ARCHITECTURE
DESIGN PORTFOLIO Apple Huang
CONTENTS
BIOMIMICRY
Virtual Environments_BEnvs (First Year) 2012
ACROSS CULTURES
Architecture Design Studio: Earth_BEnvs (First Year) 2012
STUDLEY PARK BOATHOUSE
Architecture Design Studio: Water_BEnvs (Second Year) 2013
LAND ART GENERATOR INITIATIVE
Architecture Design Studio: Air_BEnvs (Second Year) 2013
CASE STUDY: DANDENONG PRECINCT (HAYBALL ARCHITECTS) Construction Design_BEnvs (Second Year) 2013
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6
8
12
18
UNIVERSITY OF MELBOURNE ARCHIVES
22
OUTRE GALLERY
26
Architecture Design Studio: Fire_BEnvs (Third Year) 2014
Architecture Design Studio: Sparks_BEnvs (Third Year) 2014
TARRAWARRA HOTEL & SPA
30
COMPACT HOUSE
36
THE BACKHOUSIA
40
THE REGEN HOUSE
44
292 EXHIBITION STREET
52
CLARE TABLE
56
Master of Architecture Studio C 2016_Studio 24
Master of Architecture Studio D 2016_Studio 16
Master of Architecture Studio E 2017_Studio 13
Master of Architecture Studio: Thesis 2017_Nightingale Night Studio
Applied Construction_MArch (First Year) 2016
Ex-Lab: Digital Furniture Design_MArch (Second Year) 2017
BIOMIMICRY
PAPER WEARABLE LANTERN - 3D MODELING AND FABRICATION
Full journal can be viewed at www.issuu.com/applehuang 4
Biomimicry is a digital design project aims to study the capability of digital programming and fabrication. Over the course of the semester, the formation of snowflake was explored and developed both conceptually and visually. to create a wearable paper lantern. The process begins with the analysis of the chosen natural process along with the production of small scale plasticine representation. The model is then translated into NURBS via a 3D program called Rhinoceros and various experiments were made to the model along with important modifications prior to fabrication. The final digitised model was sent to the Fabrication Lab where it was then physically constructed to produce a full scale paper model.
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ACROSS CULTURES
DISCOVERY CENTRE - HERRING ISLAND, MELBOURNE
Across Cultures is a design project for a Discovery Centre and Place for Cultural Exchange which responds to the significant relationship formed between the aboriginals and colonists during the early settlement. This design aims to celebrate the reconciliation of these two cultures which are explored and symbolically represented through a series of spaces with the play of materials, form, manipulation of light and shade, tectonics and circulation. As a result, the architecture mainly focused on the play between the idea of ‘bridging’ and sharing of ideas across both cultures. Nature, being an important aspect to both cultures is used as the bridging component to reconnect the spaces. As visitors meander through the spaces, different experiences with the landscape are formed through the way physical elements of the buildings are designed.
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CONTENTS
STUDLEY PARK BOATHOUSE
LEARNING FROM THE MASTERS: ALVARO SIZA - KEW, MELBOURNE
Studley Park Boathouse is a design project that reflects the work and ideas of Alvaro Siza throughout his carreer. Based on Siza‘s idea of “planting into landscape”, this design revolves around relationships between the interior and exterior spaces through views, circulation and openings. The form and circulation of the people is governed by the visual experience around the building. Situated along the Yarra River in Kew, the site itself has a long history of bringing cultures and recreational purposes to the visitors. The visitors are guided throughout their journey in the building when moving from one function to another.
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9
GROUND FLOOR PLAN
10
SOUTH ELEVATION
NORT
FIRST FLOOR PLAN
TH ELEVATION
SECOND FLOOR PLAN
SECTION A-A
11
LAND ART GENERATOR INITIATIVE
PARAMETRIC DESIGN - COPENHAGEN, DENMARK
Studio Air is a design studio that explores the impact of computation on architectural design. The Land Art Generator Initiative is an annual design competition that aims to design and construct public art installations that have the added benefit of utility-scale clean energy generation. Throughout the course, we were to explore the functions and capability of a parametric program called Grasshopper. Responding to the site and the brief, my group and I have chosen to explore the idea of minimal surfacing and organic geometry to create a dynamic and interactive structure that exemplifies the context of contemporary design computation. Aligning with the vision of Copenhagen, our design aims to improve the space quality of the harbours which led to our idea of reconverting an unused industrial land to an attractive location as a harbour bath as well as spaces for leisure activities. The use of solar pond is chosen because it can be directly seen by the users and the use that it can proposed to our design intent of a community space. 12
Full journal can be viewed at www.issuu.com/applehuang
FOR M G E N E R AT ION
1
4
SITE ANALYSIS
TRIMING OF CURVES BASED ON SITE ANALYSIS
2
5
BOUNDARY AND POINTS
FORM GENERATION USING MILIPEDE PLUG-IN
3 D P R I N T E D MOD E LS
3
6
CURVES
INSERT FUNCTIONS
E N E RGY G E N E R AT ION - S OLA R P ON D
15
1
16
2
3
4
Constructibility was one of the main issue we had to explore with. We focused on the technicality of the fabrication method in terms of rigidity and structurally. Computation has allowed us to continuously change the elements of our prototypes when we encounter any issues during physical fabrication. For example, changing of scale has changed how the materials are connected. Computation has also broaden our knowledge in the use of 3D printing and has helped us to realise our form physically. We have also looked at how these prototypes can bring forward our idea of creating the sense of rediscovery through the play of shading and solidity.
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1. Pa n e l D et a i l 2 . P rotot yp e 1 - Pol yp ropyl e n e 3 . P rotot yp e 2 - A l u m i n u m S h e et 4 . P rotot yp e 3 - A c ryl i c 5 . P rotot yp e 4 - A c ryl i c ( 1 : 1 j oi nt d et a i l )
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17
CASE STUDY: Dandenong Education Precinct (Hayball Architects) Axonometric Drawing, Detail Drawing and Modelling
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19
20
Construction design is a subject that aims to study the relationship of construction details and the architects’ design intents. We were required to produce a 1:20 sectional model, 1:20 axonometric drawing and two detail drawings. In partnership with Tim Farrugia, this 1:20 model documents the construction assemblage, design intents, building functions and environmental sustainable design intentions.
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THE UNIVERSITY OF MELBOURNE ARCHIVES BRUNSWICK, MELBOURNE
An archive aims to not only preserve the past but also for the future. The present can be represented as a “bridge”, where ideas are being communicated and shared. The idea of ‘feeling in-between’, ‘transition’ and ‘connections’ are the metaphors of a ‘bridge’ which can be experienced throughout the design. The archive’s form is also reflected by the different building types that can be found across Brunswick, creating its own village within the site. Similarly, the finishes of the archive is chosen to reflect the past. The use of Terracotta Panels for the roof and facade aims to reconcile the Former Terracotta and Enamel Brickwork office further down the west end of Albert Street with the archive. The concrete, steel and timber finishes is challenged by the choice of material used for bridges. The subtleness of the materials helps to strengthen the idea of connection created by the roof and furthermore bringing calmness to the colourful and busy context of Brunswick.
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OUTRÉ GALLERY
GALLERY & RETAIL SPACE - BRUNSWICK, MELBOURNE
This design aims to reflect upon the current OutrĂŠ Gallery sitting along Elizabeth Street, Melbourne. Without having to include any ornamentation, this design accentuates the colours and composition form within it. The idea of using frames as an analogy to create a visual and sensual experience helps to reflects upon the importance of framing to the paintings of the gallery. The play with levels and its overlapping arrangement is used to create plenty of movement within the design, representing the dynamism of the paintings in the gallery. The notion of being able to catch a glimpse of each space from different angles represents the different perspective one forms when viewing a painting. The subtleness of the design reflects the atmosphere that was captured while being in the current gallery. The notion of the gallery sitting quietly yet boldly helps to create a space where users can escape from the vibrant and busy Sydney Road in Brunswick.
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TARRAWARRA HOTEL AND SPA Tarrawarra, Victoria
TarraWarra Hotel and Spa aims to create an experience of tranquility through allowing the engagement with natural environment. Vineyard and landscape are used to cover the currently barren site while the architecture sits quietly and allowing the nature to flow within it. The terraced form of the building aims to accommodate the sloping site as well as the growth of vines throughout the building. The study of Geoffrey Bawa’s works has led to the approach of creating long corridors, voids and courtyards inviting the penetration of sunlight, wing and views. The use of concrete not only gives a raw and textile finish but also providing its thermal properties to passively heat and cool the building. The low and cantilevered roofs aim to guide users to the desired view outside and also to protect from the exposure of strong wind and summer sun. The desire of users to be away from daily distractions is focused through enabling individuals to engage effortlessly with their surroundings. As said by Tadao Ando, “... architecture [do not] has to speak too much. It should remain silent and let nature be in the guise of sunlight and wind”. 30
Integrating with the site
Integrating landscape with architecture
Corridors and Courtyard
Solid and void relationship (connecting indoor and outdoor)
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GROUND FLOOR PLAN (HOTEL)
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LOWER GROUND 1 FL
LOOR PLAN (ANCILLARY)
LOWER GROUND 2 FLOOR PLAN (SPA)
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COMPACT HOUSE
St. Albans Stage 2 Development
T
PUBLIC COURTYARD
Challenging the homogeneity of housing development, St. A creates its own dynamic neighbourhood channeled through the mix of three housing typologies within each lot. Besides providing a sense of individuality to home owners, the breaking of building plots also creates extra public open space within its own community, allowing more interaction between users. Materiality is used to tie the three housing typologies together and soft boundaries are used to blur the division between private and public open space.
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T
TYPOLOGY 2 - GEN X
TYPOLOGY 3 - MULTIGEN
Views
TYPOLOGY 3 - MULTIGEN TYPOLOGY 2 - GEN X
Private and Public Green Space
TYPOLOGY 3 - MULTIGEN
37
TYPOLOGY 1 - GEN Y
Plot Size of 8m x 9m
Ground Floor Plan
North Facing Courtyard
First Floor Plan
With the site of just 72sqm, adaptability is the key allowing versatility of floor space depending on the need of use. Designed for young millennials, the house includes an innovative study/work space that also functions as a seating area for any social gatherings, a children’s play space that can be transformed into a guest bedroom and flexible dining/lining area.
38
Allowing Northern Sun to Floor Below
Division of Public to Private Spaces
Second Floor Plan
To reduce the use internal walls, staircase is use as soft divider between private and public spaces. The use of perforated mesh on the staircase also allow light to enter the floor below. The interior treatment is light and bright to to reflect light throughout the space, making the house feels larger.
39
THE BACKHOUSIA Melbourne, Victoria
The Backhousia is a food production hub cum wellness centre that features the Australian Lemon Myrtle (Backhousia Cirtriodora). Lemon Myrtle is known as an ornamental with abundant flowers and fragrant lemon-scented leaves that can be used not just for consumption but also in producing health and beauty products. By creating a public thoroughfare, users are able to witness the production process easily. The programs and design aim to offer the community a space to stop, sit, eat, play and relax in the busy urban setting. 40
Stacking programs Stacking of of programs - reduce noise from traffic reduce noise from traffic
compost
12 months
Fully mature at year 4
Life span of 30 years
Leaves are first harvested at 18 months
Used tea leaves as fertilizers
oil
dried
StackingStacking of programs of programs reduce noise from traffic reduce noise from traffic
health and beauty products
Public thoroughfare Public thoroughfare
spices and tea
Response to view and contour Response to view and contour
Stacking of Stacking programsof- programs reduce noisereduce from noise trafficfrom traffic
Public thoroughfare Public thoroughfare
Response toResponse view andtocontour view and contour
Access to first floor Access to first floor
Subtractions to createto create Subtractions courtyards and ochards courtyards and ochards
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REGEN HOUSE (NIGHTINGALE NIGHT SCHOOL) North Melbourne, Victoria
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Full journal can be viewed at www.issuu.com/applehuang
SENSES
PTSD
HYPERVIGILANT
ISOLATION
TRIGGERS
MEMORY
SIGHT
SOUND
VISUAL C O N N ECT I O N
SMELL
CHARRED
T Y P I C A L FA C A D E
FLASHBACK & NIGHTMARES
DISSOCIATIVE EXPERIENCES
PERMEABILITY
N AT U R A L
R EG E N H O U S E P R O S P ECT & REFUGE
FRUITS & HERBS
Can our everyday living quaters help to improve our community’s emotional well-being when added to their current medical and therapy programs? As ex-servicemens’ and womens’ homelessness continue to increase in Australia, mental well-being has been raised as one of the main cause. This Nightingale Model seeks to provide residential homes aiding in the recovery of those who suffer from PTSD through multi-sensory design approaches that encourage the regeneration of the mind and body.
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1
2
DRYBUG STREET
MUNST
ER TE R.
ARDEN STREET
3
4
1 2 3 4
G R O U N D F LO O R
0
1
1
4 3
BASEMENT 46
Gym Lobby Retail Bakery/Cafe Lobby
4
10M
2
5 1 2 3 4 5
0
Gym / Spa Workshop Waste Ro om Services Bi ke Stoarage
4
10M
47
6 7
5 3 1
1 2 3 4
Laundry Plant Room To o l S h e d Counseling Room 5 BBQ 6 Garden 7 Deck
4 2
ROOF
LV L 1 - LV L 3 48
0
4
10M
0
4
10M
49
2 BEDROOM 70 SQM 1 0 S Q M D EC K PRICE: $ 521,500
0 50
2
4
6
10M
51
292 EXHIBITION STREET Melbourne, Victoria
The form and orientation of the tower is developed through 3 main strategies; first, to maximise locational view towards the surrounding landmarks and sites (REB, Fitzroy Gardens & the CBD); second, to minimize impact of wind load on the building face by minimizing the surface area directly encountered with the prevailing North wind; and thirdly to encourage a platform for a social environment between the busy corner of Exhibition and La Trobe St. where the site marks the entrance into the CBD. The ascending crown sits above the skylounge, orientated to further enhance the aerodynamic nature of the tower and also acting as a wind barrier to the externally accessible skydeck. 52
C
1030
1760
A1
600 5400
9°
Mark
5400
Diagram
55
2620
50
TIP
RL +292.37
ROOF
RL +279.77
L54
SKY LOUNGE
PLANT ROOM
C2 Low rise 800 x 800 - 500 WC C3 Mid rise 700 x 700 - 400 WC C4 High rise 650 x 650 - 350 WC C5 Low rise 600 x 600 - 300 WC
C2
C6
EB
850mm (depth) x 500mm (width)
PT Concrete Edge beams
A1
PT Concrete Slab
200mm (depth)
A2
A1
60°
S
B1
PT Concrete Band beams
B1
G
Thickness
G
Low
B2
Level
00
600mm
30
Sky
E
300mm
30
3785
8100
6750
2
8100
15675
15675
1
2
A2 A2
E
A2
F
NOTE: STRUCTURAL GRID SPACING IS BASED ON A 1350mm MODULE
PRECAST PANEL MODULE PLAN (LOW RISE) NTS
cL
5
4
3
F
E
6
54295
TYPICAL STRUCTURAL FLOOR PLAN (CROWN) Scale 1:300 on A2
1760
600
5400
1030
4080
600 5400
9°
1030
1760
5400
55
80
9°
FFL +174.77
25°
cL
13
4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200
50
°
25
25
°
25°
cL
80
55
317000
FCL +177.47
2 A2.2
MODULE A1b
MODULE A1b
MODULE A1c
81
00
MODULE A1a
E
TYPICAL MODULE A1 (FINS AT 45°)
3
NTS
81
00
11185
F
G
D
81
00
FCL +177.47
EB cL 0
52325
C1
MODULE A2b
MODULE A2b
MODULE A2c
TYPICAL MODULE A2 (FINS AT 30°)
4
NTS
cL
C2
30°
1760
A
7395
8100
MODULE A2a
S
C2
81 13510
00
FCL +177.47
30
35 17
4200
°
67
20000
50
1
30°
1800
2
8100
6750
8100
RL +250.37
L47
RL +246.17
L46
RL +241.97
L45
RL +237.77
L44
RL +233.57
L43
RL +229.37
L42
RL +225.17
L41
SKY RISE
RL +216.77
L40
PLANT ROOM
RL +212.57
L39
RL +208.37
L38
RL +204.17
L37
RL +199.97
L36
RL +195.77
L35
RL +191.57
L34
RL +187.37
L33
RL +183.17
L32
RL +178.97
L31
RL +174.77
L30
RL +170.57
L29
RL +166.37
L28
RL +162.17
L27
RL +153.77
L26
RL +149.57
L25
RL +145.37
L24
RL +141.17
L23
RL +136.97
L22
RL +132.77
L21
RL +128.57
L20
RL +124.37
L19
RL +120.17
L18
RL +115.97
L17
RL +111.77
L16
RL +107.57
L15
1 A3.2
HIGH RISE
FIBRE GLASS PRECAST CONCRETE PANELS WITH WHITE PERFORATED STEEL
PLANT ROOM
FIBRE GLASS PRECAST CONCRETE PANELS WITH INFILL GLAZING (WHITE AGGREGATE FINISH)
STEEL MEGACOLUMN ENCASED IN CONCRETE (WHITE AGGREGATE FINISH)
RL +103.37
L14
MID RISE
RL +94.97
L13
PLANT ROOM
RL +90.77
L12
RL +86.57
L11
RL +82.37
L10
RL +78.17
L9
RL +73.97
L8
RL +69.77
L7
RL +65.57
L6
RL +61.37
L5
RL +57.17
L4
RL +52.97
L3
RL +48.77
L2
RL +44.57
L1
FIBRE GLASS PRECAST CONCRETE PANELS WITH INFILL GLAZING (WHITE AGGREGATE FINISH)
LOW RISE
4
3
MULLION FINS STRUCTURAL GLAZING TO PODIUM
15175
5
RL +24.57
FFL +174.77
6
54295
TYPICAL STRUCTURAL FLOOR PLAN (LOW RISE) Scale 1:300 on A2
L49
RL +254.57
L48
cL
cL
67 15175
cL
RL +258.77
4080
50
1
L50
RL +262.97
8400
81 30°
2980
FFL +174.77
4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200
00
09
11
PB
B
4080
H 20245 core
C
L51
8400
2
L52
MID RISE
00
400mm
L53
RL +267.17
8400
54
cL
High
2330 cL cL
50
cL
67
500mm
A2
95
18
Mid
RL +275.57 RL +271.37
LOW RISE
81
14960
CORE WALL SCHEDULE
A
FIBRE GLASS PRECAST CONCRETE CONCRETE ATTACHED TO TRUSSES
8400
C
Description
500mm (depth) x 1200mm (width)
4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200
16700 core 45650
00 81
C
Size
PB
A2
5965
Mark
C6
B2
B
NTS BEAM SCHEDULE
D
PV GLAZING WITH VERTICAL TRUSSES AND CROSS BRACING
12600
00 81
H
E
F
Crown E300 UC A2 A2
PRECAST PANEL MODULE PLAN (SKY, HIGH & MID RISE)
1
C
F
SKY RISE
E
G
4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200 4200
D
HIGH RISE
81
00
A2
CROWN
9030
G
F
A2
E
G
81 00
13
RL +337.37
B2
1350 x 2200 Megacolumn Concrete encased steel 2 x 600 WC
B1
cL
°
C1
°
25
25
cL
25°
25°
Description
A2
80
9°
A2
1030
A1
600 5400
C
B2
1760
80
55
COLUMN SCHEDULE
D
B1
2 A2.2
cL
0
5m
10m
MODULE Ea
20m
5
MODULE Eb
PODIUM
MODULE Ec
TYPICAL MODULE E (FINS AT 20°) NTS
GROUND
6
NORTH-WEST ELEVATION Scale 1:650 on A2
0
5m
10m
20m
40m
3
FFL +178.97
1500
50
NOMINAL 50MM CONSTRUCTION JOINT
FCL +177.47
MODULE PANEL
2700
4200
ROLLER BLINDS
419 CAPRAL FLUSHLINE DOUBLE GLAZED WINDOW
419 CAPRAL FLUSHLINE DOUBLE GLAZED WINDOW
WHITE AGGREGATE CONCRETE FINISH
FIBRE GLASS PRECAST CONCRETE PANELS
PRECAST PANEL MODULES IN WHITE AGGREGATE FINISH
FFL +174.77
CAST IN STEEL CLEATS FIXED TO SLAB
50
PT BAND AND EDGE BEAM
1500
50MM NOMIMAL CONSTRUCTION JOINT WITH MASTIC SEALANT AND FOAM BACKING ROD SMOKE SEAL (AIR SEAL) AND MINERAL FIBRE FIRESTOP
SUSPENDED CEILING
MODULE A1a
MODULE A1b
MODULE A1
MODULE A1b
800
MODULE A1c
MODULE A1
MODULE B1
ELEVATION DETAIL
1
3
Scale 1:50 on A2
Scale 1:50 on A2
D
C 1350
1350
1350
1350
1285
1350
1350
1350
8045 735
950
130
1225
130
1225
1015
White exposed aggregate concrete
50
800
200
50
3 735
2100 MODULE A1a
200
1250
200
MODULE A1b MODULE A1
2
PLAN DETAIL Scale 1:50 on A2
54
SECTION DETAIL
1250 MODULE A1b
200
2100 MODULE A1c
135
White performated steel (Plant Room)
Engaging with the raw expression of the exposed megacolumn, the glass-fibre reinforced concrete panels are pre-cast and installed onto the slab structure. The panels are sub-divided along the 1350mm structural grid, and are optimized for sun shading throughout each of the facades via fixed vertical fins. The in-fill double-glazed windows restricts the transmission of heat and sound, and the panel is finished with a white-aggregate mix for a light and elegant surface treatment. The architectural language of the skeletal aesthetics manifests itself up to the crown via the continuation of the mega-columns and exposed structural bracings, but still distinguishes itself from the rest of the structure.
3 E
D
1000
ROOF +44.57
FCL +43.57
FFL +36.65
1
3000
F2
A5.1
1000
FFL +40.57 DRIP EDGE
BAND BEAM
FCL +39.57
FCL +35.65
3000
F2
50MM NOM. GAP WITH MASTIC SEALANT AND FOAM BACKING ROD
FIBRE GLASS PRECAST CONCRETE PANEL
1000
FFL +36.57
FCL +35.57 2400
419 CAPRAL FLUSHLINE DOUBLE GLAZED WINDOW PACKER
F2
A5.1
1000
FCL +31.57
12MM PLASTERBOARD
CAST IN STEEL CLEATS FIXED TO SLAB
615
2
FFL +32.57
50
3000
F2
GROUT PATCHING
F2 CARPET OVER 8MM UNDERLAY
FFL +32.57
3000
7000
1000
4000
F2
FCL +31.57
SUSPENDED TIMBER CEILING
FFL+24.57 800
800
7300
EDGE COLUMN 2400
2400
2400
550
550
3700
SLIDING DOOR
ELEVATION
2
2400
REVOLVING DOOR AT 3700MM DIAM.
0
1m
2m
3m
5m
Scale 1:100 on A2
3
A5.1
2
Precast Panel to Concrete Slab Detail 7000
Scale 1:5 on A2 20MM TOUGHENED GLASS PILKINGTON 905J SLICEPLATE
E
d )
300X400MM BLACK POWDERCOATED ALUMINIUM FRAMED TO CONCEAL TRACK
24 05
81
00
24 00
PILKINGTON 905J TO FIN
24 00
TOUGHENED GLASS MULLION FIN
SLIDING DOOR
3000
55 0
F1
37 00
D
3
1:100 FALL
0
81 00
F1 55
FFL +24.57
24 0
0
F2
24 00
C SECTION DETAIL 3 Precast Panel Joint Scale 1:20Detail on A2 Scale 1:5 on A2
0
200mm
400mm
600mm
1m
3
Glass Podium Detail Scale 1:5 on A2
24
00
1
FINISHES SCHEDULE Label
Finish 1000x500x30mm black granite tiles
55
CLARE TABLE
Ex-Lab, Digital Furniture Fabrication, MSD
Photograph by Shawn Koh
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Full journal can be viewed at www.issuu.com/applehuang
Video can be viewed at https://youtu.be/HedZkvZj1SA
Consideration for the environment and the sustainability of specific actions is considered an incredibly hot topic for our generation and as a result I became intrigue with the potential to create a furniture out of waste material that is easily accessible everywhere. I have chosen plastics because they are known to be one of the biggest waste and can take over 1,000 years to break down. HDPE is a type of hard plastic that has a low-melting point of 175deg Celsius and they can be recycled safely and easily without producing any toxic fumes or liquid. 200 used HDPE plastic milk and shampoo bottles were collected from cafes and everyday households to create the piece. The plastics were cut into smaller pieces, fused and compressed together to create blank sheets as they become soft when heated. The blank sheets were then re-melted, compressed and moulded with a timber split mould that was made using the CNC machine.
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Photograph by Shawn Koh
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