out/news/return-of-the-native-as-growerflexes-his-mussels-20130715-2pzc6 Crawford, R.H., Stephan, A. and Prideaux, F. (2019) Environmental Performance in Construction (EPiC) Database, The University of Melbourne, Melbourne.

Compressive Strength of Brick (2021). Retrieved from https://tinyurl.com/5xtsfc2f Drougkas, A & Roca, P (2015). Compressive Strength and elasticity of Pure Lime Masonry.

Retrieved from https://tinyurl.com/wz58bwcn Griffen, L (2021). Restore Reefs in Port Phillip Bay Retrieved 19 August 2021, from https:// www.natureaustralia.org.au/newsroom/port-phillip-bay-seeding/ Koolhaas, R. and (2019), Museum in the Countryside: Aesthetics of the Data Centre. Archit.

Design, 89: 60-65. https://doi.org/10.1002/ad.2390 Koolhaas, R. and (2019), Museum in the Countryside: Aesthetics of the Data Centre. Archit.

Design, 89: 60-65. https://doi.org/10.1002/ad.2390 Melbourne Museum Victoria (2021). Pumping Station - The Spotswood Pumping Station.

Retrived 14th Augest 2021. from https://museumsvictoria.com.au/scienceworks/resources/ pumping-station/ Nowak, G & Pereplechikov, E (2019). Memory Work II. All images supplied from Georgias and Eugenes websites (Retrived 29-09-2021: https://georgianowak.com/Memory-work-IIc3-gallery) & https://eugeneperepletchikov.com/

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Shellfish Restoration. (2021). Retrieved 19 August 2021, from https://www. shellfishrestoration.org.au/ The Nature Conservancy (2021). Victoria’s lost reefs rediscovered Retrieved 19 August 2021, from https://www.natureaustralia.org.au/what-we-do/our-priorities/oceans/ ocean-stories/restoring-shellfish-reefs/port-phillip-bay/ Lwin & R Cornish (2020). ‘VDF x Serpentine Galleries Dezeen with Rebecaa Lwin, Caroline Cornish and Seetal Solanki’ Retrieved from https://www.dezeen.com/vdf/ serpentine-galleries/

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George Robert Henry Avraam 833800 M:FACTORY Semester 2, 2021

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