Thicker walls are placed around th main areas of movement and to em
The elevator is the only vertical transportation in the buildin authorised people to the archive levels above.
ISABELLA ASCENZO PORTFOLIO
The art window public as the the glass wind
The final step.. letting go of the process and allowing the art to enrich others... the sadness of moving on. We start at the inception, we move to the process and we finish at either the display or the archive. The outcome cherished and never forgotten by those who pass by and more importantly by the artist.
1
ISABELLA ASCENZO Masters of Architecture at The University of Melbourne E: isabellaascenzo@hotmail.com P: 0421 158 272
2
CONTENTS:
Masters Of ArchitectureStudio Tilted 4
Studio Beyond Narrative 10
Studio Scavenger House 14
Applied Architectural Technology 28 Notes 32
3
STUDIO TILTED FIRST SEMESTER 2.0 The oppressed happiness and enriched thoughts lie beneath and are covered by the pain and suffering of the world.
2.1 Darkness of the mind taking over. We see nothing but pain and suffering until we come along a small paradise.
2.2
3
Brain flushing out the darkness. Sometimes we just have to look at something breathtaking and our lives are changed as our minds escape from the negative.
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DETAIL B (SECTION) SCALE 1:2
DETAIL A (PLAN) SCALE 1:2
"Can I see the paradise" where my troubles wash away.
drain the mind of all its worries.
every once in a while we find paradise
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2.3
The cherry blossoms representing Japan and how this small paradise brought love into the mind.
1 1 A brain filledwith troubles and darkness
7 The problems of all are dragged beneath
2 Paradise healing the mind- life in colour
8 Watch your sorrows pour through
3 Strong stance- strong connection to the city
9 The problems of those who lie behind
4 The city draws out the darkness
10 More vulnerable and petite stance
5 It flows down through the street
11 Sometimes we are left empty
6 It flows down and out- like water
12 The building name and number as shown
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"All by my side"
we all stand as one. we all cry the same tears.
DETAILED SECTION SCALE 1:20
NOTES: We stand and we ponder about the city and all that it comprises of,but do we know what lies behind walls and closed doors. We let our mind flood with thoughts, which are drawn away through the city... drained out like water through a downpipe. All our thoughts, all our emotions combined into one stream... one system. It is our thoughts, our emotions, our fears, our innovations and our problems that make up the solid grounds of the city... we flood her with our problens, but also our feelings of love and happiness. All in which make her grow.
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2
PROJECT TITLE:
19- IRO BY OKO EBOMBO
DRAWING TITLE:
DETAILED SECTION + DETAIL A & B
DATE:
31JULY 2017
DRAWN BY:
ISABELLA ASCENZO - 698687
SCALE:
AS STATED ABOVE
REVISION:
SHEET NO.:
1 1
INITIAL EXPERIMENTATION LEFT-
By capturing a moment within a music video we were able to create a section of a building we had no information about and create a scene that enabled us to develop further knwoledge on Tokyo, which is where the video was set. I chose to represent the artist and his connection with those behind the wall he was leaning on. A way of story telling through architecture and music.
RIGHT-
This piece was inspired by the 2002 Serpentine Pavilion by Toyo Ito. It enabled me to create a narrative inspired by the pavilion and capture this narrative through a render. This image tells the story of a woman who falls asleep in the pavilion and allows the light shining through each panel to slice through her in her dreams. The story telling component allowed me to explore the ways one can percieve and interact with architecture.
5
DESIGN FOR SHINJUKU-
FINAL DRAWINGS >
The final project focused on choosing a marginalised group in society and creating a space specifically for them. I chose the Souzou group in Japan, which is a group of artists who have cognitive disabilities and mental illness living in social housing. I specifically focused on one piece of art from one of the Souzou artists and formed my building around that. The building was seperated into three sections, the collaborative art space, the archive and the private art rooms.
UP
UP
DN
DN
15°
15°
15°
15°
UP
UP
DN 15°
DN
IV. ROOF PLAN
III. SECOND FLOOR
15°
P L A N >
15°
Each space had a story and I wanted my building to be shaped through each artists journey. The floor plan shows phenomenonlogy by outlining the inception phase of the artist that starts outside the realms of architetcure. It then shows them creating the art and its journey to the architve and/or the display window at the front. Line thicknesses indicates process time.
15°
II. FIRST FLOOR
15°
15°
I. GROUND FLOOR
廃墟
II. FIRST FLOOR
IV. ROOF PLAN
III. SECOND FLOOR
PROJECT
LOCATION
DRAWING
STUDIO 2 - TILTED
SHINJUKU, JAPAN
SCALE: 1:75
DRAWN: Iona & Isabella
MELBOURNE SCHOOL OF DESIGN
35°42′5″N 139°42′35″E
DATE: SEM2 2017
JOB No: 1
III. HAIKYO PROJECT
SHOP HOUSE #1
PLANS ISOMETRIC VIEW
HA.O1
I. GROUND FLOOR
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PROJECT
LOCATION
DRAWING
STUDIO 2 - TILTED
SHINJUKU, JAPAN
SCALE: 1:75
DRAWN: Iona & Isabella
MELBOURNE SCHOOL OF DESIGN
35°42′5″N 139°42′35″E
DATE: SEM2 2017
JOB No: 1
.O1
The Haikyo project was designed with a partner and it enabled us to design a building within our site of Shinjuku. Each building that was made created a small fictitious town. In this exercise we designed a samurai sword shop on the bottom floor and a residential space above.
L1 HIV E
E L 2
ARC 2
ARC HIV
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The architecture that has come from art thus shapes the art. The process and the appreciation... Where the art lives to forever create significance.
It starts with a wave, with a mountain or even with a cat in your dreams... Every art piece tells a story and every artist has a story to tell. The phenomonolgy is shown by stepping outside the concrete walls and into the imagination of the genius minds of the artists. The inception is the first step which pushes the mind to create and the architecture allows the artist to freely express these creations through flexible spaces and inspiring surroundings. The architecture must allow the artist to mould within the space and make it their own. F R O M inception - to creation - to archive 1. OPEN STUDIO- Shared and connected. Open and adaptable. 2. ARCHIVE - Heart of the building as well as acting as a transition space. 3. PRIVATE STUDIOS- For those who prefer to work alone.
THE JOURNEY OF THE DREAM It started from a dream he had where cats played at night in the laneways of old Shinjuku and then morphed back into humans to live their daily lives. Some remained in the in between stage- part-cat - part-human. From private studio space to display window and then to archive. His imagination but graces the minds of the public eye for one week before it jumps into a private space once again. A cat’s journey from inception to archive can take anywhere up to four months. HANA OF THE SEA Hana dreams of the loud crash of the waves and how they draw the water in and out as though they control the whole ocean. She draws inspiration from her fondest memories which were always at the beach. She is free at the beach, she is herself. See her waves through detailed pen work and water colour. With a creation time of around four weeks, her journey line is the thinnest. THE STRING OF THE MOUNTAIN Akari’s journey begins in the high mountains of Japan, which inspire her to create both large and small installations made out of cotton and wool. Her visit to Mount Norikura as a child sparked her love for the mountains smooth curves and how they gracefully fold into each other. A mountain’s beauty is in the detail. Order in the creation of detail and detail in the creation of order. Her journey is the longest and it can take up to a year for her to complete her pieces.
PROJECT TITLE:
THE ARTIST FROM INCEPTION TO ARCHIVE
DRAWING TITLE:
DETAILED PLAN
LOCATION:
SHINJUKU - JAPAN
SCALE:
1:75
7
The softness of the wool falls from the ceiling to create curves that perfectly immitate the mountains of Japan. Akari creates her maze of cotton thread and allows it to adapt to the space as though it were part of the art itself.
Always keep the luck of the cat near as it continues to inspire and drive an art so pure that it is unlike any other. An inspiration that drives Hattori to his genius.
The higher items are often forgotten but Hattori keeps his brushes up high to give them a sense of importance. His ladder always assists him in collecting his most prized possessions
Sewing Box - holds the smallest pieces to the puzzle. Contains pins, spare knitting needles, measuring tape, buttons, wire, pink fabric dye and thimble.
The mountains. Weaving the memory of its geometry through cotton thread. Showing its beauty through detailed line work. Time of production - two weeks. Stored in her cupboard as requested.
The human form taking on that of a cat. The graceful stretch of its slender body. The cat can deceive but it cannot hide its tail.
There is order in her cotton just like there is order in her design. It is about precision and detail. Each item is placed in a specific spot and and must never be moved.
A select colour palette ranging from pinks to greens. Each ball of yarn is replaced with the same exact colour once it has finished. After each day Akari organises the cupboard back to its desired state. Oil paints are Hattori’s specialty and the storage of such paints can never be systematic as they must imitate the sporadic nature of his art work and graphic style.
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1. The flowers that lay alongside Akari as she works, to inspire and sooth the mind through the artistic process.
5. The Pink Sewing Machine. Never been used but is crucial to the room and must never be removed.
2. The window is selective in only capturing what aids in creating beautiful art and shuts out any public interaction.
6. The custom timber joinery allows for a range of drawers, cupboards and work benches.
3. The hands of a master and the heart of a true Japanese artist. Akari’s eye for detail is unimaginable. She is the artist of perfection, the artist of solidarity and the artist of genius.
7. To craft what is real can bore but to delve into dreams can inspire. Hattori shows the world how chaos and combination can become something more than just art.
THE ARTIST
4. The layered plywood lines the room and seperates the space from the rest of the building creating a second skin of comfort and privacy.
8. The Birch trees that follow the form of the building grace Hattori’s view through his window.
FROM INCEPTION TO ARCHIVE
PROJECT TITLE:
DRAWING TITLE:
LOCATION:
SHINJUKU - JAPAN
DETAILED SECTION
SCALE:
1:10
This shows two artists in private art spaces and all the items they use to create their art. It also shows the medium they both use in order to produce their art work. This piece showcases the change in materiality within the building which allows the private space to be softer and a lot more enclosed. This stage highlights the process of art, after the inception phase.
The aluminium roof is shown along with battens and insulation but is concealed by the concrete walls around it which span higher than the roof structure.
The steel frame creates a structure for the pitched roof for the open art space, allowing natural light to penetrate from high windows above and still allowing the artists to work without people looking in from lower windows.
Thicker walls are placed around the archive and the circulation spaces to show the main areas of movement and to emphasise the core and transition space.
The elevator is the only vertical transportation in the building and it only transports authorised people to the archive levels above.
Treated timber paneling is attached to the pre cast concrete walls. The timber panels are connected through a series of fixings and brackets. The timber panels are only attached to the archive walls.
The internal walls are timber stud walls along with movable walls in the main studio space that are structurally made out of lighter materials such as alluminium.
The internal walls shift to create an ideal space. They transform with the artist each day and allow for collaboration and a freedon in creation.
The private studio spaces are lined in plywood sheets that form to the entire space, including the ceiling. The ply is attached to battens which secure it to the outter walls.
Steel column and beams act as the main structural members in areas that require it. The pre-cast concrete elements act as a structural system elsewhere.
The pre-cast concrete elements are connected through corrosion-resistant metal pins, as well as an outter sealant and backing rod. These connection lines are covered by the timber panels which accentuate the heart of the building.
The art window shows the piece of the week and creates a final stopping point for the public as the building is only accessible by the artists and workers. The wall behind the glass window allows for the art to be framed and blocks out any other view within.
The final step.. letting go of the process and allowing the art to enrich others... the sadness of moving on. We start at the inception, we move to the process and we finish at either the display or the archive. The outcome cherished and never forgotten by those who pass by and more importantly by the artist.
PROJECT TITLE:
THE ARTIST FROM INCEPTION TO ARCHIVE
DRAWING TITLE:
EXPLODED AXONOMETRIC
LOCATION:
SHINJUKU - JAPAN
SCALE:
1:100
The exploded axonometric shows the materiality of the building as well as the overall form and openings. This is the final drawing of the set and it showcases the final stage which is letting go of the art work after the process. Thus allowing the art work to grace others or to be preserved in the archive. 9
THIS STUDIO WORK WAS CHOSEN TO BE PUBLISHED IN THE UNIVERSITY OF MELBOURNE'S INFLECTION JOURNAL VOLUME 5- NOVEMBER 2018
STUDIO BEYOND NARRATIVE SECOND SEMESTER
"HOW TO SURVIVE ALEPPO"
(How to Survive Aleppo)
Bucket or Wheelbarrow to Mix In
Preferably melamine board for formwork as the concrete does not stick to it as much as other timbers. If this cannot be sourced it is okay to use other timber.
2 Litres of Water Per Bag of Cement
Trowel
Cement Mix
Melamine Timber
Approx. 110MM / C.O.S
Collect glass in any size you can find to place at the bottom of the mold. Thicker and larger pieces of glass found from shattered bottles are more ideal. Ensure entire base is covered for optimum results.
Ensure you wrap your hands in a cloth or wear gloves when handling glass and other dangerous objects.
This project began with choosing a wicked problem in the world and I decided to focus on the issue of war, and in particular the war happening in Aleppo, Syria. Through extensive research I began to develop an architecture that could aid those in the current war crisis. An architecture that aimed to improve the lives of those who chose to stay in their homeland. By researching the way enemies can attack innocent civilians it was found that infrared devices can be used to target areas with higher heat signals and thus I began to work on a way to combat these infrared devices.
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Create cement with mix and water. Ensure to not add too much water. A dryer cement is ideal. Mix with a trowel or something similar.
STEP 1: Brick Formwork
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Create a basic form work for the brick. Nail four pieces of timber to a base.
Basic form work can be created from any scrap timbers and a rectangular shape is ideal.
STEP 2: Place Glass into Formwork
STEP 3: Create Cement or Mud Mixture
The Mortar requires the same ingredients as the concrete but with different quantities and the addatives of sand and lime.
Sand
Mix cement mixture in a bucket and ensure it has been thoroughly combined. Ensure mixture is not too wet.
Tap each side a few times with a hammer in order to release air bubbles.
Place concrete into molds on top of the glass peices. The thicker the brick the longer it will take to cure but the more effective it will be.
LIME-
If lime can be sourced it is best to add 2 parts of lime to every 6 parts of mix in order to add strength to the mortar.
Place nails and fine pieces of metlas for reinforcement. Be sure to lodge it far in so that it is not petruding outward.
It was found that glass is the only material that does not allow infrared to penetrate through. From this I began to develop a brick that incorportated concrete (an easily accessible material with a low thermal lag) and salvaged glass pieces. When tested with an infrared gun it was found that my brick with two layers of glass pieces was the most effective against other materials to combat infrared.
Once it has set, the bricks should come out with ease. If not, you can pull the formwork apart. It’s the right consistency when the mortar sticks to the trowel at a 90 degree angle. 1 Bag of Sand or cement = 15-18 shovels of mix. 3 Parts Sand to 1 Part Cement
1 Bag of sand and cement mix should be mixed with around 11.5L of water
Place an extra layer of glass on top. Ensure glass in pushed into mixture and not sticking out. Apply Mortar to bricks and stack in a double skinned bond as shown in order to ensure extra strength.
The aim is to create a structure within the existing structures in order to create a second skin and an extra layer of comfort in a place that has turned cold and abandoned.
May the existing building guide you but may you paint your own path as you are creating your own future.
STEP 4: Mix Well and Pour Into Formwork
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STEP 5: Reinforce, Vibrate & Let Them Set
STEP 6: Mortar & Bond
MIX TOGETHER
This meant that structures made with my brick could allow civilians to rest, eat and receive aid overnight without being detected by unknown forces above. A series of "How to" guides were created so that the civilians had multiple guides on how they could build these shelters, depending on their resources. The shelters had been intended to be built in old places of gathering such as marketplaces and mosques. Overall this project aimed to empower the people that we had forgotten about- to give the upper hand to those who deserve it and need it.
SANDSTONE BRICKThe first style of form work takes two semi circular panels attached with posts to aonther panels.
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The post connections will vary in size but are recommended to not span more than half the width of the panels
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If you do not have a piece of timber large enough to make the full semi circle- small posts can be nailed in between elements N & O.
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MIN 1200MM
START TEMPERATURE 21.6 DEGREES
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5 MINUTES OF HEAT 33.8 DEGREES
10 MINUTES OF HEAT 37.6 DEGREES
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GLASSSizes will vary depending on the arch size. Ensure to use the arch as a guide and measure from there. These final elements brace the formwork on either side with the top of the arch.
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2 semi-circular pieces are needed, one for the front and one for the back to ensure secuirity
MIN 2000MM / C.O.S
M N L
M N L
M N L
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O Pieces L & M are nailed to the arch first.Followed by Q, N, O, N & P. Finally piece S is attached to brace the bottom.
Additional timber members elongating to the support posts
Nail the second arch cut out on top of the members that were added above. Ensure to nail each corner and especially on the spots where the letters Q, R, N & O are.
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MIN 1500MM
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The elements can be fixed toegther with rope, nails or a combination of the two. Any fastening material that is available will work as long as it joins the two elements tightly
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START TEMPERATURE 18.4 DEGREES
5 MINUTES OF HEAT 42.6 DEGREES
10 MINUTES OF HEAT 47.3 DEGREES
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PLYWOOD-
N N The bracing and formwork of the archway can take many forms. As shown in this other example all the same elements are used just expanded with extra memebers for a larger arch way.
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STEP 1.2: Shapes & Variations
STEP 1.1: Basic Arch Formwork
STEP 1.3: Assembling Arch Formwork START TEMPERATURE 16.2 DEGREES
5 MINUTES OF HEAT 32.3 DEGREES
10 MINUTES OF HEAT 34.2 DEGREES
5 MINUTES OF HEAT 36.6 DEGREES
10 MINUTES OF HEAT 43.7 DEGREES
PLASTERBOARD-
Try to place bricks in accordance to the radius of the semi circle
The top timber memebers are called laggings. They must be strong enough to hold the bricks above until they’ve set. When there is a lack of resources for timber props, the formwork can sit on the brick ledge. There are two layers of braced formwork placed together with a small peice of timber.
Any scrap peice that is large enough will work once nailed to the formwork from stage 1.3.
Wedges for Load Support
The laggings cover the entire formwork and are only pulled back to reitterate the structure underneath.
Stack the bricks in accordance with the arch
Horizontal Top Brace
START TEMPERATURE 17.3 DEGREES
The formwork is only temporary and therefore can vary. It must be removed once the bricks have set.
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Cross Bracing
1
This step shows the placement of the bricks and use of a different formwork style.
Stirdy Posts
By adding timber props you are able to build the adjacent wall in conjunction with the arch.
Be sure to brace the members so that they do not collapse as the bricks are setting.
STEP 1.4: Addition of Props to Formwork
CONCRETE BRICK-
Once the formwork is removed the bricks sit seamlessly into the wall.
Double skin brick to reinforce the arch and to further improve the thermal properties.
A close up of the ledge and how the arch can curve flush with the wall or have a slight instep as shown above.
STEP 1.5: Brick Placement Without Vertical Props
STEP 1.6: Brick Structure START TEMPERATURE 17.1 DEGREES
5 MINUTES OF HEAT 21.3 DEGREES
10 MINUTES OF HEAT 27.4 DEGREES
CONCRETE BRICKS WITH LARGE PIECES OF GLASS-
START TEMPERATURE 16.7 DEGREES
5 MINUTES OF HEAT 17.4 DEGREES
10 MINUTES OF HEAT 18.1 DEGREES
CONCRETE BRICKS WITH SMALL PIECES OF GLASS-
START TEMPERATURE 19.3 DEGREES
10 MINUTES OF HEAT 23.6 DEGREES
TEMPERATURE ON HOT SIDE / INTERNAL SIDE - 39.6 DEGREES
DOUBLE CONCRETE BRICKS WITH LARGE PIECES OF GLASS-
START TEMPERATURE 18.8 DEGREES
10 MINUTES OF HEAT 22 DEGREES
15 MINUTES OF HEAT 22.2 DEGREES
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DOUBLE CONCRETE BRICKS-
Diameter Min 5000mm Radius Min 2500mm
Measure out circle by placing a spot on the floor and spanning out a distance with a piece of string or rope.
Domes require a lot of forwork and tecnique as shown in this diagram, but if timber and materials are scarse for formwork there are other ways
90 Degrees
90 Degrees START TEMPERATURE 18.8 DEGREES
We can learn a lot from the shape of this formwork without actually using it. In the next steps try and mimic the shape as you create a beehive dome.
10 MINUTES OF HEAT 22 DEGREES
15 MINUTES OF HEAT 22.2 DEGREES
GLASS COMPARED TO CONCRETE TEMPERATURE5 MINUTES DIRECT HEAT
10 MINUTES DIRECT HEAT
15 MINUTES DIRECT HEAT
R N
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Ensure that the adjustable arm sits at 90 degrees when rested against the bricks sitting at every 90 degree angle from the center.
P
Brick bond to ensure that it is stable and follows the circular shape of a dome. Place prop to check that the brick sits 90 degrees to the adjustable arm.
N N
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M S
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Stack bricks around center following radius, each layer at a time. Use the measured grid to make sure cirlce remains consistent.
Although domes do not need formwork, arches always do and therefore openings require some basic formwork. Build and layer inwards- use prop to apply preasure to brick and to hold in place.
STEP 2.1: Domes- Learning from Formwork
STEP 2.2: Beehive Domes - Minimal Formwork
STEP 2.3: Placement of Bricks TEMPERATURE ON HOT SIDE / INTERNAL SIDE - 39.6 DEGREES
MATERIAL ANALYSIS | CONCLUSION Each material is rated based on its ability to absorb the least amount of heat throughout the given tests, where the highest rated is the most effective: Beehive domes are one of the simplest forms of construction in terms of domes and although they require small props tokeep it in tacts whilst curing, they are easy to produce.
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If you need to create a space with openings or a more open space due to ventilation, it is best to build Pendentive Domes.
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The prop can be created out of any scrap timber as long as the adjustable top arm is consistent with the radius.
1. Concrete Bricks with Large Pieces of Glass 2. Regular Concrete Bricks 3. Sandstone Bricks 4. Plywood 5. Plasterboard 6. Glass
The dome has been cut open to show the internal prop but each layer should be stacked one at a time in a circular motion, as mention in the above steps.
As concrete was the most effective material, it was tested as to weather double skinned options were more effective. It was found that the Concrete Bricks with Large Pieces of Glass were even more effective in this case in comparison to Regular Concrete Bricks. In conclusion, the use of double skin Concrete Bricks with Larger Pieces of Glass will be the best suited material for the given situation.
Ensure arm can be adjusted in height so that it can continue to prop up the bricks as the structure gets taller.
15 MINUTES OF HEAT 22.2 DEGREES
The prop needs a thick and sturdy foot that can be lodged into the ground or lodged into something that can sit into the ground without falling over.
GLASS & CONCRETE BRICK
Props can be quite simple as shown and can be held up by props if not lodged into the floor. The use of a prop or adjustable arm is needed in this method but it is a lot easier to build as you would have existing archways to rest on that have been built from the formwork developed in the previous how to steps.
Arches are created first and then the bricks are placed around in this method to create a Pendentive Dome.
STEP 2.4: Use of Pendentive Domes & Prop
STEP 2.5: How to Use Prop
STEP 2.6: Final Structure & Opening The Concrete Brick with Glass added performed the best out of every material tested, even against the regular concrete bricks. As shown here, theres an incredible difference in temperature between the Concrete Brick with Glass and the Plywood
PLYWOOD
The infrared testing was conducted on multiple building materials, showing that my glass brick creation was the most successful under different timed heat applications. The "How to"guides show the user how to make the brick as well as basic structures such as domes and arches. The guides show the user how to make stuctures both with and without formwork, in case materials are scarce.
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STUDIO SCAVENGER HOUSE THIRD SEMESTER
M I N I
GROUND FLOOR PLAN
MINI HOUSE
B:B DOWN
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The site for this dwelling was a very small patch of land located near a train station and behind 3 existing dwellings. The design began with creating a light well in the center of the building that focused on the existing trees and allowed natural ventilation and light to pervade throughout. I aimed to create a flexible dwelling by utilising large sliding doors to privatise and section off areas. The use of a multipurpise built in bed allowed for it to be a lounge space during the day and make shift bedroom at night. This dwelling aimed to play with light and shadows through large fluted glass sliding walls and doors, allowing it to become light filled as well as maintaing privacy.
SECTION A:A N
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SECTION B:B N
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ELEVATION 1
SCALE: 1:50
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ELEVATION 2
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SCALE: 1:50
3D VIEWS
NOT TO SCALE
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M I D I I S L A ELEVATION 1
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SITE PLAN
SCALE: 1:200
SCALE: 1:75 0
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STUDY DINING KITCHEN LIVING BATHROOM
6. LAUNDRY 7. BEDROOM 1 8. BATHROOM 2 9. BEDROOM 2 10.BEDROOM 3
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The site for this dwelling was the backyard of an existing dwelling in Glenroy. The aim for this design was to create an affordable dwelling for a family. Once again I focused my design around a tree, showcasing it in the living and lounge area, allowing natural light to pervade through the most used spaces of the home. The dwelling incorporated a sunken in study for the occupant to use as she worked from home. The small details in the home are showcased through section. This home aimed to be functional and practical for multi-generational families and also be a comfortable space to entertain and live in. The budget was maintained through materials such as recycled brick and synthetic timber for the exterior of the upper level.
ELEVATION 2 N
ELEVATION 4 0
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3D VIEW OF STUDY
SCALE: 1:75 5
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SCALE: 1:50 0
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M U L T I GROUND FLOOR
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FIRST FLOOR 1. 2. 3. 4. 5.
KITCHEN LAUNDRY BATHROOM 1 BEDROOM 1 LOUNGE
6. DINING 7. COURTYARD 8. MULTIPURPOSE SPACE 9. BATHROOM 2 10.BEDROOM 2
8 SECTION DETAIL 2
9
10
PLANS 0
1
2
5
N
SCALE 1:100
MULTI
For this final project I was appaointed a long front to back site and was required to create 6 dwellings for the client group of retirees. As the site is quite long my focus was to allow natural light to penetrate the entire site, so the design lead to large skylights on each dwelling. The inclusion of a large communal garden in the center of the site was also a crucual element to my design in order to create a communal and connected atmosphere. Lastly, I was given the material brick as a requirement and therefore decided to use glass bricks and create a pattern with both glass and red bricks. The glass bricks allowed natural light to penetrate through and create connections between dwellings, as well as playing with patterns and shadows. I aimed to create moments of stimulation within the building through interactive textured walls, playing with both memory and feel.
PLAN
FEELING THROUGH MATERIALITY... SPARKING MEMORY
Shared Garden Private Garden Form Finding
SKYLIGHT FORM FINDING
SITE PLAN 0
22
1 2
5
10
N
FEEL & TEXTURES
SCALE 1:200
GLASS BRICK TRANSITION
NORTH & SOUTH EAST & WEST
ELEVATIONS 0
10
5
1 2
SCALE 1:200
NORTH & SOUTH
ELEVATIONS 0
1 2
5
10
SECTION A:A
SECTION A:A 0 N 5 0
1
1
2
2
5
N
SCALE 1:200
SCALE 1:100
SCALE 1:100 23
SECTION B:B 0 24
1
2
5
N
SCALE 1:50
"INTERRACTION AND STIMULATION"
"LONESOME CONNECTION"
SECTION DETAIL
SCALE 1:20 25
N 26
ISOMETRIC
NOT TO SCALE
COMMUNAL GARDEN
NOT TO SCALE 27
APPLIED ARCHITECTURAL TECHNOLOGY SECOND SEMESTER - SKY SCRAPER DESIGN This group assignment was created in conjucntion with two other students where we designed a sky scraper and focused on the structual elements as well as an overall pleasing design for Melbourne's CBD. NOTES: LIFT CORE: The main core is square to allow for more efficient lettable area and measures 22 by 24 meters. The lifts are grouped to allow for the most efficient vertical transport. As the lift groups decrease up the building the structural integrity remains via a beam and columns system and/or shear walls when possible. The lifts are divided into groups that enable vertical transport for users to visit the low rise (1-14) , mid-rise(15-30), high rise(31-44) and sky rise(45-54) with the most efficient during peak hours. To allow for quality space the structure core will never exceeding 15 meters to allow for natural light to reach all parts of the lettable area. The podium is set backs to allow for the tree span, pedestrian comfort and city council regulations. The public space is curved down on the main pedestrian traffic intersection to encourage entry and podium height is designed to provide a comfortable scale for encouraged interaction with pedestrians and street frontage. NET LETTABLE AREA: With the current tower, most of the floor plates measure around 46 by 48 meters, which is a gross floor area of 2,208. In order to reach a net lettable area of 100,000 and an efficiency of 80% we need to have a total gross floor area of around 125,000. Given the current tower levels, the larger lower levels and the additional smaller high-rise levels, the gross floor area for our building comes in roughly at 127,766. This is slightly above the target of 80% and gives our building an average efficiency of around 82%. This thus gives us some freedom to manipulate some levels further along the track without impacting much on the efficiency. MECHANICAL FLOORS: The Mechanical Floors are double height to allow for services such as cooling towers and structural outrigging systems. Starting at the basement level, the mechanical floors are located at 20 floor increments. The mechanical levels are demonstrated in the section and model shown as double heighted levels at 10 Meters FFL. Each mechanical floor has the capacity to service ten floors below and ten floors above. In the sky rise levels of the building, the double height allows systems, plant rooms, maintenance and structure but will not be solely a mechanical level. VANITY HEIGHT | CROWN CONCEPT: The skyscrapers sky rise levels include a sloped atrium levels, that could be resident to a viewing deck or restaurant. The crown aims to wrap around the skyrise atrium at approximately 5 metres above the tower structure. The total height will be 296m and the total vanity height is 5m The building has a downwards sloped at the top of the structure, which is orientated north to subdue some of the northerly winds and give maximum access to natural park views and lighting. In the next stage of our design we aim to reduce lateral forces and wind pressures penetration by chamfering or curving the edges of the building’s footprint.
SKY RISE
LOW RISE
HIGH RISE
MID RISE
GROUND FLOOR 1:500
CORE LAYOUTS
SECTION 01 1:500
LOW RISE 1:500
MID RISE 1:500
HIGH RISE 1:500
SKY RISE 1:500
28 APPLIED ARCHITECTURE PRACTICE
GROUP A:
A1.1
VERTICAL CONSTRUCTION STRATEGY
STRUCTURAL CONCEPT & MODULARITY
29
ENVELOPE Level 58 RL 345000
TOWER FLOOR PLAN
Spandrel
Level 58 RL 335000
12000
Bolted Into Slab
Spandrel 01 HIGH RISE
SHADING SYSTEM WEST FACADE
EXTERNAL BRACING
VERTICAL FIN SHADING PROTECTION FROM DIRECT HEAT GAIN ON THE WESTERN FACADE FLUSH WITH BRACING FOR COHESIVE DESIGN
UNITISE FACADE SYSTEM
MID RISE
PIVOT CONNECTION
CROWN
Unitised System Facade
Level 54 RL 290000
Level 54 RL 290000
Level 53 RL 285000
Level 53 RL 285000
Level 52 RL 280000
Level 52 RL 280000
Level 51 RL 275000
Level 51 RL 275000
Level 50 RL 270000
Level 50 RL 270000
SKY RISE
Level 55 RL 300000
Level 49 RL 260000
Level 48 RL 250000
Level 47 RL 250000
Level 47 RL 250000
Level 46 RL 245000
Level 46 RL 245000
Level 45 RL 240000
Level 45 RL 240000
Level 44 RL 235000
Level 44 RL 235000
Level 43 RL 230000
Level 43 RL 230000
Level 42 RL 225000
Level 42 RL 225000
Level 41 RL 220000
Level 41 RL 220000
Level 40 RL 215000
Level 40 RL 215000
Level 38 RL 200000
Level 36 RL 190000
Level 35 RL 185000
Level 35 RL 185000
Level 34 RL 180000
Level 34 RL 180000
Level 33 RL 175000
Level 33 RL 175000
Level 32 RL 170000
Level 32 RL 170000
Level 31 RL 165000
Level 31 RL 165000
Level 30 RL 160000
Level 30 RL 160000
Level 29 RL 155000
Level 29 RL 155000
Level 28 RL 150000
Level 28 RL 150000
Level 27 RL 145000
Level 27 RL 145000
Level 26 RL 140000
Level 26 RL 140000
Level 25 RL 135000
Level 25 RL 135000
Level 24 RL 130000
Level 24 RL 130000
Level 23 RL 125000
Level 23 RL 125000
Level 20 RL 110000
Edge Beam in the Distance
Bolt Assembly
Double Glazed Silver Low E Argon Glass
Sill With Sill Cover
GLASS SYSTEMDOUBLE GLAZED SILVER LOW E ARGON GLASS FACADE
Transom
Level 38 RL 200000
Level 36 RL 190000
Double Glazed Glass Facade
Cast in Anchor
SCALE: 1:50 @A2 - CABLE TRUSS FACADE SYSTEM
03- CROWN SECTION SCALE: 1:50 @A2
INSIDE
OUTSIDE SUN RAYS
Poured Smoke Seal
INSIDE HEAT
Insulation
Monolithic Spandrel Glass
Concrete Slab Suspended Ceiling
Edge Beam
01- TYPICAL TOWER FACADE SECTION
Reflective Coat Applied to Reflect Suns Rays- Applied to North and West Facades 6mm Glass
GLASS SYSTEM
SCALE: 1:20 @A2 - UNITISED FACADE SYSTEM
DOUBLE GLAZED SILVER LOW E ARGON GLASS FACADE
Level 22 RL 120000
Low E Coating Minimises Heat Loss During Winter- Applied To All Facades
12mm Thick Sealed Air Cavity with Argon Gas
Level 21 RL 115000 Level 20 RL 110000
Level 19 RL 100000
Level 19 RL 100000
Level 18 RL 95000
Level 18 RL 95000
Level 17 RL 90000
Level 17 RL 90000
Level 16 RL 85000
Level 16 RL 85000
Level 15 RL 80000
Level 15 RL 80000
Level 14 RL 75000
Level 14 RL 75000
Level 13 RL 70000
Level 13 RL 70000
Level 12 RL 65000
Level 12 RL 65000
Level 11 RL 60000
Level 11 RL 60000
LOW RISE
LOW RISE
INSIDE OUTSIDE
Level 10 RL 55000 Level 9 RL 50000
Double Glazed Glass
Level 8 RL 45000 Level 7 RL 40000
Level 6 RL 35000
Level 6 RL 35000
Level 5 RL 30000
Level 5 RL 30000
Level 4 RL 25000
Level 4 RL 25000
Level 3 RL 20000
Level 3 RL 20000
Level 2 RL 15000
Level 2 RL 15000
Level 1 RL 10000
Level 1 RL 10000
Low E Coating Minimises Heat Loss During WinterApplied To All Facades
12mm Thick Sealed Air Cavity with Argon Gas
Spandrel Unitised System Facade with Operable Opening For Air Flow Air Flow Out External Brace System Craned on internally from building and fixed into panel below
Level 9 RL 50000
Level 7 RL 40000
6mm Glass
Fixing Bracket
Level 10 RL 55000
Level 8 RL 45000
Reflective Coat Applied to Reflect Suns Rays- Applied to Northa and West Facades
Unitised System Facade
Air Flow Inwards
Certain panels on each level have operable windows which allow for natural air to ventilate through and push out unwanted air naturally.
01
CABLE TRUSS FACADE SYSTEM
PODIUM
MAIN ROD TIE
Bolted Into Cables Slab
02- PODIUM SECTION
Spandrel which covers the edge beam and services
LOBBY FACADE
Certain panels on each level have operable windoes which allow for natural air to ventilate through and push out unwanted air naturally.
Main Tie Rod
Level 39 RL 205000
Level 37 RL 195000
Level 21 RL 115000
Air Flow Inwards
Set in Gasket Monolithic Gas
Level 37 RL 195000
Level 22 RL 120000
Mullion
Level 49 RL 260000
Level 48 RL 250000
Level 39 RL 205000
External Brace System
Level 56 RL 310000
Level 55 RL 300000
HIGH RISE
SKY RISE
12000
500
Level 57 RL 315000
Level 56 RL 310000
MID RISE
CROWN
Level 57 RL 315000
Unitised System Facade with Operable Opening For Air Flow Air Flow Out
Ground Floor RL 0
UNITISED FACADE SYSTEM
AUTOMATIC SLIDING DOOR
PRE-FABRICATED AND FIXED TO THE EDGE BEAM
NORTH ELEVATION 30
APPLIED ARCHITECTURAL TECHNOLOGY
SCALE:
0
10000
20000
GROUP A - TUTORIAL 17:
WEST ELEVATION
APPLIED ARCHITECTURAL TECHNOLOGY SCALE:
0
10000
20000
ASSIGNMENT 3: ENVELOPE
PASSIVE VENTILATION
OPERABLE WINDOW SYSTEM INTEGRATED WITH UNITISED SYSTEM (Not To Scale)
GROUP A - TUTORIAL 17:
ALEXIA BAIKIE, ISABELLA ASCENZO AND OLIVIA WETHERALL
A3.2
Spandr
Unitised S Operable
FACADE & MECHANICAL FLOOR Individual component
31
N O T E S : - Please note that on pages 22 to 23, the work under the subheading of "Group Project- Human Kaleidoscope" was created in conjunction with Ashlee Murphy, Yang Kaiqi and Nicholas Wilton (2016). - Please note that the work on page 6 was created in conjunction with Iona Orams (2017). - Please note that the work on pages 14-16 was created in conjunction with Alexia Baikie and Olivia Wetherall (2018).
32