Construction 3
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Portfolio Architecture
Joshua Muldeary 103062074 Dia30001
My intention for my professional career is to be able to make a lasting impact on other people through my work, whether it be creating homes, workplaces, landmarks or monuments. I want to leave other people with something that improves or enriches their life. My passion for detail, minimalism and simplistic elegance build a foundation for how my future work will be shaped. I enjoy and appreciate quiet, probably too much ice tea, escaping into a novel or one of my very eclectic spotify playlists. I have a quiet appreciation for the world around me and view it with a sense of wonder whenever I find a moment between lifes often hectic moments.
ME
I am studying to become a creatively thinking and innovative designer who is adept at bringing ideas and dreams to life in the disciplines of architectural design, graphic design, illustration and photography.
ABOUT
I’m Joshua Muldeary, Born in 2001, Melbourne, Australia. I’m an Architectural design student, at Swinburne Univeristy of Technology, since 2020.
Joshua Muldeary
Content
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Data Maps 4-6 Precedent Study 7-9 House Analysis Simulations 10-18 Active Environmental Components 19-24 Analysis 25-28 Lady Bug 29-37 Concept Development 38-49 Bibiography 50
Construction 3
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Precedent Diagram
Glass paned skylight Directly above the living room and kitchen. Only glass opening
Cut outs in the exterior wooden framed shell. Allows wind, rain and light to enter into the home
Exterior Shell
Exterior shell, open to the elements Allows privacy but doesn’t sacrifice design philosophy; interior environment that matches the seasons of outside
Wooden staircase and landing to the second floor living room and kitchen
Double wooden doors Both a form of entrance and exit, as well as environmental management.
Living/ Kitchen
Owners often keep them open to increase natural draft and environment exposure
Terrace
Sliding glass wall, opens the interior shell to the exterior shell, thus the environment and elements
Pathways through the home The weather impacts how the space is moved through Inhabitants will learn the best paths for each type of weather
Wall
Bedroom Bathroom Sliding Glass doors Closes off the lower floor’s environment to the exterior shell’s natural draft
Laundry
Exterior Floor Space
Version 1
Tokyo, Japan Built in 2010 2 stories 1 Bed, 1 Bath, 1 living Designed by Takeshi Hosaka The building exemplifies co-existing with nature, as the weather will impact the way you move throughout the home and interact with it. The architects designed a house where the owners could feel that they were outdoors even when they were inside. The openings in the outer shell create a natural flow of elements into the home, while the inner shell can be a part of the exterior environment or closed off for climate control.
Only glass paned skylight Exterior Shell
Joshua Muldeary
Cut outs in the exterior wooden framed shell.
Pathways through the Page 9 home The weather impacts how the space is moved through Inhabitants will learn the best paths for each type of weather
Exterior shell, open to the elements
Double wooden doors
Allows privacy but doesn’t sacrifice design philosophy; interior environment that feels like the outside environment
Living/ Kitchen
Terrace
Sliding glass wall
Wall
Bedroom Bathroom Sliding Glass doors
Laundry
Exterior Floor Space 91 m2
Final
Tokyo, Japan Built in 2010 2 stories 1 Bed, 1 Bath, 1 living Designed by Takeshi Hosaka The building exemplifies co-existing with nature, as the weather will impact the way you move throughout the home and interact with it. The architects designed a house where the owners could feel that they were outdoors even when they were inside. The openings in the outer shell create a natural flow of elements into the home, while the inner shell can be a part of the exterior environment or closed off for climate control.
Construction 3
House Analysis Simulations
Statement
Joshua Muldeary
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HOUSE
The results that will be shown through study and analysis, heavily support the previous findings for the penetration of light both spaces. The results show that the penetration of light has a direct affect on heat, temperature, radiation and UTCI comfort levels in each space, via mabient and direct meathods. Both spaces have to rely heavily on artificial lgihting to be functional, as neither has environmental management capable enough to suffuce light, heat etc throughout the space during most hours of the day. An observation that can be made as an occupant is that the hours of the day/year where the temperature and lighting of the rooms are ideal, match the findings of assignment 1 and that of assignment 2. Neither space meets NCC standards of lighting suffusion. Bedroom
Study
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Joshua Muldeary
UTC
I GR
APH S
1. UTCI comfort index
2. UTCI comfort index (numerical)
3. Comfort by Extreme
4. Overall Comfort
Joshua Muldeary
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These graphs reflect the UTCI comfort levels in the Moorabin area of Melbourne if you are outside. This data will not be relevant in the simulations and analysis of indoor spaces, however, gives an understanding as to comfort of the outdoors in Moorabin and what the house protects and weathers against. The ideal comfort conditions determined by UTCI is seen only 40% of the time. The majority is uncomfortable conditions is below ideal, while a small percentage is above. Moorabin can thus be determined as a colder part of melbourne that is uncomfortable 60% of the time and comfortable 40% of the year.
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3. Wind Rose Summer
WIN
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1. Sun Paths Summer
Joshua Muldeary
2. Sun Paths Winter
Summer temperature and exposure is obviously hotter in summer than in winter, the specific pathways of the sun through the figure 8 loops is also significantly higher in the sky. This results in the back part of the house being hotter due to the windows and connection to the backyard. The higher wind variant velocity peaks in summer also mean the backyard and front yard experience greater degrees of random wind in summer, while in winter the wind is far more uniform in how it effects the houses outdoor areas.
4. Wind Rose Winter
Joshua Muldeary
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Sunpath
SSW
SW
S
WSW
Due to the suburban setting of my house there a multiple objects blocking light, wind and radiation from getting the house. A series of tall trees lining the rear fence line. The fence that rounds the property. The next door house which is semidetatched, as well as a tree in their back yard. Finally a 100 year old Japanese maple tree on the front of the property, that stands about 8 metres tall. all of this results in a large amount of variation of environmental temperature, wind and sunlight as you move throughout and around the property.
SSE
W SE WNW ESE
NW
E NNW ENE
NE
N NNE
Joshua Muldeary
1. Bedroom Summer
3. Study Summer
These represent the incident radiation into the 2 spaces through summer and winter. The south facing bedroom gets very little radiation through the season and is therefore quite cool throughout the year. The study faces west, as such will get a generous amount of direct radiation and ambient radiation throughout the day in summer, less however in winter. This results in more light through the later part of the day.
2. Bedroom Winter
4. Study Winter
SIMU
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Scale 1:30
Joshua Muldeary
3. Study Summer
The brighter red areas indicate a warmer experience on the UTCI index. As can be seen the bedroom gets almost zero warmth through its south facing window. The study however gets a generous amount of heat sensation through summer and a small amount in winter. Due to this the bedroom is cooler all year round, compared to the study which quickly heats up in later parts of the day, greatly affecting the spaces comfortability.
2. Bedroom Winter
4. Study Winter
SIMU
LATI ONS
- He
at Se nsat
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1. Bedroom Summer
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Scale 1:30
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Joshua Muldeary
3. Study Summer
Incident radiation - sky matrix Diffused and direct radiation The areas with a warmer colour are the places that most reliably experience utci warmth as well as incident radiation either directly or ambiently. Supports the other respective study findings in both light suffusion, heat experience and utci comfort levels throughout the year in both spaces.
2. Bedroom Winter
4. Study Winter
SIMU
LATI
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- Sky
Matr ix
1. Bedroom Summer
Scale 1:30
Construction 3
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Active Environmental Components
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Joshua Muldeary
PROPOSAL
Sound - Redirect/ Absorb - Wall
Joshua Muldeary
Absorption
ABC OF SOUND
When a sound wave hits a surface designed to absorb sound, it is soaked up like a sponge. Instead of reflecting the sound back into the room like hard surfaces do, it isolates and absorbs the sound. There are myriad types of sound absorbers for building spaces including materials made up of types of sound absorbing mass. This sort of product can be incorporated into the walls, furniture, flfloors ceilings, workstations and fabric elements.
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Blocking
Covering
Absorptive materials improve the acoustics within a room and beautifully prevent sounds from bouncing around, but they do not affect the actual transmission of sound. If someone loud is right next you, you will hear it loudly whether there are excellent sound absorbers present near by or not. To decrease this type of sound transmission, from area to area, barriers are ideal to block the sound from traveling. Typical barriers in an office can include absorptive cubicle panels or sound masking hangings. You are literally blocking the sound traveling further.
The final and most technological component is sound masking. You can mask, or cover, the sound with other, more pleasant sounds using sound generation equipment. Some use nature sounds or ambient noise, but workers have found this problematic as well. It covers the sound in the most impressive way. People are familiar with the concept of white noise, but the science has improved even beyond that such that employees are not aware of any sound, but that the ambient sounds meld into the background. This kind of tech sounds intimidating but is in fact, easily installed and provides tremendous benefits to your employees and your bottom line.
Reflected
, Ob Strea m t- ‘Ev ent, eden
Prec
https://www.discogs.com/artist/11165-Hecker
Joshua Muldeary
ject’
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This sound installation is composed of eight loudspeakers suspended from the ceiling, each paired with curved mirror walls. These mirror walls not only change the visual appearance of the audio devices by doubling them, but also aim to modify the audio of each loudspeaker. Each speaker plays a unique sequence of sounds at varying frequencies and volumes. The mirror walls act as a rebound surface where sounds get redirected into the gallery space. The aim for Hecker’s piece was sound ambuguity, how we experience sound and often have a completel lack of awareness as to where most sound we hear comes from. He achieved his aim using sound reflection and redirection. By changing the curvature of the flexible mirrored metal, he could control how drastically the sound move throughout the space and which direction it travelled.
Florian Hecker’s sculptural sound installation ‘Event, Stream, Object’ exhibited at Frankfurt’s Museum fur Moderne Kunst (MMK) in 2010, relates to my investigation of sound and space, particularly the use of arched walls as a means of reflecting and adjusting the natural soundscape of an area. This mechanic of sound was one Florian used in abundance as he found it to better destribute sound through and around a space, caused by the the curvature of the walls which better reflected the sound waves.
https://www.mmk.art/en/whats-on/florian-hecker-event-stream-object/
Joshua Muldeary
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D RD AR OA BO RYYB OR SSTTO
Kevin and Stephen are approaching Swinburne University via Burwood road as they do every morning they have class
As usual, they noticed the perpetual ‘smog’ of noise pollution that comes from the thousands of cars that pass along the road each day
They hurry their steps towards uni, so that they can escape into a building away from the uncomfortable sound
They round the corner into what they have both dubbed the john street wind and sound tunnel. As due to the narrow long street, wind passes them, rushing past their ears and robbing them of hearing as it does.
As they walk down John street they notice a structure that wasn’t there the day before. They are unsure what it is and decide to approach to investigate.
As they approach they wonder as to its use. They both assume it is a new univeristy initiative or some kind of project from the design faculty. They also marvel its unique and interesting shape.
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STORY BOARD
As they stand behind what they have now found out to be a wall, they realise to their amazement that the wall blocks the sound from the road and wind.
Joshua Muldeary
They look from the side to see how the wall’s materials work and notice that it is made of a dual layered material/s. The wall appears to block and absorb the sound coming from the road. Although it does little for the sound behind them from the trains direction they noticed.
As they walk off to class, they look back to see multiple other students congregating and resting
Construction 3
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Site Analysis
Site Overview
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DIA30001 Construction 3: Sustainability Joshua Muldeary
Joshua Muldeary
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ASSIGNMENT 3 Active Environmental Components
SITE OVERVIEW
Scale 1 : 500 Project No. 3 24/ 10/ 2022
A101
Site Analysis Contours
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Site Access
1m
Easement
Joshua Muldeary
1:300
Sewerage Gas Power Optic Fibre Drainage
1:500
1:300
While there were contours on the site. The incline was very minor and would not affect design decisions due to the size of the proposed design
The easement ran along Burwood road and through the site. Considerations would need to be had if the proposed design needs foundations and/or digging
The site has a variety of access points. The main ones being from Burwood Road, William street, north John Street and the train walkway.
Sound Analysis
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<50 Db
Joshua Muldeary
50-60 Db 61-70 Db >70 Db (Target)
Conclusion: The main source of sound is Burwood Road, sound then bleeds into quieter areas, including the site location. Burwood Road will act as a linear source of sound and the main target that the design will seek to reduce noise pollution from
DIA30001 Construction 3: Sustainability Joshua Muldeary
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ASSIGNMENT 3 Active Environmental Components
SOUND ANALYSIS
Scale 1 : 500 Project No. 3 24/ 10/ 2022
A102
Construction 3
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Lady Bug Simulations
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2. Wind Rose Summer
WIN
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1. Sun Paths Summer
Joshua Muldeary
3. Sun Paths Winter
All year round the sun travels directly over the site, however due to surrounding buildings only directly shines sunlight and heat onto the site through the middle of the day. This results in lower heat radiation in the early and later parts of the day. The wind however, has drastic differences in summer and winter; in summer there are strong winds going south, in winter the opposite. This creates a ‘wind tunnel’ down john street which funnels the wind through the buildings in a straight line.
4. Wind Rose Winter
Joshua Muldeary
Sunpath
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Overall, the site gets a moderate amount of direct sunlight during the middle portion of the day throughout summer and winter. However the buildings surrounding it block the majority of the potential sunlight throughout the rest of the day. This would make the site cooler and darker, potentially damper than other surrounding environments.
1. Summer
Joshua Muldeary
2. Summer close up
SIMU
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The site as expected from the sun pathing doesn’t get much light between buildings and only on the back of the site due to the openess of it. Surprisingly the site gets more sunlight between the buildings during winter, due to the lower position the sun is in the sky, although the sunlight isn’t as strong as in summer.
3. Winter
4. Winter close up
2. Summer close up
SIMU
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- He
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1. Summer
Joshua Muldeary
Unsurprisingly the site gets significantly more heat in summer than in winter, this in part due to the temperature difference of the seasons as well as the site location which isn’t conducive to thermal radiation due to the buildings overshadowing the site.
3. Winter
4. Winter close up
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1. Summer
Joshua Muldeary
2. Summer close up
SIMU LATI
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- UT CI Co
mfo
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3.Winter
These simulations represent UTCI comfort levels on the site. Red in the middle of the legend represents comfortable, while the rest of the gradient gets less comfortable in either direction. The site has a variety of comfort levels. Once again, the space between the buildings is generally uncomfortable. A conclusion that can be made it is to place the proposed design towards the back of the site to maximise potential comfort levels throughout the year.
4. Winter close up
2. Summer close up
SIMU
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- The
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C om
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1. Summer
Joshua Muldeary
A similar use of gradient however this represents only thermal comfort. White represents comfortable temperature, red represent too hot and blue too cold. The graph further supports the rest of the simulations in places the proposal towards the rear of the site as it is the most consistently thermally comfortable outdoors throughout the year. All the environmental testing concludes to place the proposal at the rear of the site.
3.Winter
4. Winter close up
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Joshua Muldeary
https://myelearningworld.com/best-
A potential recycled take on this material could be reconstituted crushed concrete, sourced from construction sites and that is used to build the structure. Some sound reflective efficiency would be lost due to lower density.
Clay bricks e stone in the interact with Even though significantly than stones or granite, b are consider among the b reflective ma still successfu most sound
Clay Brick
Smooth Concrete
Concrete once it is cured is as hard and dense as rock. Smooth concrete can absorb 1-4% of sound frequencies ranging from 2000-4000 Hertz. Thus reflecting the other 9996% of the sound waves back.
https://www.reckli.com/en/service/
https://littlehamptonbrick.com.au/clay-
An unpainte might only a all frequenci the rest. Add two of paint that down a
Acoustic foam panels are the perfect exmaple of porous absorbers.
Sound absorbing fabric paneling is a very attractive options.
The sound waves travel and are trapped inside the porous foam instead of reflecting off of hard surfaces.
Usually, 50 mm thick, the panels are built on a solid wooden frame, than wrapped the interior insulation in fabrics such as burlap or microsuede. However if needed a more resilient fabric option could be chosen, such as guilford of maine
They are usually quite soft and most likely won’t be suitable for outdoor use due to the damage it would likely acrue to weather and human contact
Fabric Panelling
Acoustic Foam Panels
Mate
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bsor b/ B lock
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https://silverbobbin.com/best-fabric-for-
It is a very effective option that is more resilient and could be geared towards outdoor use with the right fabric choice.
Joshua Muldeary
emulate way they h sound waves. h they are less dense such as marble both of which red to be best sound aterials, bricks ully reflect frequencies.
The typically flat and polished surface of metal usually makes it highly sound reflective.
ed brick wall absorb 3-5% of ies, reflecting ding a layer or t may bump a few percent.
This is because metal, typically steel, aluminum or copper can reflect up to 97% of sound waves.
Page 37 Wood is a material which is used in every avenue of construction. Without being treated or combined with something then wood isn’t ideal for reflecting sound. However its intrinsic properties still make it better at reflecting than absorbing.
https://polishedmetals.com
Wood
Metal
Metal is commonly used to construct reflective barriers around highways. Attempting to block traffic noise from spillling out into surrounding neighbourhoods.
The availability of wood is its main selling point. That as well as it can reflect 70 to 92% of sound waves depending on the wood and treatment. This make it a viable option. https://www.pexels.com/search/wood/
Using vegetation as a sound absorber has also seen large success.
https://www.baux.com/acoustic-products/
The material dampens noise and absorbs sound waves, however does somewhat rely on quantity in an indoor space. It is unclear how it would perform outdoors. it also absorbs moisture and heat in the air then emits into when the air temperature falls. Doesn’t rot and is mold resistant
The technique relies on having a diverse range of plants and therefore sizes and shapes to better absorb sound.
Vegetation
Wood Wool
Acoustic wood wool panelling is a recyclable material made from wood wool, cement and water.
Having large planters and more soil also greatly aid the absorbtion This factor may prove difficult as the design would need a method of keeping vegetation alive. https://www.ambius.com/learn/benefits-of-
Construction 3
Concepts and Development
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Conc
ept 1
- Wa
rped
Joshua Muldeary
Concept 1 was inspired by warped sheet metal It seeks to create a topographical surface, while it also curves around the user seeking shelter from sound pollution. The 3D modelling process proved challenging as well as the potential physical model making process. Due to the severe difficulty in ideation, modelling and potential construction, other concepts were further explored.
Joshua Muldeary
Conc
ept 2
- Wa
ve
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Concept 2 was an attempt at creating something similar to standard wall, however still incorporating the use of curvature to more effectively reflect sound. The concept felt a little too basic and lacked development potential compared to concept 3
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Conc
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- Do
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Joshua Muldeary
Concept 3 was easily the favourite potential design. It was a simple design however had potential for development and from the beginning could perfectly adapt Florian Hecker’s use of curve to reflect sound . Concept 3 was the chosen concept and moved into curvature angle performance testing, to determine the most appropriate shape.
Joshua Muldeary
ngle s
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35 Degrees 35 Degrees
45 Degrees 45 Degrees
45 Degrees 45 Degrees
Convex
Perf o
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Provide best balance between reflection, without sacrificing internal comfort by making it an amplifier internally.
40 Degrees 40 Degrees
30 Degrees 30 Degrees
20 Degrees 20 Degrees
Joshua Muldeary
45 Degrees
45 Degrees
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35 Degrees
Concave
20 Degrees
30 Degrees
40 Degrees
Joshua Muldeary
Perf o
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Bug
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The concept model was tested after the curvature performance iterations, on the site to see how or if it would affect conditions other than sound. The tests for UTCI comfort, heat sensation and sun studies proved the concept had little to no effect on the existing site. The placement of the concept however was informed by previous environmental testing. As such it is placed in a location with direct sunlight and the most consistently comfortable location as informed by utci and thermal comfort testing.
Joshua Muldeary
Sound Performance
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<50 Db 50-60 Db 61-70 Db >70 Db
Through small scale testing using a 3D printed model. The plastic and foam replica showed a 20-25% reduction in sound. Considering the plastic structure is hollow this positiely indicated that the concept would work as intended. To achieve the shown green sound range, a 30% sound reduction would be required minimum, from 70 to 50 Db.
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Joshua Muldeary
Performance Diagram
1250
2300
275 135
50
650
1250
Detail
35
2750
3400
130 35
Section
Plans
4800
2700 2000
20
Plan View
Side Elevation
Section
130
70 200
4800 4800
575
3650
575 Wood Support
Smooth Concrete
3365 3400
Wool Insulation
35
Guildford of Main
Front Elevation
Back Elevation
DIA30001 Construction 3: Sustainability Joshua Muldeary
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Detail 1:5 ASSIGNMENT 3 Active Environmental Components
SCHEMATIC PLANS
Scale 1 : 40 Project No. 3 24/ 10/ 2022
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Renders Front
Back
Corner
Side
Joshua Muldeary
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Statement The final propsal was informed through various testing media. Determining the site location and the proposals final location. The data from that was presented via ladybug and sound measurement was reasonable and accurate to within acceptable ranges. The proposal was designed to reduce the noise pollution from Burwood road to the site location, and as indicated by small scale testing, it would be successful. The proposal also has sustainable options to be considered in its construction, namely the use of repurposed concrete from construction or demolition. The curvature of the proposal was also by design as shown. The rotated 45 degree angled curve proved to be the best middle ground between reflecting the sound upwards, while not reflecting interior sound back at the people using the space. The chosen curvature balanced these 2 consideration the best out of the tested angles.
Joshua Muldeary
Bibli
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hy -
Chic
ago
Style
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Inside Out House Precedent: • “Inside Out House / Takeshi Hosake Architects”. 2016. Archdaily, Architectural Journal. 2022. Accessed 18th september 2022. https://www.archdaily.com/560419/inside-out-takeshihosaka • “Inside Out House by Takeshi Hosake Architects”. 2011. dezeen, Architectural magazine. 2022. Accessed 18th september 2022. https://www.dezeen.com/2011/03/31/inside-out-bytakeshi-hosaka-architects/ • “E 14 Takeshi Hosaka - Inside Out House”. 2014. Habitatio, Portfolio. 2022. Accessed 18th september 2022. https://habitatio.epitesz.bme.hu/en/portfolio/takeshi-hosaka-insideout-house/ • “INSIDE OUT”. 2010. Takeshi Hosaka architects, Architects Portfolio. 2022. Accessed 18th september 2022. https://www.hosakatakeshi.com/projects/inside-out/ •
“The ABCs Of Noise Reduction: Absorb, Block and Cover”. 2020. Arizona Corporate Interior (ACI).2022. Accessed 19th September 2022. https://azcorporateinteriors.com/ blog/the-abcs-of-noise-reduction-absorb-block-and-cover/
• · “Florian Hecker: Event, Stream, Object”. 2010. Museum Fur Moderne Kunst. 2022. Accessed 18th September 2022. https://www.mmk.art/en/whats-on/florian-hecker-eventstream-object/ • “Best sound absorbing panels for walls and ceilings”. 2020. Soundproof Living. Accessed 19th September 2022. https://soundproofliving.com/sound-absorbing-panels/ •
“Sound-Reflecting materials that cause echoes and reverberations”. 2021. Soundproof Living. Accessed September 19th, 2022. https://soundproofliving.com/sound-reflectingmaterials/
+65 487 436 605
103062074@student.swin.edu.au Swinburne University of Technology
Archecture design Studio