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REMY MILES

PORTFOLIO


TABLE OF CONTENTS

03 MAPS AND DIAGRAMS

02 DESIGN PROJECTS

03|1

03|2

TEAM X: GRAPHIC MAP

HOUSE VI: DIAGRAMS


02|1

02|2

02|3

THE PERFECT ARCHITECTURE SCHOOL UTS, ULTIMO

KUNSTHAUS BREGENZ: TECTONIC PLAY BREGENZ, AUSTRIA

SUBMERSIBLE PAVILLION HOMEBUSH BAY

04 VISUAL COMMUNICATION

04|1

04|2

FLOODED HOUSE: AN ARCHI STORY

COCKATOO ISLAND INFOGRAPHIC


02.1

DESIGN PROJECTS THE PERFECT SCHOOL OF ARCHITECTURE The role of the perfect school of architecture is to equip students for the challenges facing the field of architecture. Students need to be problem solvers, and teaching needs to focus on developing critical thinking rather than teaching only technical skills. The perfect architcture school therefore undertakes an interdisciplinary apporach to learning where students intteract with a visiting school, and studios focus on interactions between architecture and other subjects such as the sciences. It is also important that the architecture school exists in a way that is transferable and accsesable to the public. “(WE SHOULD) TURN AWAY FROM THE STATIC COMMODITY DISPLAY IN FAVOUR OF A MORE DYNAMIC ENVIRONMENT OF ONGOING, INTERACTIVE MEANING AND PRODUCTION.” RELYEA, 2006


A

B

C

D

E

F

G

H

1

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N

SITE PLAN


A

B

C

D

E

F

LANEWAY 1

1

2

2 CAFE

INCUBATOR SPACE

3

3

4

4 INDOOR STREET

FLEXIBLE EVENT SPACE PUBLIC FORUM

ADMIN

5

5

SOCIAL SPACE

6

6 VOID SPACE MICROTOPIA

A

B

C

D

E

F

GROUND PLAN

N


A

B

C

D

E

F

1

1

1

2

2

2

3

3

3

4

4

4

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6

A

B

C

D

E

F

A

B

C

A

B

C

BASEMENT 2

A

B

C

BASEME

D

E

F

1

1

1

2

2

2

3

3

3

4

4

4

5

5

5

6

6

6

A

B

C

FIRST FLOOR

D

E

F

A

B

C

A

B

C

SECOND


D

E

A

F

1

E

C

E

F

1

2

2

2

3

3

3

4

4

4

5

5

5

6

6

A

F

B

C

ENT 1

D FLOOR

D

1

6

D

B

D

E

F

E

F

GROUND PLAN

D

D

E

E

A

F

F

B

C

D

1

1

1

2

2

2

3

3

3

4

4

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6

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6

A

B

C

D

THIRD FLOOR

E

F


A

B

C

D

E

F

1

1

2

2

3

3

4

4

5

5

6

6

A

B

C

D

FOURTH FLOOR SCALE 1:100

E

N

F


A

B

C

D

E

F

1

1

2

2

3

3

4

4

5

5

6

6

A

B

C

D

FIFTH FLOOR SCALE 1:100

E

N

F


CONCRETE ‘COLUMN’ 600X800 MM REINFORCED FORMED CONCRETE PART OF FACADE ‘STRING’ SYSTEM

1.

‘WAVED’ SUSPENDED CEILING

RETURN AIR

DETAILED ISONOMETRIC 2.

1.

MEETING ROOM/ GROUP WORK SPACE

2.

BREAKOUT SPACE

3.

MEETING ROOM FACILITATES GROUP WORK AND FACULTY/STUDENT MEETINGS

4.

CONNECTS TO VOID SPACE INCREASE IN AMBIENT DAYLIGHT

5.

FLEXIBLE FURNISHING

RADIANT COMPOSITE PIPE PROVIDES RADIANT HEATING AND COOLING


4.

3. Z

Z

Z 2 x 6 MM LAMINATED SAFTEY GLASS

STEEL FRAMING CURTAIN WALL CONSTRUCTION UNIVERSAL STEEL BEAM 140MM x 400MM

LOUVRES PROVIDE NATURAL VENTILATION AND MAKE USE OF STACKING EFFECT PRESENT IN VOID SPACE

CHILLED BEAM PROVIDES ACTIVE COOLING TO SPACE

FLEXIBLE FURNISHING

5.

RAISED FLOOR FIBREBOARD TILES 400MM x 400MM PEDESTAL SYSTEM FOR RAISED FLOOR 300 MM REINFORCED CONCRETE SLAB


02.2

CONSTRUCTION KUNSTHAUS BREGENZ TECTONIC MANIPULATION Zumthor’s Kunsthaus Bregenz, an art gallery in Bregenz, Austria, has the appearance of a glass, light box that is lit naturally during the day, lighting up the the town from within at night. However, despite its independent glass tile skin the building uses 2m deep ceiling cavities with suspended fluorescent lighting in order to emulate this unachievable experience of even daylighting throughout the building. The project pushes the boundaries of architectural formal resolution through a tactile manipulation of the glass façade system as a means of exploring the possibility of enhancing its use for daylighting. The interior non-structural walls are pushed out to allow greater access to natural lighting which subsequently causes the hung glass façade to ripple with the changing angle of the walls. In order to create this cascade of tiled glass our project centred around how to structurally realise this move through two elements of the building that were not originally structural.


1.

1.

2.

SHINGLED GLASS PANELS 712, 1.72 X 2.93 M LAMINATED SAFETY GLASS CONSISTING OF 2X10MM EXTRA WHITE FLOAT GLASS, 4 LAYERS OF FILM PVB 0.375MM,OUTER SIDE ETCHED

3.

TENSION CORDS CROSS BRACE STEEL FACADE FRAMING

4.

75MM STEEL SHS (WELDED)

5.

STEEL RIGGERS CONNECT FACADE FRAME TO CONCRETE WALL

5.

PERFORATED METAL CARTRIDGES

6.

INSULATION

7.

HEATING PIPES

8.

CONCRETE NON STRUCTURAL WALL

9.

DOUBLE GLAZED GLASS 2X6MM FLOAT GLASS

10.

FLUORESCENT LIGHTING SUSPENDED IN 2M DEEP CEILING TO REPLICATE EVEN DAYLIGHTING

11.

GLASS CEILING PANELS SIT WITHIN BLASTED CHROME CAST STEEL CLAMP

12.

POLISHED CONCRETE FLOORING

13.

CONCRETE FLOOR SLAB

2.

3.

4.

5.

7.

5.

FACADE GLASS PANEL CLIP ONE REPEATING ELEMENT ACROSS WHOLE FACADE

6.

8.

9.

10.

11.

12.

13.

11233 ADVANCED ARCHITCTURAL CONSTRUCTION AUTUMN 2015

KUNSTHAUS, BREGENZ PETER ZUMTHOR

DRAWING 01


SUSPENDED GLASS CEILING SMALLEST REPEATING COMPONENT: 4X GLASS TILES WITH ARTIFICIAL LIGHTING PATTERN

GLASS TILES 712, 1.72 X 2.93 M SMALLEST REPEATING COMPONENT: 4X GLASS SHINGLES WITH CLAMP.

FACADE STEEL FRAMING SMALLEST REPEATING COMPONENT: 1X STEEL STRUCTURE WITH CROSS BRACING

COMPONENT LOGIC

KUNSTHAUS IS CONSTRUCTED WITH A SERIES OF STANDARDISED COMPONENTS WHICH REPEAT THROUGHOUT THE BUILDING. THESE COMPONENTS HAVE A STRONG RELATIONSHIP WITH EACH OTHER SO THAT IF ONE IS MODIFIED ALL OTHERS ARE AFFECTED. THE STUDY OF THE BUILDING HAS BEEN DIVIDED INTO 4 COMPONENT SYSTEMS WHICH HAVE THE ABILITY TO BE MODIFIED. THESE ARE THE FACADE FRAMING SYSTEM, THE SHINGLED GLASS FACADE AND CLAMPS, THE ETCHED GLASS SUSPENDED CEILING AND THE CONCRETE WALL.

STRUCTURAL STEEL MEMBERS GLASS CEILING SUPPORT CHROME STEEL MILLED

STEEL CROSS BRACING

GLASS CLAMP BLASTED CHROME CAST STEEL

GLASS SHINGLE CLAMPS BLASTEDCHROME CAST STEEL

GLASS TILE

SKIN FRAMING SYSTEM LAMINATED SAFETY GLASS CONSISTING OF 2X10MM EXTRA WHITE FLOAT GLASS, 4 LAYERS OF FILM PVB0.375MM,OUTER SIDE ETCHED

SUSPENDED GLASS CEILING

DOUBLE GLAZING 2X6MM FLOAT GLASS HEATING PIPES

GLASS SHINGLE CLAMPS CHROME CAST STEEL

GLASS FRAMING PERFORATED METAL CARTRIDGES INSULATION

GLASS SHINGLE SYSTEM WITH CLAMP

11233 ADVANCED ARCHITCTURAL CONSTRUCTION AUTUMN 2015

GRACE DWYER 11714387 REMY MILES

CONCRETE NON-STRUCTURAL WALL

ENVELOPE

DRAWING 02 PARAMETRIC LOGICS: NOTATION


NON STRUCTURAL WALLS ARE ROTATED OUTWARDS WITH THE GREATEST ROTAION OCCURING AT AT THE SECOND FLOOR AND THE LEAT AT THE TOP. THIS IS DONE AS AN ATTEMPT TO ALLOW MORE NATURAL LIGHT INTO THE 2M METRE DEEP CEILINGS THAT CURRENTLY USE DEPTH AND FLURESCENT LIGHTING TO SIMULATE DAYLIGHT. CEILING EXTENDS TO WALL

DUE TO THE MODULAR REPETITIVE NATURE OF THE BUILDING HOWEVER SUCH A MOVE WILL IMPACT GREATLY ON THE BUILDINGS EXTERNAL PRESENCE AND CONSTRUCTION. NON STRUCTURAL WALLS

WALL IS SCALED UP TO KEEP IN LINE WITH CEILING

1.

2.

ORIGINAL

20

30

3.

ROTATED 20 DEGREES (4TH FLOOR)

ROTATED 30 DEGREES (3RD FLOOR)

37 45

4.

37 DEGREES (NOT USED)

5.

GLASS PANELLING AND FACADE FRAME ROTATE AND EXTEND UPWARDS IN RESPONSE TO WALL ROTATION.

ROTATED 45 DEGREES (SECOND FLOOR)

FRAME FOLLOWS GLASS

GLASS CONNECTS FROM TOP OF WALL TO TOP OF WALL INSTEAD OF AT TOP OF WALL TO BOTTOM OF FLOORPLATE. GLASS FACADE FRAME

GLASS FROM TOP OF WALL TO TOP OF WALL LARGER OPENING TO CEILING AS WALL ROTATES OUT GLASS PUSHES UP

1.

ORIGINAL

2.

3.

FACADE GLASS PANELS ARE ABLE TO FLOW ALONG THE ANGLED FACADE FRAME WITH GREATER VARIATION IN PANEL SIZES. THIS IS ENABLED THROUGH AN INCREASE IN UNEVENLY SPACED BRACING THAT TAKE INTO ACCOUNT THE NON UNIFORM PANELS. GLASS

1.

ORIGINAL FRAME UNIFORM PANELS

2.

3.

4.

5.

2.

3.

4.

5.

FACADE CLIP IS VERSITILE AND CAN BE APPLIED TO TO AN ANGLED FRAME AND STILL ENABLE SHINGLING OF GLASS PANELS AND FOR THE PANELS TO SLOPE AROUND CORNERS. FACADE CLIP

1.

ORIGINAL

11233 ADVANCED ARCHITCTURAL CONSTRUCTION AUTUMN 2015

KUNSTHAUS, BREGENZ PETER ZUMTHOR

DRAWING 03 PARAMETRIC CATALOGUE


11233 ADVANCED ARCHITCTURAL CONSTRUCTION AUTUMN 2015

KUNSTHAUS, BREGENZ PETER ZUMTHOR

DRAWING 05 PARAMETRIC LOGICS: REDEPLOY


1.

2.

FACADE GLASS PANEL CLIP ONE REPEATING ELEMENT ACROSS MAJORITY OF FACADE FACADE GLASS PANEL CLIP MODIFIED TO ACCOUNT FOR CHANGE IN ANGLE

3.

SHINGLED GLASS PANELS RANGE FROM 1720MM X 300MM - 1720MM X 1800MM LAMINATED SAFETY GLASS CONSISTING OF 2X10MM EXTRA WHITE FLOAT GLASS, 4 LAYERS OF FILM PVB 0.375MM,OUTER SIDE ETCHED

4.

75MM STEEL SHS (WELDED)

5.

TENSION CORDS CROSS BRACE STEEL FACADE FRAMING

6.

STEEL RIGGERS BOLTED INTO 300MM AND 150MM STEEL SHS

7.

300MM STEEL SQUARE HOLLOW SECTION FIXED TO CONCRETE WALL WITH PLATE

8.

150MM STEEL SQUARE HOLLOW SECTION WELDED TO 300 MM SHS

4.

9.

GLASS FRAMING SITS WITHIN 150MM SHS

10.

DOUBLE GLAZED GLASS 2X6MM FLOAT GLASS

11.

ALTERNATING 75MM AND 150MM STEEL SQUARE HOLLOW SECTIONS ARE WELDED TO 300MM STEEL SHS AND A PLATE THAT IS BOLTED BACK INTO FLOORSLAB.

12.

INSULATION

13.

HEATING PIPES

14.

450 MM CONCRETE NON STRUCTURAL WALL

15.

POLISHED CONCRETE FLOOR

16.

CONCRETE FLOORSLAB

17.

CEILING SUPPORT FIXES IN TO ALTERNATING 75MM/150MM STEEL SHS OR FLOORSLAB

18.

FLUORESCENT LIGHTING SUSPENDED IN 2M DEEP CEILING TO REPLICATE EVEN DAYLIGHTING

19.

GLASS CEILING PANELS SIT WITHIN BLASTED CHROME CAST STEEL CLAMP

5.

1.

3. 6.

17.

8. 9. 18. 10.

19.

7.

2.

13.

14.

12.

15.

11.

16.

2.

11233 ADVANCED ARCHITCTURAL CONSTRUCTION AUTUMN 2015

GRACE DWYER REMY MILES

DRAWING 06 TECTONIC RESOLUTION


02.3

DESIGN PROJECTS SUBMERSIBLE PAVILLION The submersible pavillion acts as the mobile arm of the observatory which can extend into the city in order to test and transform neglected waterfront spaces. It functions by floating around the city and connecting into the cities. Ferry-network. Once submerged, it can detect neglected spaces within the city and observe the differing social ecologies created without being observed in turn. Once the pavillion has chosen its next site, it re-emerges and docks in order to perform programatic experimenttion upon the site in order to understand the activites of the city, and the citizens response. This information can then be processed on site in the research offices, which collate collected information to be turned into architectural solutions.


3

1 4

6 5

7

8 9

10

11

3000 mm

2800 mm

2000 mm

1350 mm

800 mm

2800 mm

3000 mm

1500 mm

3100 mm

16 900 mm


SUBMERSIBLE PAVILLION Scale 1:50 at A1

11 500 mm

11 500 mm

1

RESEARCH DECK A

6

BEDROOM

2

RESEARCH DECK B

7

MECHANICAL ROOM

3

RESEARCH DECK C

8

STORAGE ROOM

4

RESEARCH DECK D

9

BALLAST

5

CONTROL DECK

10

BATTERY HATCH


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VISUAL COMMUNICATION TEAM 10 GRAPHIC MAPPING

03.1

Team Ten was a group of Architects who rose from the ashes of the CIAM conferences in 1953 after creating a schism within the organisation. Team Ten strongly diasgreed with the modernist doctrine of CIAM and sought to explore and create new forms of urbanism which prioritsed humanism within architecture. “A BUILDING IS MORE THAN THE SUM OF ITS FUNCTIONS; ARCHITECTURE HAS TO FACILITATE HUMAN ACTIVITY AND PROMOTE SOCIAL INTERACTION” ALDO VAN EYCK The Team Ten map provides a visual organisation of the meetings in chronological order, denoting the organisers and attendees, publications, projects, discussions and themes. Surrounding the meetings are a network of contextualising elements, participation of notable architects, projects and world events.


1950

1955

1960

METABOLISM: TOKYO INSTITUTE

KISHO KURAKAWA

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JAAP BAKEMA

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PRAGMATISM

NEDERLANDS

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03.2

VISUAL COMMUNICATION HOUSE VI: DIAGRAMS Peter Eisenman’s House VI is an architectural exploration of disorientation and slippage, subverting the notion of the traditional house. Each ‘move’ within the house becomes a record of the design process. “THEREFORE STRUCTURAL ELEMENTS, WERE REVEALED SO THAT THE CONSTRUCTION PROCESS WAS EVIDENT, BUT NOT ALWAYS UNDERSTOOD.” ADELYN PEREZ The series of diagrams below are based on Eisenman’s original axonometric drawings, and show the process of transformation through a series of structural shifts.


1.

‘the flood’

ENSUITE

The pipe in the upstairs ensuite ruptured and began to flood the house in the middle of the night. It soaked the carpet through to the ceiling downstairs, flowed down through the light fittings and pooled on the floor.

2.

‘the clean up’

After the water was turned off, the whole family was woken up to begin mopping up the spilled water and moving books and valuables to be dried.

3.

‘WATERFALL’

WHATS THAT NOISE?

KITCHEN

Whenever another memeber of the family uses the upstairs ensuite, the gurgling sounds of water rushing through the pipes can be heard in the kitchen below. It almost sounds as if the water is about to splash down on top of you.

4.

‘warped’

DINING ROOM

4.

‘Noises’

5.

‘heat’

The .grandfather clock that my Mother inherited from her Aunt was warped by the flood. It was taken to a restoration firm to be fixed, but now chimes off key. The floor boards were damaged from the flood, and needed to be dried out using industrial drying machines. These driers were very loud and interrupted most daily activites, like meal times and watching tv in lounge room. The ceiling was damaged, and the gyprock was removed which exposed the air conditioning ducts. One of the ducts was over the dinner table, and in the middle of winter one person was blasted with hot air while trying to enjoy their meal.


VISUAL COMMUNICATION THE FLOOD: AN ARCHI STORY

03.3

In 2014 my family home was flooded when a faucet in the upstairs bathroom burst. For months after that night, my family dealt with the consequences of living in a house that was in a state of constant decay and construction. The drawing opposite explores the physical and psychological effects that thses living conditions had on my family.


Supply GROUPS OF

MONDAY TUESDAY WEDNESDAY

WA

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275,000

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THURSDAY FRIDAY SATURDAY SUNDAY

156,000 BIENNALLE

20,000 CAMPERS

300

PER BUISNESS PER ORDER

OPERATED BY THE HARBOUR TRUST

Cockatoo Island PROHIBITED

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ALCOHOL*

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Preparation OVERNIGHT GUESTS

EVENTS

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TO ADVISE FOR ADEQUATE

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AGGRESSIVE BIRDS

Consumption

FEED



Remy Miles | Graduate Architecture Portfolio