Page 1

jordan lane

portfolio

personal details born

2 april 1986

nationality

australian

country of residence

sweden

personnummer

860402-2734

languages spoken

english - native mandarin chinese- Advanced swedish - intermediate

degrees achieved

bachelor of design architecture studies first class honours

univesity attended

queensland university of technology, brisbane-australia

academic interests

digital fabrication parametric design permaculture timber architecture alternative building methods vernacular architecture emergency shelters

personal

leather craft bee keeping wood craft rock climbing natural building ukulele cross-country ice skating analogue photography

favourite quote

“Everyone must believe in something. I believe I’ll go canoeing.” - henry david thoreau

instruments played

ukulele, dulcimer, charango

contact details address

skrinvägen 41 enskede 12244 sweden

email

jordanlane@gmail.com

mobile

0700625003

twitter

@_jordanlane

and... this portfolio is interactive. qr codes have been used to link content. if you have a qr code reader, we’re all good. if not you can download one from http://keremerkan.net/qr-code-and-2d-code-generator/

master’s programme of architecture - kth stockholm


2

2011

jordan lane

4rd year architectural design

project statement Reality of the Virtual

project

project 1 - where is the place?

Virtual reality, in the contemporary understanding of the term, is a rather miserable idea – to simply reproduce, in an artificial digital medium, our experience of reality.

subject

dab810 - virtual theme group

format

group work

In discussing the replacement of the original by the copy, virtual reality is severed from its relationship to the natural world. Enchantment, ritual, and other elements associated with the contextual integration of the natural world are displaced by technologies of reproduction. That is to say, “I guess you just had to be there!?”

tutor

robert takken

lecturer

yasu santo

description

This was a group project to inform individual projects that follow. The unit was split into theme groups. I was in a Virtual theme group. Meaning we were to deal with an architecture that only exists within virtual space. It was a real mind-fuck. But worth it.

Far more interesting, then, is the notion of the reality of the virtual; producing real effects generated using something that does not yet fully exist, integrated as an extension, not a replacement to the natural world. “Virtual worlds should not be seen as an alternative to the real world, or a substitute, but as an extra dimension which allows us a new freedom of movement in the natural world.” Prof. John Frazer. Applying semiotic theory to Australia’s system of government provides a framework to introduce opportunities that could arise as a result of digital technologies. Government is a system, within the larger meta-system of signs that represent Australia. Government operates through agencies. These agencies use different media of communication to engage the public. Each of these media can be simplified into basic channels of human sensory experience – visual, auditory, linguistic and tactile. Each medium, and therefore agency, is constrained by the channels they use. The effectiveness of government is ultimately limited by the efficiency of these channels and how they are used to relay information. Therefore, it may be possible to improve bilateral communication between government and the Australian public, by addressing issues such as accountability, empowerment, engagement and efficiency. The use of digital technologies will enhance the effectiveness of these channels, enabling public access to a dimension beyond the natural world, providing new freedoms of movement and opportunity.


3

jordan lane

scan for blog!

d n a

d n a

2011

4th year architectural design

project 2 - the floating signifier

subject

dab810

format

individual

tutor

robert takken

lecturer

yasu santo

description

Project Question: Design a Virtual Australian Parliament that is grounded in the characteristics of indeterminacy and generated with digital technologies. Produce an architecture that does not contain or legitimise an already given or embodied sign system, where form and space could be proposed from an idea that lies within a fluid process of becoming and duration, and of space and time. I proposed an agency that deals with the Digital Afterlife. What happens to us when we die? What happens to our digital legacy? You can find all of my thoughts on my blog. Scan the blog QR code above and enjoy! My final presentation can be seen by scanning the video QR code.

physical access control

agency management

producer

project

student_jordan lane// unit_dab810_2011// theme_virtual 02// tutor_robert takken//

ingest

postmortem.

scan for video!

digital native archive establish standards + policies

agency//

manage system configuration

dna [digital native archive] is a proposed agency within the australian government. it is a future projection of an addition to the current state government facilitated births, deaths + marriages registries could evolve to represent. preservation planning

database.pm

d n a

archival information update

consumer

media.am

submission agreement

digital possessions form a rich collection that chronicles our lives and connects us to each other. dna fosters these connections. data is represented to show relationships, offer clues and provide contextual understanding at both individual + national levels.

postmortem mortality line antemortem

postmortem_pm// antemortem_am// dna is divided by the mortality line. this indeterminate line places services and resources on both sides of the digital afterlife, respective to the producer and consumer.

activate requests

customer service

access

in its simplest form, dna is a virtual summation of individual digital legacies.

_data base postmortem [pm] provides archival space, ensuring long term preservation of data. _media antemortem [am] provides the virtual space in which a consumer can interact with dna.

fig 1.0_functions of dna administration + agency

preservation planning aip

producer_ indivuduals [deceased], digital heirs, or digital executors, who provide the data to be preserved consumer_ individuals, or client systems, who interact with dna services to find preserved data of interest and to access that information

aip

d n a

ingest

producer

data base.pm

definitions//

access

consumer

sip_

sip

dip rip

media.am

aip_

rip

rip_ dip_

[archival information package] the content information and the associated preser vation description information, which is preserved within dna. [submission information package] delivered by the producer to dna for use in the construction of one or more aips. [relative information package] an individuals digital legacy. a summation of the digital assets submitted and processed through dna [dissemination information package] data derived from one or more aips, received by the consumer in response to a request to dna

admininstration

agency fig 2.0_environmental model of dna data base.pm

rip// each individual within dna is represented by a rip [relative information package] this is an individuals digital legacy and a summation of their digital assets. within the virtual space of media.am, consumers interact with rip’s to find data of interest + to access that


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jordan lane

scan for book! 2011

4th year architectural design

project

project 2 - interim design proposal

subject

dab710

format

individual

tutor

robert takken

lecturer

glenda caldwell

description

This project was the interim presentation for the vertical farm. My proposal was a personal fabrication farm + factory. Scan the QR code to see the entire research diary complete with images and references.


5

jordan lane 1 -

NORTH ELEVATION 1:50

2 -

EAST ELEVATION

4 -

WEST ELEVATION

Benefits and barriers: A qualitative study of Micro-homes in the urban consolidation of Brisbane.

1:50

Micro-homes 3 -

SOUTH ELEVATION 1:50

ph+61 0413 589 191 // +61 0413 165 909 urbanhuts@live.com www.urbanhuts.com specialising in custom, pre-fabricated and kit form modular design buildings studios//granny flats//offices//showrooms//retreats//guest rooms//bungalows//

JOEL ALCORN, GERALD BERTRAND, JORDAN LANE and DAMIEN TAMMER

QUT School of Design, Faculty of Built Environment and Engineering, Queensland University of Technology

1:50

Project Name

ELEVATIONS

MODULE #3 V1

A05 Revision:

STREET ROAD CITY NAME

CONCEPT DESIGN

Benefits and Barriers: a study of Micro-homes in Brisbane

(Received May 2011)

Micro-home is defined as a “small, detached, self-contained house with all the amenities for one or two persons and is located on the property or the relatives or another person� joel alcorn gerald bertrand jordan lane damien tammer

DEB701 Design and Research

N6840779 N7628706 N5681235 N6831613

Lazarowich, N!M (1991). "Granny Flats in Canada". Journal of housing for the elderly , 7 (2),!p. 31.

Monday, 21 March 2011

Micro-homes

A05 Revision:

A05 Revision:

Our research aims to explore the possibility of as a viable option for increased urban density that fosters cohesive communities.

ABSTRACT Brisbane is ripe for change. Significant social and demographic trends are expected to have a major influence over the development of the city during the next few decades. This includes the continued population growth and subsequent housing shortage; the rising prominence of single person households and the implementation of current urban consolidation policies. So what are the options? What role can micro-homes play in the urban consolidation of Brisbane. Based on individual interviews conducted with nine participants, three each from within the building professional, home owner and microhome occupant subset, this research analyses the central benefits and barriers of the micro-home housing type. While previous research and literature has focused extensively on the issues of urban consolidation, high density living and the housing shortage, investigation into the housing types; in particular the micro-home, remains limited. Two primary benefits and barriers emerged from the study. Benefits noted were the ability of micro-homes to foster cohesive communities while also retaining usable green space, while barriers were perceived were the current planning policies and widespread suitability of the micro-home.

2011

4th year research

KEYWORDS: Micro-homes, urban consolidation, Brisbane

project

journal article

subject

deb701 design + research

1. Introduction

format

group - all writing completed by myself

tutor

cara wrigley

lecturer

evonne miller

description

As part of the final year, all design students had to conduct a research assignment and prepare a journal article on a chosen topic. Micro Homes - a qualitative study of micro-homes in the urban consolidation of Brisbane. Groups had to conduct qualitative research, using interviews and surveys to construct the basis of their research proposal.

(WHAT IS KNOWN) Population Growth

Housing Shortage As the demographic and social trends that have seen the one person household represent a quarter of all households continue to further expand (Wulff, 2001), the need to provide options within the urban consolidation of Brisbane will continue to prevail. Despite this steady growth in one person households, little research has been conducted into the role of micro-homes as a viable housing typology that can provide urban consolidation. The research shall attempt to differentiate qualitative data from three subsets in order to present a cross-sectional primary analysis of the current benefits and barriers to microhomes within the Brisbane context.


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jordan lane

scan for video! 2011

4rd year architectural design

project

facing the floods design charette

subject

dab710

format

group work

tutor

no tutor

lecturer

glenda caldwell

description

The Howard Smith Wharves is a neglected part of Brisbane’s urban fabric. The photo above shows our final crit presentation. Damien, Joel + I slept in shifts of 2 hours each the night before to complete the presentation boards. We all had an equal input and worked on all facets of the design, research and presentation. However I completed most of the work on the model as I had the most experience using the laser cutter..


7

jordan lane


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jordan lane

scan for book! 2011

project

perfact - personal fabrication factory

subject

dab710 - project 1 - 4th year design

format

individual

tutor

robert takken

lecturer

glenda caldwell

description

Personal manufacturing technologies will profoundly impact how we design, make, transport, and consume physical products. As manufacturing technologies follow the path from factory to home use, like personal computers, “personalised” manufacturing tools will enable consumers, schools and businesses to work and play in new ways. Emerging manufacturing technologies will usher in an industrial “evolution” that combines the best of mass and artisan production models. Set in Brisbane 2050, Perfact is a place for inspiration, creation and fabrication. Boasting a self-replicating structure manufactured on site, Perfact has become the cultural heart of the city, providing an ephemeral space that celebrates the path from inspiration to fabrication. Following the democratisation of design in the early 21st century, and the advent of universal molecular fabrication technologies, Perfact provides fabrication space, innovative space and public space in a single, ever changing entity. Welcome to Perfact 2050. The future is not what it used to be.


9

jordan lane

scan for video!


10

jordan lane

2011

model images

project

perfact - personal fabrication factory

subject

dab710 - project 1 - 4th year design

format

individual

tutor

robert takken

lecturer

glenda caldwell

description

This model was designed, laser cut and assembled by myself. The laser cut acrylic parts have been assembled without the use of glue. This was achieved through careful design and planning before cutting. The 3D Mรถbius strip was modelled using Grasshopper - a plugin for Rhino and then 3D printed in the workshop. The model is at a scale of 1:200.


11

jordan lane

scan for book!

Bouncing Back

RESILIENT DESIGN FOR BRISBANE

QUT 2nd & 4th Year Architecture 22 - 29 JULY 2011

2011

bouncing back exhibition

project

exhibition catalogue

client

qut school of design

format

individual

liaison

glenda caldwell

programs

adobe creative suite

description

This was my first publication.

TC Beirne Building Brunswick Street Mall Fortitude Valley

It is now part of the State Library of Queensland permanent collection. I was responsible for the graphic design and printing of the catalogue. As I can not fit all of the pages onto an A3, please scan the QR code and browse at your leisure.

BOUNCING BACK is an exhibition showcasing interpretations of urban resiliency by QUT’s

2nd and 4th year undergraduate architecture students. Students have been invited to explore the notion of ‘Bouncing Back’ from the 2011 Queensland floods, in the context of the contemporary Brisbane built environment. Design solutions have been expressed in a variety of forms including emergency shelters, flood-proof housing and a range of urban designs, addressing changing social, cultural, political, technological, and environmental conditions.

PRESENTED BY

GREENLEAF E

N

G

I

N

E

E

R

S


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jordan lane

2011

project

emergency shelter exhibition sydney

subject

extra-curricular

format

build + construct team

tutor

glenda caldwell

lecturer

glenda caldwell + lindy osborne

description

As well as exhibiting work for the Emergency Shelter Exhibition in the form of the “Hexabrellapod� project. I was invited to participate in the construction of one of the emergency shelters. A team of 10 QUT Architecture students - all who were exhibiting at the exhibition, worked for two days to construct the modulo shelter as designed by GreenLeaf Engineers. It was a rare opportunity to be able to be involved in the active process of making.


13

jordan lane front

medium t-shirt 510 x 740

front image

r. sleeve

E M E R G E N C Y S H E L T E R EXHIBITION

ww w. gr ee nl ea fe ng in ee rs .

E M E R G E N C Y S H E L T E R EXHIBITION

370mm x 280mm

370mm x 110mm

copyright design

LENGTH

JORDAN LANE llamadillo.com breeding thoughts Sizing (cm) S Width 46 Length 71

M 51 74

L 56 76

XL 61 79

2XL 66 81

3XL 71 84

WIDTH

That’s me in the back...sunglasses...in need of a haircut.

medium t-shirt 510 x 740

back

back image

2011

t-shirt - emergency shelter exhibition

subject

private work

format

individual

client

green leaf engineers

lecturer

glenda caldwell

description

I was asked to design a T-Shirt for GreenLeaf Engineers to be worn by the members of the emergency shelter build team at the Emergency Shelter Exhibition held in Sydney from 01-03 Septermber 2011. I had worked with GreenLeaf engineers as a sponsor of the Bouncing Back Exhibition. A relationship was formed and continues today.

GREENLEAF E

N

G

I

N

E

E

R

S

EMERGENCY SHELTER BUILD TEAM 2011 www.greenleafengineers.com

GREENLEAF E

N

G

I

N

E

E

R

S

EMERGENCY SHELTER BUILD TEAM 2011 www.greenleafengineers.com 370mm x 280mm

370mm x 110mm

copyright design

JORDAN LANE llamadillo.com breeding thoughts

LENGTH

project

l. sleeve

Sizing (cm) S Width 46 Length 71

WIDTH

M 51 74

L 56 76

XL 61 79

2XL 66 81

3XL 71 84


14

jordan lane

scan for entry! 2011

competition

sona superstudio 2011

time length

24 hours

format

group work

tutor

-

lecturer

-

description

Superstudio is a 24 hour ideas competition that values and fosters studio culture. Teams of 3 architecture students compete across Australian + New Zealand. Superstudio is run by SONA (the student organisation of our peak professional body, the Australian Institute of Architects).


15

jordan lane

2009

3rd year architectural design

project

howard smith wharves

subject

dab510

format

group work

tutor

glenda caldwell

lecturer

susan loh

description

The Howard Smith Wharves is a neglected part of Brisbane’s urban fabric. The photo above shows our final crit presentation. Damien, Joel + I slept in shifts of 2 hours each the night before to complete the presentation boards. We all had an equal input and worked on all facets of the design, research and presentation. However I completed most of the work on the model as I had the most experience using the laser cutter..

This is me. I had much shorter hair then. I wore a vest. I like vests.


16

jordan lane


jordan lane

17

| Carla

| Landscape | OneSeed

Cassie

| Interior

| GreenBean

PARKING DAY 09

scan for book!

COIN - VERBS FROM THE KERB BOUNDARY ST, WEST END

orkload

| Jordan

| Architecture | FootpathLibrary

k-w solowor

NT

ENJOYME

scan for video! 2009

3rd year architectural design

project

parking day

subject

deb610

format

group work - individual report

tutor

-

lecturer

sheona thomson

description

Collaborative design is studied by all design disciplines. In multi-disciplinary teams of 10, we were asked to create a meaningful installation for Parking Day. Our proposal was a kerb-side library that occupies a parking space on Brisbane streets for one day. You can find out more about Parking Day by scanning the Video QR code.

| Jordan Lane n5681235 |

To read my illustrated report, scan the Book QR code.

| deb610 collaboration report |


DAB530 INTEGRATED TECHNOLOGIES 2 :: SEMESTER 1 2009 :: DESIGN PROJECT :: JORDAN LANE

18

jordan lane

ELEVATION FROM GARDENS 1:2OO

ELEVATION FROM GEORGE ST. 1:2OO

KIOSK

KIOSK

GROUND FLOOR PLAN 1:2OO

ELEVATION FROM GEORGE ST. 1:2OO

ELEVATION FROM GARDENS 1:2OO

SITE PLAN 1:5OO

SECTION ALONG CONCRETE PYLON 1:100

KIOSK

SECTION THROUGH CONCRETE PYLON 1:100

KIOSK

GROUND FLOOR PLAN 1:2OO

SUSPENSION CABLES

COMPOSITE SUSPENSION BRIDGE AND PRE-TENSIONED CONCRETE ROOF ON PYLONS.

SITE PLAN 1:5OO

CONCRETE DEAD WEIGHT RESISTS WIND UPLIFT AND MINIMISES ROOF DEFORMATIONS UNDER UNBALANCED ROOF LOADS

SUSPENDED CABLES EFFECTIVELY RESIST GRAVITY LOAD IN TENSION

BUILDING STRUCTURE AND CONSTRUCTION SYSTEM

CONCRETE SLAB

SUSPENSION CABLES LATERAL THRUST RESISTED IN CONCRETE ROOF SLAB

TWO CONCRETE FRAMES SUPPORT 2 PARABOLIC CABLES FROM WHICH A FLAT CONCRETE ROOF – IN WAFFLE LIKE ARRANGEMENT TO LESSEN THE DEAD LOAD – IS SUSPENDED BY HANGERS.

CURVATURE COMPATIBLE WITH SPATIAL DESIGN OBJECTIVES

DIAGONAL BRACING

DIAGONAL STRUTS TIE SUSPENDED SLABS TOGETHER FOR ROTATIONAL STABILITY

CONCRETE ROOF CONSISTS OF PRE-TENSIONED CAST CONCRETE TO ALLOW FOR A LARGER SPAN.

STEEL ROOF PANELS

FLAT CONCRETE ROOF SUSPENDED BY HANGERS

CONCRETE FRAMES BRACED AS INVERTED Y'S FOR LATERAL STABILITY IN LENGTH DIRECTION.

Y SHAPED CONCRETE FRAME

ROOF BRACED WITH DIAGONAL STRUTS WHICH TIE SUSPENDED SLAB TOGETHER FOR ROTATIONAL STABILITY. TESSELLATED COMPOSITE STEEL ROOF PANELS SUSPENDED FROM THE SLAB PRE-TENSIONED CONCRETE ALLOWS FOR LONGER SPANS IN STRUCTURE AT DIFFERENT LENGTHS TO FLOOD STRUCTURE WITH NATURAL LIGHT AND PROVIDE A CONTRAST TO THE CONVENTIONALLY HEAVY FEELING OF CONCRETE.

2009

3rd year technology

project

project 1 - where is the place?

subject

dab530 integrated technologies 2

format

individual

tutor

-

lecturer

philip crowther

description

The brief for this project was to design a subway station proposed for the QUT campus. Focusing on construction and design we were asked to communicate a design and methods of construction.

BUILDING STRUCTURE AND CONSTRUCTION SYSTEM COMPOSITE SUSPENSION BRIDGE AND PRE-TENSIONED CONCRETE ROOF ON PYLONS.

CONCRETE FRAME PROVIDES STRUCTURAL INTEGRITY FOR SUSPENSION ROOF WHILE CREATING THE WALLS OF THE SUBWAY ENTRANCES SUSPENSION ROOF CALCULATED TO COMPLY WITH THE TENSILE PROPERTIES OF CABLES - BEING SPAN DIVIDED BY SAG FALLS BETWEEN 8 & 20.

SECTION ALONG CONCRETE PYLON 1:100

FRAMES BRACED AS INVERTED “Y” SHAPE FOR LATERAL STABILITY IN LENGTH DIRECTION CURVILINEAR ROOF FLOODED WITH NATURAL LIGHT TO CREATE A FLOATING INTERIOR SPACE

CONCRETE EDGE BEAMS SUPPORT CAST CONCRETE ROOF PANELS WIND BRACING AT BOTH ENDS RESIST LATERAL MOVEMENT

DETAIL SHOWING METHOD OF ROOF PANEL ATTACHMENT TO CONCRETE ROOF

REINFORCED CONCRETE TO INCREASE STRENGTH AND TENSILE STRENGTH

SECTION THROUGH CONCRETE PYLON 1:100

HORIZONTAL THRUST RESISTED BY CONCRETE INFRASTRUCTURES

DETAIL THROUGH CONCRETE PYLON SHOWING SUSPENDED CABLE TRANSFERRING LOAD TO GROUND THROUGH Y SHAPE MEMBER

SPREAD FOOTING - LARGER THAN STRUCTURAL MEMBER TO SPREAD LOAD OVER BEARING SOIL

SUSPENDED CABLES EFFECTIVELY RESIST GRAVITY LOAD IN TENSION

CONCRETE DEAD WEIGHT RESISTS WIND UPLIFT AND MINIMISES ROOF DEFORMATIONS UNDER UNBALANCED ROOF LOADS FUNCTIONAL INTEGRITY AND SYNERGY OF FORM AND STRUCTURE

SUSPENSION CABLES

SUSPENSION CABLES LATERAL THRUST RESISTED IN CONCRETE ROOF SLAB

CONCRETE SLAB


19

jordan lane

2009

third year - technology

project

office fitout

subject

dab425

format

group - individual roles

tutor

lindy osborne

lecturer

lindy osborne

description

In this project we worked in groups to produce a complete set of working drawings for an office fitout. In a group of 4 we had different rolese. I was the lighting consultant.

Copyright: All rights reserved. this work is copyright and cannot be reporduced or copied in any form or any means graphic, electric or mechanical, including photocoping without the written permission of Studio 5. Any licence, expressed or implied, to use this document for any purposewhatsoever is restricted to the forms of the agreements between Studio 5 and the enforcing party.

Notes:

Use figured dimensions only. Do not scale from drawing. Check all dimension on site for fabrication or setout. Refer any discrepencies to superintendent.

Revisions: Issue

Initial

...... ......

..... .....

Description ..... .....

Date ..... .....

This is an example of a reflected ceiling plan. There are of course other drawings in this set which I have not included in the portfolio.

NOTES Ceiling Grid 1200x600 Tubes between desk to run power from ceiling Tubes do not cross T-junctions

LEGEND 1200x300 FLURO RECESSED 600X600 FLURO RECESSED DOWNLIGHTS

CLIENT:

QUT School of Design

600X600 AC DUCT RETURN AIR GRILL SMOKE DETECTOR SPEAKER PROJECTOR DROP DOWN SCREEN PROJECTOR VIEW CONE

PROJECT:

Student Architecture Office Level 4 D Block

DRAWING TITLE:

Reflected Ceiling Plan

SCALE: ....................

Date Created:

Drawn By:

18-09-2009

Jordan Lane

Job No.

Drawing No.

Issue:

1

1

....................


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jordan lane

2009

3rd year architectural design

project

milton - mixed use

subject

dab610 - daylighting theme group

format

individual

tutor

dr. veronica garcia hansen

lecturer

susan loh

description

This project focused on sustainable mixed use development in the inner city Brisbane suburb of Milton. My proposal entailed a health hub. Focussed on holistic healing and good health, the design was guided by the principles of daylighting. In the visual communication I wanted to try an almost animated visual language with a restricted colour palette.


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jordan lane


22

jordan lane RIDGE CAPPING

RAFTER 100x35

CORRUGATED IRON WALL SHEETING

90x35 STUDS

35x35 TIMBER BATTENS

FLASHING

10mm PLASTERBOARD

20 0M IN

CORRUGATED IRON ROOF SHEETING

150x50 LINTEL

BRICK TIES

75x38 HWD BATTENS

90x35 TOP CHORD OF TRUSS

35x35 BATTENS @ 900 CENTRES

CB ROOF SHEETING

PITCHING PLATE BOLTED TO BOND BEAM

WEEP HOLE COURSE

FLASHING

GALVANISED LINTEL

SARKING

QUAD GUTTER

200 ROOF PITCH

PACKING

WINDOW

BOND BEAM

SARKING

LINTEL

50x50x8 ANGLE BOLTED 90x35 STUDS

SILL

50x25 BATTENS @ 600 CENTRES

WEEP HOLE COURSE

WINDOW

10mm PLASTERBOARD

FLASHING

SILL EXTERNAL BLOCKWORK BAGGED & PAINTED

SCALE 1:5

STUD WALL

75mm EXPOSED SLAB EDGE AS TERMITE BARRIER

REINFORCEMENT

BRICK TIES

450 LAP MIN

SECTION THROUGH OPENING WALL

SARKING

TIE DOWN ROD

REINFORCEMENT

TIE DOWN

SLAB SAND BED

100

RIDGE DETAIL SCALE 1:2

PATH

SAND BED

WATERPROOF MEMBRANE

PATH WATERPROOF MEMBRANE

BRICK VENEER WINDOW SECTION SCALE 1:10

CONCRETE BLOCK WINDOW SECTION SCALE 1:10

C

CORRUGATED IRON ROOF

2008

BARGE CAPPING

35x35 BATTENS

2nd year architectural theory BLOCKING

project

construction logbook

subject

dab435 architecutral technology 1

format

group project - individual drawings

tutor

-

lecturer

jack williamson

description

For this assessment a group of architecture students had to contact a builder/contractor and obtain access to a residential construction site.

90x45 STUD TOP PLATE NAIL BEAM TO POST 10mm PLASTERBOARD

19mm TIMBER CLADDING

90x45 STUD 6mm FC SHEETING

120x45 BEAM

10mm PLASTERBOARD

200 DIA POST

90x45 TIMBER STUD 90x45 TIMBER STUD

TIMBER FRAME CORNER DETAIL SCALE 1:5

TIMBER FRAME CORNER DETAIL SCALE 1:5

100x45 LINTEL

Site visits were conducted over the space of a few months with details and drawings recorded in a construction logbook.

CORRUGATED IRON ROOF

These drawings were part of a larger set of drawings submitted for assessment. All details have been reduced in size by 50%.

20

FLASHING OR BENT BLUE ORB 35x35 TIMBER BATTENS

REBATED HEAD JAMB BLOCKING 90x45 STUD REBATED DOOR JAMB

90x90 RAFTER @ 900 CRS

10mm PLASTERBOARD 10mm PLASTERBOARD

10mm PLASTERBOARD

35x35 TIMBER BATTENS

DOOR

100x45 BEAM

TIMBER FRAME CORNER DETAIL 450 SCALE 1:5

TIMBER FRAME CORNER DETAIL SCALE 1:5

SECTION THROUGH DOOR SCALE 1:2


23

jordan lane

The Site Connection

DAB525 ARCHITECTURE IN THE CITY :: Semester 1 2009 :: Jordan Lane :: n5681235

Sitting Landscapes

Sitting Landscapes White sails in the sunset glow a gentle orange as you come to rest upon sandstone steps. You are not alone. The sea birds flying ahead hint at the harbour just to your right, while the constant hum of conversations remind you of the groups of people dotted around you. You are on the steps of the Sydney Opera House.

Yet why have you decided to sit there?

So if elegant design and highly regarded architecture does not necessarily guarantee an activated landscape, what is it that attracts people to the gracefully simple steps of Piccadilly Circus and the Sydney Opera House?

Why out of all the niches in the city, have you been drawn to sit on the very modest steps of a – conventionally speaking – far more elegant and iconic structure? What is the connection between that environment and the city? What is its role? Fig. 1 Concourse 1:500

Fig. 3 Opera House Steps

Fig. 2 Piccadilly Circus 1:500

Fig. 4 Eros Statue

Before further analysis of the specific case studies however, it is important to define and consider the importance in creating a well used sitting landscape in relation to the city.

Conclusion

Sitting in the city

2nd year architectural theory

project

emergency shelter exhibition sydney

subject

dab525 architecutre + the city

format

individual

tutor

susan loh

lecturer

paul sanders

description

This project, both a written piece and a visual communication piece investigates the role of the sitting landscape as both architecture and artefact in the city context. Investigating the steps of the Sydney Opera House and Piccadilly circus in London, this project identifies the role of the sitting landscapes. This project is originally in A1 size. To give the project depth, the red outlines represent laser cut timber pieces which were assembled on the poster.

It comes down to a basic human instinct that wherever there is action in a place, the spots which are most inviting, are those high enough to give people a vantage point, and low enough to put them in action. (Fig. 11) It is therefore clear that most people will naturally try to take up a position a few feet above the action. The trouble is that this position will usually have the effect of removing a person from the action. This means that any places which are slightly elevated must also be within easy reach of passers-by, hence on circulation paths, and also directly accessible from below. (Alexander, 1997, p.604)

What is the connection between you and that exact place? Why are you there?

2008

However the opportunity to sit on a public “stage” does not guarantee its site success as a popular public space. Although seating should be available and made physically comfortable, the freedom to choose where to sit in a public space is more important to an individual than the comfort or aesthetics of a seat, this benefit, described by Whyte (1980, p.28) of social space is social comfort. So if social comfort means favourable conditions for moving about in and lingering in spaces, as well as those for participating in a wide range of social and recreational activities, what is it on a human level that connects us to the sitting landscapes?

At first glance it is easy to attribute the popularity of Piccadilly Circus and the Sydney Opera House as well used public spaces to their success as tourist destinations. (Fig. 2,4) Although being a strong contributing factor to their success, this is somewhat of a shallow assumption as the most attractive fountains, the most striking designs, cannot induce people to come and sit if there is no place to sit (Whyte, 1980, p. 28).

You are on the steps of Piccadilly Circus.

The act of sitting, as austere as it may seem, creates many important yet often overlooked demands on the fabric of a city. Gehl (1997, p.157), identifies the correlation between these demands and the ability for people to stay in the city, as only when opportunities for sitting exist can there be stays of any duration.

Likening the city to a stage is not a new concept, and not surprisingly when there are areas in public spaces which are slightly raised and very accessible, people naturally gravitate towards them (Alexander, 1977, p.604).

The Human Connection

A statue towers behind you, yet with it you are not concerned. Sitting on the top of ten octagonal steps, you watch the city float by on foot, wheel, rail, and the unmistakable red of double-decker buses. From here you can see most of the city, its circus, its people, its architecture.

What is the connection between that exact place and its surrounds? Why is it there?

Kostof (1992, p.123) claims streets and quays are primarily places of transit, capturing the public life in momentary pauses from a river of people in motion. He goes on to mention the public place, on the other hand, is a destination, a purpose built stage for ritual and interaction.

Fig. 5 Sydney Panorama

Piccadilly Circus and the Sydney Opera House are two fine examples of secondary seating patterns which provide people with a level of choice in sociability by offering an opportunity to arrange themselves into an infinite variety of social groupings.

Fig. 6 Piccadilly Circus Panorama

It is not without mention that the successes of these landscapes rest heavily upon the iconic nature of their surrounds, conversely the success of these structures rest greatly on the ability of their external elements to accommodate a diversity of activity on an elegantly simple landscape.

If these opportunities are few or bad, people just walk on by. This means not only that stays in public are brief, but also that many attractive and worthwhile outdoor activities are precluded. The existence of good opportunities for sitting paves the way for the numerous activities that are the prime attractions in public spaces.

While large expanses of hard open space or row upon row of benches can seem intimidating and unwelcome when only a few people are present, the capacity of sitting landscapes to allow people a vantage point high enough to observe the goings-on and low enough to put them in action.

The City Connection The iconic built forms of the Sydney Opera House and Piccadilly Circus provide instantly recognisable spatial qualities on very contrasting scales. (Fig. 5, 6.) However it is not the importance of these building forms on which this essay shall focus, rather their external spatial elements – the sitting landscapes of their steps – which arguably serve their cities on a much more frequent and personal level than the structures to which they are attached. (Fig. 7,8)

It is this flexible application of space that justifies their role in the architectural intent of the city.

Reference List Lynch, K. (1960). The image of the city. Cambridge: MIT Press. Gehl. J, (1987). Life between Buildings: Using Public Space. New York. Van Nostrand Reinhold Company Inc. Alexander, C., Ishikawa, S., Silverstein, M, Jacobson, M., FriksdahlKing, I., Anhgel, A., et al. (1977). A pattern Language. New York. Oxford University Press. Marcus, C. C., Francis, C. (Ed.) (1998). People places: design guidelines for urban space (2nd ed.). New York: John Wiley & Sons Inc. Gehl, J., Gemzøe, L. (2004) Public Spaces Public Life: Copenhagen. (3rd Ed.). Denmark: Narayana Press. Hall, E. (1969). The hidden dimension. New York: Doubleday. Mikami, Y, (2001). Utzon’s Sphere: Sydney Opera House. Tokyo Sjokokusha Carmona, M., de Magalhaes, C., & Hammond, L. (2008). Public Space: The management Dimension. New York Routledge

Although they are both visual centres of attention in their respective city settings, at first glance the stark contrasts of scale and architectural intent seem to overshadow any further similarities that may be drawn between the two. However there is a very strong connection between the two – they both provide a sitting landscape – multipurpose elements in city spaces such as a grand stairway arrangement that doubles as a lookout point, a monument, a fountain with a wide, terraced base, or any spatial element designed to serve more than one purpose at the same time. (Gehl, 1997, p.164)

Scale

Images

Piccadilly Circus, a very complex and busy traffic interchange provides ten very modest elevated octagonal steps leading up to the statue or Eros in its centre, accommodating up to 100 people at a time. (Fig. 2)

1. Kimami, Y., (2001) Utzon’s Sphere: Sydney Opera House. (p. 49) 2. Lane, J. (2009) “Piccadilly Circus 1:500" 3. Barton, R. “Opera House Steps.” Online image. Accessed 20 May 2009. <http://www.robbarton.com/Australia/index.html> 4. Kamata, I., “Eros Statue.” Online image. Accessed 12 May 2009. <http://commons.wikimedia.org/wiki/File:Shaftesbury_Memorial_an d_the_Statue_of_Anteros_at_Piccadilly_Circus.jpg> <http://commons.wikimedia.org/wiki/File:Piccadilly.circus.eros.arp.jp g> 5. Trotter, E. “Sydney Panorama.” Online image. Accessed 19 May 2009. <http://www.panoramio.com/photo/2033107> 6. Iliff, D. “Piccadilly Circus Panorama.” Online Image. Accessed 20 May 2009. <http://commons.wikimedia.org/wiki/File:Piccadilly_Circus_Panoram a_-_April_2007.jpg> 7. Flickr. “Opera House Montage” Online images. <www.flickr.com> 8. Flickr. “Piccadilly Circus Montage” Online images. <www.fickr.com> 9. Kimami, Y., (2001. Utzon’s Sphere: Sydney Opera House. (p. 51) 10. Lane, J. (2009) “Eros Statue Aerial 1:100" 11. Lane, J. (2009) “Analysis of sitting landscapes 1:100"

In comparison the Sydney Opera House provides more than 100 metres of continuous seating over more than 50 stepped intervals on its monolithic podium, which also doubles as an auditorium for open air events. (Fig. 1)

Fig. 7 Opera House Montage

Fig. 9 Opera House Aerial - no scale

Fig. 8 Piccadilly Circus Montage

Fig. 10 Eros Statue Aerial 1:100

Although there is obvious contrast in scale, on any given day there is a congenial interplay of activity upon both landscapes as people connect with each other, the site and the city. (Fig. 11) So why is it that this happens?

Fig. 11 Analysis of Sitting Landscapes 1:100

Fig. 11 Analysis of Sitting Landscapes 1:100


24

Continuous glucose Monito

jordan lane

Continuous glucose Monitoring

A continuou CGM - is a d glucose lev day. This de to 288 gluc every 24 ho test, such a fingerstick time.

non-invasive technology

A continuous glucose monitor CGM - is a device that measures glucose levels throughout the day. This device can provide up to 288 glucose measurements every 24 hours. A traditional test, such as testing via fingerstick is just a snapshot in time.

Bio-compatible interface Indicator Layer Circuit Sensor Hardware

By setting a target range for your desired glucose level, CGM allows the user to see what is happening between individual glucose meter tests. a subtle and passive colour alert system automatically lets you know when your glucose is outside the target level.

Waveguide - Core Detector

By setting a your desire CGM allows what is happ individual g a subtle an alert system you know wh outside the

Bio-implant inserted into bicep through keyhole outpatient procedure Situated in interstitial fluid -ISFPaired with monitor through wireless technology

CGM

CGM Docking Station

Level Display Button

Induction charge & wireless Receiver

Top

Induction Charge Dock Wireless receiver

9.8

Glucose Level Scroll Bar

4.5

2.

USB Port

Hubless Indicator

Side

Jordan Lane Style Transfer DNB201.2008

6

Power

Jordan Lane Style Transfer DNB201.2008

Sequence of use

Passive Glucose Monitoring System DANGER over RED

2008

first year industrial design

6 5.

Safe Level NEUTRAL

project

blood glucose monitor - style transfer

subject

dnb110

format

individual

tutor

llamadillo

lecturer

andrew scott

description

This project was a style transfer. We had to choose a designer from a list and then use their unique style as inspiration and direction for the design of a product.

activate button to see exact level displayed in hubless indicator

DANGER under BLUE

CGM

CGM

Jordan Lane Style Transfer DNB201.2008

Jordan Lane Style Transfer DNB201.2008

I chose a blood glucose monitor in the style of Luigi Colani.


25

jordan lane

r o l l i n g s t o n e s

L

i

c

k

s

Back of stage

Band entry

Band movement A stage & B Stage

Movement

Running lights

Of

&

led screens

2006

1st year digital communication

project

stadium design + representation

subject

deb201 - digital communication

format

individual

tutor

-

lecturer

stef gaard

description

I included this in my portfolio as it is my very first attempt at digital modeling and communication. We were taught to use Viz. A digital modelling package I have never used again. The project was to model a stage from a concert act, and communicate the different elements within the design. This was also my first attempt at visual communication by digital means...as you can see I had discovered the gradient tool and was very impressed with it.

Pod lights Movement of lighting fixtures

Structural Elements Speaker & lighting fixtures led Screens

Jordan lane DEB201 n5681235


26

jordan lane

scan for video!

GingerbreadHouse 2010 2010

just for fun!

project

gingergread house christmas 2010

scale

1:200

format

me + my girlfriend’s mother

materials

gingerbread

taste

yum!

description

1:200 model of the China National Pavilion at the 2010 Shanghai World Expo.

487.31mm 449.21mm 336.25mm

458.48mm

112.79mm

132.81mm

350.90mm

Each Christmas I have spent in Sweden I try to create a gingerbread house that reflects an event of the year. In 2010 I worked at the Shanghai World Expo as a guide in the Australian Pavilion. Therefore I decided to create the China Pavilion. I am also hoping to enter the Gingerbread House competition at the Architecture Museum of Stockholm this year.

496.58mm 11 x  451mm 10  x  416mm 10  x  380mm 9  x  345mm 8  x  309mm 12  x  273mm


27

jordan lane

2011

project

wallet

reason?

private work

format

individual

business

llamadillo

material

kangaroo leather

description

I designed this wallet in 2011. It is 100% vegetable tanned kangaroo leather. I laser cut the leather which also engraves the trademark of my company llamadilloâ&#x201E;˘ into the inside pocket. The wallet is assembled without glue or stitching and holds Australian currency and credit cards. I hold the design registration for this wallet in Australia and am in the process of registering it within the EU. I have other leather designs which I am working on, specifically a wallet designed for the larger format Swedish notes. Incidentally these will be available for sale soon.


28

jordan lane

llamadillo

mammalia class order artiodactlya xenarthra family camiladae lama genus species lama tricinctus S-19T5-r2

last recorded sighting feb 1913 Amboro, Bolivia

2011

project

llamadillo

subject

private work

format

individual

reason?

spread the llamadillo love

evolution?

llama + armadillo = llamadillo

description

This is a selection of images I have created for my llamadilloâ&#x201E;˘ brand. They range in media from hand drawn to photoshop and illustrator. I have included them here to show my creative interests outside the world of architecture. All images shown are copyrighted and the property of llamadilloâ&#x201E;˘


29

jordan lane

2009

project

cigar box ukulele

subject

private work

format

individual

reason?

peace, love + ukulele

genre

blues, hawaiian and folk tunes

description

I made a cigar box ukulele. It sounds like a cigar box. I laser cut the sound hole with a dias de los muertos motif. I put a pick up in. I can play it loud. I love my ukulele.


30

jordan lane

2010

project

analog photography 35mm

subject

private work

format

individual

location

china - yangshuo, cicheng + longji

camera

diana

description

Here is a cross section of photographs I took during my time working at the 2010 Shanghai World Expo. Needless to say these photos were taken far, far away from the crowds and craziness of expo. All shots were taken with 35mm film. No photoshop.

Jordan Lane - Portfolio  

My personal portfolio

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