site tec journal year 3

SITE TECTONICS TUTOR: CHEN YU CHUI LECTURER: NANO

ON

REPRESENTING

LANDSCAPE ARCHI AN EXPLORATION ON SITE ENGINEERING

STUDENT: DI SONG STUDENT NO:383403

ACKNOWLEDGEMENTS

MER M

TECTONI lating landscape, ra tion, drainage, built structures Special thanks should be given to m leading us to the final design but also beyond intellectual domain. Also, I shall group mate, Calvin and Sophia, for their p final design. EPIC COOPERATION!

This journal is a record of my progression understanding of SITE IC and the key themes it brought out in manipuanging from site grading, earth manipulas, substrates and digital modelling of site. my tutor Cho, for not only patiently o pass me knowledge that goes far l give my sincere thanks to my passionate devotions to the

PERFACE STUDY OUTCOME

grading (with heavy earth work); too steep a slope for visitors, questionable construction details; heavy cantilevers that go against gravity -due to modelling in a virtual world, people are easy to forget about gravity and create crazy unrealistic forms. Finally we solve the problems after weeks refinements under the instruction of our tutor.

The process of study is holistic yet step by steps. I loosely falls my study outcome in site tectonics during this semester into

Site tectonic, by proposing a design project that re-allocate Farnswort house to the local context of a Melbourne suburb, aims to enhance students ‘ knowledge of topography manipulation, site representation ( including 3 D modelling of large scale site), and fundamental landscape architecture detailing. I like it how I can learn site engineering knowledge through solving problems in a real design issue. During the design process, we faced the problems of unbalanced site

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three categories: 1. Slope manipulation on a large scale, for example: the experiences it creates for visitors (vertical gradient) 2.

Detailed slope manipulation such as water drainage and certain degree of embankment (horizontal gradient) 3. Materials and construction details of interface.

In terms of representing site, the digital software we used were: FOR 2D: autocad, rhino, illustrator, photoshop, indesign FOR 3D: revit, rhino, vray, lumion, photoshop, a bit 3Dmax

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CONTENT SITE TEC

ESQUISSE 1 ExTRudINg EmOTION

ESQUISSE 2 GENIS LOCI

ESQUISSE 3 ENCLOSURE

GETTING START WITH EARTH WORK - FILL

MERGE INTO LANDSCAPE –CUT

BALANCED EARTHWORK - CUT&FILL

•PRECEdENTs ANd REFlECTIONS ON LECTURES -----P9 •dEsIgN INTENTIONs----P10 •PlANs + sECTIONs-----P13 •PhysICAl mOdEl-------P18 •3 d REPREsENTINg------P20 •RElECTION ON FEEdbACk-----------------------------P21 •gOOd PRECEdENTs ExAmPLES FROM PEERS--------P21

•PRECEdENTs REsEARCh -------------------------P24 •FOldINg hOusE kENgO kumA -----------------P26 •NANyANgTECh uNI GREEN ROOF ---------P27 •INVIsIblE hOusE -----P24 PETER sTuTChbuRy •gENIs lOCI -----------P24 •dEsIgN INTENTIONs------------------------------P30 •PlANs + sECTIONs---P32 •PhysICAl mOdEl-----P37 •3 d REPREsENTINg----P36 •RElECTION ON FEEdbACk--------------------P36 •gOOd PRECEdENTs ExAmPlEs FROm PEERs--P38

•PRECEdENTs ANd REFlECTIONs ON lECTuREs----P40 •COuTyARd -------------P42 •RETAININg wAll--------P43 •EmbANkmENT-----------P46 •dEsIgN INTENTIONs----P48 •PlANs ------------------P52 •sECTIONs---------------P48 •PhysICAl mOdEl-----P54 •3 d REPREsENTINg ---P53 •RElECTION ON FEEdbACk---------------------------P56 •gOOd PRECEdENTs ExAmPlEs FROm PEERs-------P57

ESQUISSE 4 GRADIENTS

EsquIssE 5 DRAINAGE

FINAL DESIGN ROMANTIC EXPRESSION

RAMPS AND EXPERIENCES

DRAIN OUT VS. RETAIN= BEING GREEN

week’s refinements+ CONSTRUCTION DETAILS

•gRAdIENTs •CAlCulATION-----------------P57 •RAmP dEsIgN IssuE--------------------------P58 •dEsIgN INTENTIONs--------------------------P59 •PlANs + sECTIONs---------------------------P60 •PhysICAl mOdEl---P62 •3 d REPREsENTINg--P63 •RElECTION ON FEEdbACk------------------P63

•PRECEdENTs -------P69 •wATER & dEsIgN INTENTION-----------------P70 •CAllIgRAPhy ANd ChINESE GARDEN-------P71 •PlAN----------------P72 •ChINEsE CulTuRE & MIES------------------P73 •sECTIONs-----------P76 •3 d REPREsENTINg--P78 •RElECTION ON FEEdbACk------------------P79

•week9- form finding and CALLIGRAPHY EXPERIMENTS •week10 - refinement with CONSIDERATION OF PRECEDENTS •week11 - refinement with CONSIDERATION OF DETAILS •final design intentions •Plans + sections •Physical model •3 d rePresenting •relection on feedback

ESQUISSE 1

ESQUISSE 1 ExTRudINg EmOTION GETTING START WITH EARTH WORK - FILL Getting start with earth work - fill

•PRECEdENTs ANd REFlECTIONS ON LECTURES -----P9 •dEsIgN INTENTIONs----P10 •PlANs + sECTIONs-----P13 •PhysICAl mOdEl-------P18 •3 d REPREsENTINg------P20 •RElECTION ON FEEdbACk-----------------------------P21 •gOOd PRECEdENTs ExAmPLES FROM PEERS--------P21

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In order to strengthen the topic FILL in this week , the precedent we followed was the FALTHAUSFOLDED HOUSE by x ARChITEkTEN built in 2001. The building is considered as a statement of modern architecture and at the same time communicates with the rural settings it locates. The exterior form of the building is a folded ribbon with clear cut structure. The building offers ground floor access to the landscape garden at all levels and it develops horizontally an extruded cantilever language. This will provide privacy to the floated

space and offers cross views for people in the extruded room.

As according to the lecture , a building placed on site in a fill scenario will have deeper footings , and the base structure s in the earth are more prone to erosion with time. Thus Probably the reason why the house is rested on an exposure footing pile is because it doesn’t wanted to be graded into soil with a threat to be damanged. Here I see the importance of considering site work before designing built structure.

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ESQUISSE 1

•PRECEdENTs ANd REFlECTIONs ON lECTuREs

esquisse 1

•Design intentions PAVILION PLACEMENT

The Farnsworth main compound is placed across the valley (contour leve 1. To capitalize on the privacy given by a higher elevation of the nearby r 2. Use of the nearby slope in juxtoposition of orientation of the site to incre 3. Both deck and house are located above the maximum peak flood level PAVILION ORIENTATION 1. PASSIVE DESIGN CHARACTERS The main compound of the pavilion is to be placed perpendicular with the contour lines with major living area facing north, bedroom facing north-east, study room and office facing east, and kitchen facing south. The main entrance will be facing west with a big cantilever roof casting heavy shadow in shading summer western sunshine.

2. PRIVACY With the main structure floating the terrace, the living room win privacy. Deciduous trees are to planted over the west side of el platform in providing both visua passive design approach and p

SUMMER SUNSHINE BLOCKED OVERHAN

RAMP DOWN MAJOR ACCESSIBILITY VIEWS VEGETATION PROVIDE PRIVACY

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esquisse 1

els 8-12) has been chosen for two reasons. river. ease the experiential characteristics of the site. of nearby River in this site, which will essence the surrounding views.

3. RECREATIONAL FUNCTION g above The main body of the pavilion is cantilevered ns more and stretched out from the terrace. With a o be paramonic glass envolope, the building provides levated premium view to the owner.The long side of al interests, elevated platform is placed parallel to the the privacy. contour line. Thus the owner can sit along the edge of the platform and overview the surrounding sceneries.

E D BY ND

OVERHANG AREA IS A PRIVATE SPACE THAT PEOPLE CANNOT LOOK THROUGH AS IT WAS THE DISADVANTAGE OF FARNSWORTH HOUSE

RECREATIONAL ECREATIONAL VIEW VIEWS

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esquisse 1

•Plans + sections

B-B

A-A

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ESQUISSE 1

The grading plan did herein the first proposal was the first time I really pay attention to contours in a real design issue. I did architecture studio 2-water in last year, where the site has dramatically steep slope.

I designed my house without a proper consideration of the contours and nearly cut all the earth on site in forming a brand new flat site. I think, despite the site engineering knowledge this course want to teach us, another significant influence it gives me is to design according to the site condition , and especially give serious consideration on earth work.

lINEwEIghT CHART ExIsTINg CONTOuR

0.5

PROPOSED CONTOUR

0.75

sECTION mARk B-B

0.3

B-B

MARIBYRNONG WEST RIVERBANK PAVILION DRAWING TITLE AA

SCALE: 1:500 @ A4

PROPOSAL 1- FILL GRADING PLAN 13

ESQUISSE 1 B-B

A-A

CONTOURS WITH ROOF COVER

MARIBYRNONG WEST RIVERBANK PAVILION

DRAWING TITLE

SCALE: 1:500 @ A4

PROPOSAL 1- FILL GRADING PLAN 14

1.

Contours lines should be lighter on an interval of 5 meters according to drawing conventions. Thus, 5m and 10m contours should be thinner or lighter in colour to show difference from other contour lines.

2. lineweight issue: lineweight on plans and sections is always an important issue when drawing 2d representations. This class enables me to practice on adjusting lineweights and form my own palette to make my drawings look good. One thing that I misunderstood during the period of assignment 1 is that I thought this class was about contours and gradings, so I made contour lines thicker than the building outline. however, this is wrong. Though the class concerns contours, but contours should always be very light, because it’s something that doesn’t exist.

B-B

A-A

There are some confusing issue I didn’t make out during the first half of the semester: how to clearly show contours with the representation of the house? since when I put the building on the contours, the contour lines should be covered by the house, which might make my contours confusing with a broken area. so in my past esquisse, I was always representing 2 plans of which one shows the contours without building and the other: contours with the building covered on it. but this will lead to overlap information on the presentation board. At the end of the semester , I sorted this out by aligning the two plans and erased the information that is overlapped.

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ESQUISSE 1

There are some mistakes in my first week’s grading plan that I didn’t realised until week seven.

esquisse 1 12M

FILLED SITE

EXISTI

0 SECTION A-A

FILLED LAND PLATFORM

GENTLE GRASSLAND+ GRAVEL RAMPS

GENTLE GRASSLAND

12M FILLED SITE

0 SECTION B-B

FILLED LAND PLATFORM

BUILDING OVERHANG GRAVEL+GRASS

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GENTLE GRASSLAND

EXISTIN

ESQUISSE 1

ING SITE

HORIZONTAL 1:500 VERTICAL 1:500

RIVER

The definition of ‘sections’ various slightly in the vocabulary of architecture and landscape architecture. Landscape sections are always very long and small in scale, so it can’t go as detail as architecture sections where detailed structural joints and materials are expected to show. however, landscape sections have their own characters: they integrate the earth, vegetation, building, people and the infrastructure around the building.

NG SITE

In this section, it showed the existing elevation and the proposed elevation on a sliced section, which will give reader a sense of how the site is going to be filled.

HORIZONTAL 1:500 VERTICAL 1:500

RIVER

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esquisse 1

•physical model

summer evening

winter noon

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ESQUISSE 1 Physical models are made every week as a traditional way of representing site. The model is scaled into 1:500.

Cho:”physical model is not only a model; it will show the character of the site, and we should make the most of a physical model to make it doesn’t look like a model at all.’

Thinking in retrospect, the photography of this model is badly presented, though it does tell the story of how the shadow moves with the sun movement and the extruded overhang. This informs my later work to present model in a more’ designed ‘way. winter evening

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ESQUISSE 1

•3 d REPREsENTINg + wEEk 1 REFlECTION summARy Digital representing the site: the software being used was rhino+ vray+ photoshop.

Disadvantages in using the digital modelling software: forgetting about the gravity. shown in the photo are the cantilevered pavilion renderings.

Though the structure stands in visual photo, it will probably falls down in really construction since lack of supporting trusses.

In the fill scenario, earth is to be filled to the original site to bring levels up to the subscribed height.

It creates an elevated platform which can provide privacy for the owner of the pavilion. however, the fill scenario is best to be used when excess site material had been generated and had to be disposed. Another disadvantage of using fill is that the building foundation needs to be extended to reach the real site grade before top soil is back filled to cover the footings.

In terms of cross sections, it is not only a representation of vertical dimension of the land, but also an assistant in the calculation of earthwork quantities. The cross sections produced here is more prone to be design and presentation section rather than engineering section.

It lacks constructin detail and detailed annotations. In the final design, we elaborated our sections with annotations and details to make it into a construction+ design section.

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THE LIFE MOUNDS BY CHARLES JENCKS A really evoking example I found my classmates used for the fill precedent. The terraced earthworks are embedded with paths, summit sculptures and inscriptions. The access road winds its way through the earthwork in a dramatic way. by further searching ChARlEs JENCks, I found several interesting project he did. 1. The highlands Maggie’s centre 2. The garden of cosmic speculation (the black hole terrace, the universe cascade and the snail mound) I like how he manipulates the landform in a crazy manner yet creating such a hallucinating effect. how he reached the swirling effect? 1, through height of vegetation 2, through earthworks 3, through infrastructures

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ESQUISSE 1

•RElECTION ON FEEdbACk •gOOd PRECEdENTs ExAmPlEs FROm PEERs

ESQUISSE 2

ESQUISSE 2 GENIS LOCI MERGE INTO LANDSCAPE –CUT

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ESQUISSE 2 •PRECEdENTs REsEARCh -----------------------P24 •FOldINg hOusE kENgO kumA --------------P26 •NANyANgTECh uNI gREEN ROOF ------------P27 •INVIsIblE hOusE ------------------------------P24 PETER sTuTChbuRy •gENIs lOCI ------------------------------------P24 •dEsIgN INTENTIONs---------------------------P30 •PlANs + sECTIONs----------------------------P32 •PhysICAl mOdEl------------------------------P37 •3 d REPREsENTINg----------------------------P36 •RElECTION ON FEEdbACk--------------------P36 •gOOd PRECEdENTs ExAmPlEs FROm PEERs-P38

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•PRECEdENTs REsEARCh

ESQUISSE 2

In this week’s CuT proposal where substantial area of the building will plunge into earth as retaining walls, the transparent, floated, elevated and lightweight feelings of Farnsworth house can hardly be addressed as a main focus point in this design. Thus this design tries to emphasis and zoom out the dialogue between Farnsworth house and its surroundings. This proposal mainly focus on merge building into landscape and create a spirit of space ( Genius Loci).

As in the case of last week’s proposal, the elevated platform is designed into a recreational space that provides an outdoor space for owners to relax and enjoy views. In this week’s proposal , we advanced the idea by substituting the former elevated platform by a continuous roof that gradually connects the two terraces on different heights. The roof of the building functions as a viewing platform. Thus, though the building is subsidence in ground, the whole design will also opens panoramic views to the house owners. The roof also achieves an unified space feeling by intertwining with a poetic gesture.

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ESQUISSE 2 THE INVISIBLE HOUSE PETER STUTCHBURY This design informs the project in such a way that how architecture can merge into landscape . large glass panels open up views for house owners and large interior space is illuminated by RIBBON WINDOWS. In our design, ribbon windows are used to form a transparent glass enclosure extruding above ground. This makes our design looks very light from upper terrace, which refers back to Farnsworth house’s light 25 character.

•precedents research

esquisse 2

The two most influential building for this week’s proposal are the chiva house by kengo kuma and the nanyang technology university arts school building by CPG. The two building shares the same continuous

THE CHIVA HOUSE KENGO KUMA More than half of this single family house is buried under ground and it sits on terraces of different heights. A folding roof ramp that connect both the terraces was created to achieve the goal of forming a unified space. Our design was influenced by its undercurrent thinking of creating a unified space where architecture and landscape can be integrated together as a whole organic entity.

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roof that connects the landscape and the building structure. The roof blends the site and pavilion together and blurs the boundary between architecture and landscape, which responds to the concept of Genius Loci.

Nanyang Technology University CPG The 5 story facility sweeps a wooded corner of the campus with an organic vegetated from that blends landscape and structure, nature and high tech. The green roof blurred the line between the landscape and building. The roof creates open space, insulated the building , cool the surrounding air and harvest rainwater for landscaping irrigation.

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esquisse 2

•precedents research

•PRECEdENTs REsEARCh

ESQUISSE 2 VILLA RONDE HENRI GUEYDAN ARCH AND ASS. Another precedent I found can benefit our design was the VIllA RONDE by hENRI guEydAN ARCh ANd Ass. The villa is a circular residence with a private museum on a rocky coast by the sea in Japan. It directly engages with the natural elements of the site with the structural partially plunged into the topography of the land. The circular form was driven by the presence of a dominant northern wind. This will enable the structure function as a windbreak and the roundness shape will resist less windload on site. The underground of the the building benefits from thermal exchange and cross ventilation is achieved through an inner garden in the courtyard that served as a convection system in attracting fresh air system. 40cm thick green roof garden holding solar panels functions as natural insulation to the building.

This precedent inspired our design in such a way that one can see most of our design characters traced back into this particular project.

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ESQUISSE 2 Other interesting projects that blend the boundaries between structures and landscape and making the most out of green roof system.

Villa toPoject 2010 KOREA WITH CATILEVERED ROOM EXTRUDED OUT AND MAJORITY OF THE ROOM SUNKEN INTO TOPOGRAPHY

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•dEsIgN INTENTIONs LIGHT

WIND ESQUISSE 2

hot summer wind

wind break ( keep warm and breathe well)

cold winter wind VENTILATION DIRECTION

As the building is sunken into the ground, the earth surrounded the building functions as an ideal thermal mass storing the heat for the building and there are less large glass panels exposed directly to the sun. Thus, passive design issue for this week’s proposal is not as important as it was for last week’s. however, in considering providing sufficient light and well ventilation for the whole ‘’underground’’

LIGHT

space, ribbon windows are used where building extruded above ground. This design element also refers back to Mies’ idea of ‘’celebration of glass’’. Also the use of ribbon window makes the building looks lighter from human eye-level perspective view, which refers back to the transparent and light characters of Farnsworth house.

Instead of focusing on passive design, the project focus on the wind issue, which is a flec30

VIEWS VIEWS ESQUISSE 2

ACCESSIBILITY

PATHWAY ( MAIN ACCESS) ARCHITECTURE DETOUR

UPPER LEVEL VIEWS UPPER LEVEL VIEWS VIEWS WITHIN MAINMAIN BUILDING VIEWS WITHIN BUILDING

VEGETATION GROUP

tion of last week’s tutorial. The proposal for the ‘cut’ assignment trends to make the surrounding earth as a natural windbreak that avoids wind from invading the building. The diagonal axis formed by the corner of the building points towards N-s direction. This will block the hot summer wind coming from north and cold winter wind from south. The bending shape of the building also embraces breeze from the adjacent river in summer.

The vegetation groups planted around the building passively guide the visitors to engage in the building. It lures people onto the roof ramp by blocking shortcuts, narrowing down their choices of accessibility to get down to the court yeard( which is also the main entrance of the building).

The journey on the roof ramp is an architecture detour. It allows people engage in the design, or, engage within the whole architectural emotion this project creates.

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•PlANss + sECTIONs

12 11

10 9

ESQUISSE 2

8 7 6 5 4

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ESQUISSE 2 3

All CONTOuRs 0.5 wITh sECTION lINE 0.3

MARIBYRNONG WEST RIVERBANK PAVILION DRAWING TITLE

PROPOSAL 2 PLAN SCALE: 1:500 @ A4

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esquisse 2

12M

0

EXISTING SITE CUT SITE SECTION C-C

12M EXISTING SITE CUT SITE 0 SECTION B-B

12M

0 SECTION A-A 34

ESQUISSE 2 HORIZONTAL 1:500 VERTICAL 1:500

HORIZONTAL 1:500 VERTICAL 1:500

MARIBYRNONG WEST RIVERBANK PAVILION DRAWING TITLE HORIZONTAL 1:500 VERTICAL 1:500

PROPOSAL 2 PLAN WITH GREEN INDICATED ROOF SCALE: 1:500 @ A4 35

•PhysICAl mOdEl •3 d REPREsENTINg TUTORIAL FEEDBACK ESQUISSE 2

Cho: the slope is too deep and the pavilion is elevated in an awkward way.

The space on the left hand looks like a car park or something.

Now at the end of the semester, looking back at my week3 esquisse, I realised how hollow these renders were. The concept seems strong and convincing, but in terms of the final 3 d representing, it was a little bit disappointing in ignoring structural details and standards for slopes. but I see it a good way in developing weekly thinking.

For this week renderings, we showed the continuous roof with vegetation, 36

PS CREDIT: SOPHIA QIAO

•RElECTION ON FEEdbACk

ESQUISSE 2

we showed the ribbon window above the retaining wall at the back of the pavilion, we showed the thinking of how we wanted how structures to merge with the landscape and really talked about the idea of Genius Loci.

For the following week, we were endeavouring to change the shape and gradient of the ramp as according to Cho’s command, and we were considering to change the materials for the ramp in order to chase Mies’s design approach.

Physical model feedback at the end of the semester: Putting the green trees on the white contours is not a good way to present models. The contrast is too strong.

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•gOOd PRECEdENTs ExAmPlEs FROm PEERs

ESQUISSE 2 One interesting cutting landscape project from peers: The rietVeld landscaPe + atelier de lyon: PUBLIC MONUMENT AT CULEMBORG The site is intriguingly cut into a terraced form and it functions as a dry water retention pond where water can be collected and absorbed into catchments when flooded. while in a dry event, it functions as a playground and place to relax.

bunker 599 - Another land art I assume interesting which is also done by the RIETVELD LANDSCAPE. a long wooden boardwalk cuts through the extremely heavy construction. I t leads visitors to a flooded area and to the footpaths of the adjacent natural reserve.

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ESQUISSE 3 ENCLOSURE ESQUISSE 3

BALANCED EARTHWORK - CUT&FILL

•PRECEdENTs ANd REFlECTIONs ON lECTuREs----P40 •COuTyARd ------------------------------------------P42 •RETAININg wAll-------------------------------------P43 •EmbANkmENT----------------------------------------P46 •dEsIgN INTENTIONs----------------------------------P48 •PlANs ------------------------------------------------P52 •sECTIONs---------------------------------------------P48 •RETAININg wAll FACT shEET------------------------P54 •3 d REPREsENTINg ----------------------------------P53 •RElECTION ON FEEdbACk-PhysICAl mOdEl--------P56 •gOOd PRECEdENTs ExAmPlEs FROm PEERs-------P57

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•PRECEdENTs ANd REFlECTIONs ON lECTuREs

casa 360 sPain 2009

ESQUISSE 3

In responding to last week’s feedback, we went further in looking at the roof ramp materials and the gradient of the roof ramp, for example: in what manner could the roof ramp decrease gradually. The precedent we were looking at was the CAsA 360 in madrid. The roof of the villa flows down in a circular loop and the wings of the building embraces a central courtyard.

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SOUTH KOREAN ISLAND HOUSE IROJE KHM ARCHITECT

The island house was another precedent I was looking at when we are furthering our design proposal. The natural setting around island house, which is a jagged and irregular landmass, forced the building to cooperate with the natural form. The building floats like an architectural mountain with polygonal outline formed by shaped concrete and metal mesh. The green roof garden is accessible. I like how the building exists between the definitions of being ‘monolithic’ and ‘merge into landscape’. It is hard to say this building is truly a natural form that tries to engage in its surroundings or a structure that tries to stand out. In this week, we wanted to push the design in such a way that its definition of being ‘naturalised’ is questionable.

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ESQUISSE 3

•COuRTyARd ( EmbRACINg wINgs)

•COuTyARd & sECONd lANdsCAPE THE GRID HOUSE- CASA GRELHA

ESQUISSE 3

The grid house was another inspiring precedent for this week’s proposal. The house is located in a lush native intact forest that is needed to be protected and it remains a tight relationship with the land and nature.

The house is built between two hills and suspended above the valley.

The roof of the house is planted with turf which forms an extension of the landscape. ‘Suspended above the valley and merging into the hills, the house becomes the land and the land becomes the house, creating a new landscape.’

Other than the continuous green roof idea we had from last week, I was looking at how the roof of this pavilion visually creates an extension of the site, how it forms a second landscape and successfully merge the structure into surrounding landscape. Another interesting character this pavilion shares with the Farnsworth house is ‘they are both elevated from ground’. Though the material of this pavilion is wood, and the purpose of elevating it is due to the humid local clamate, the form inspires me to follow its design manner in creating a second landscape which merge with the original one.

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In the cut and fill scenario, we generally cull the earth out to form a platform to place our pavilion and use the excessive earth material to fill the lower terrace. (The earth that fills the lower terrace will become a water retention embankment.)

The roof of the pavilion will be invisible when people walk on the top of the terrace, which also evokes the idea of merging into landscape. (This is driven by the invisible house precedent in previous week and this week’s island house and the grid house.)

The main technical topic here is the retaining walls. This week we are looking at the retaining wall details and went deeper on researching on landscape projects that is famous for their retaining walls.

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ESQUISSE 3

•RETAININg wAll

•RETAININg wAll

ESQUISSE 3

both of the retaining wall precedents come from seattle, one is the free way park and the other is the Olympic sculpture Park. both parks used heavy concrete work and are famous for their retaining walls. The freeway park was built in the 60s as a famous brutalism park and it used series of concrete walls in representing the brutalism style. The landscape it creates is brittle and walls stand out as artificial structures. This precedent informs me that the presence of retaining wall might make the design leap away from the original thinking of ‘merging into landscape.’

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however, the Olympic sculpture park demonstrates how retaining wall is designed into the vocabulary of ‘merging into landscape’.

In the park, to hold back 200000 cubic yards of fill, engineers devised a mechanically stabilized earth retaining-wall system hidden behind overlapping and sloping precast panels. The earth was stabilized and defined in place by a vertical wall of wire mesh filled with rocks. Then the precast concrete panels were anchored to the ground and bolted to the back block placed on top of the earth. I want to reference this retaining wall construction method into my final design and make the retaining wall looks natural.

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ESQUISSE 3

OLYMPIC SCULPTURE PARK

•EmbANkmENT

ESQUISSE 3 46

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ESQUISSE 3

•Design intentions

esquisse 3

CIRCULATION LANDSCAPE EMBANKMENT

SUNLIGHT FROM NORTH AND EAST

VEGETATION GROUP

BLOCKED WEST SUNLIGHT

VIEWS

W SU BR

a leveled area created by cut is

CUT stable as the undistributed soil is settled and impacted FILL through natural forces.

HORIZONTAL 1:500 VERTICAL 1:500 HIGHER TERRACE

CUT

FILLED PLATFORM

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GENTLE SLOPE GRASSLAND

•PlANs + sECTIONs SLOW RAMP

WINTER COLD WIND UMMER HOT WIND REEZE FROM RIVER

RETAINING WALL

SEPARATE OF ACTIVITIES

upper terrace connected with ramps while lower terrace remains its natural settings. A very basic application of grading is the separation of activities to reduce potential conflicts. The upper terrace connected by ramps is set to be the main entrance. The lower part of the land is left not being manipulated in purpose,as the steep slope will separate out people coming up from the riverside.

ESQUISSE 3

STEEP SLOPE

The cut area forms a backyard where elevation is quite flat, while the filled area forms an extruded viewing platform.

E

FILL ( embankment) As a reflection to the lecture, THE COST OF A CUBIC METER OF SOIL IS ABOUT $20. ( A CUBIC METER OF SOIL IS 1.8T) The embankment located along the pathways ensure the excessive cut soil is transported in site, which will PATHWAY cut down the cost. Also the enbankmet acts as a flood buffer zone for RIVER the pathway, that slows down the water flows from upper terrace .

EMBANKMENT STRIP

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ESQUISSE 3

D

G

SLOPE 1: 12

4M L

al run projected to plan: pla pl 48M total

RAMP SECTION

6% SLOPE ALLOW FOR DRAINAGE

Slopes should slope down outwards building edges 50

ESQUISSE 3

WATERPROOF MEMBRANE BACKFILL SITE SOIL GRAVEL The PERORATED RETAINING WALL

RETAINING WALL FAILS AT THE TOP OF TERRACE 51

5 A-A

ESQUISSE 3 A-A

MARIBYRNONG WEST RIVERBANK PAVILION

SCALE: 1:500 @ A4

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ESQUISSE 3 PS CREDIT: SOPHIA QIAO

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•RETAININg wAll FACT shEET hOw A RETAININg wAll FAIl? hOw dOEs IT hAVE TO dO wITh sOIl TyPE? RETAININg wAll slOPE? hEIghT?

ESQUISSE 3

A retaining wall may fail due to overturning with respect to its heel, sliding along its base, fail due to loss of bearing capacity of the soil ("foundation" failure), failure due to shear of the soil at a deeper depth, and excessive settlement of the soil of the foundation.

There are a number of forces that act on the retaining wall. some are relatively constant while others intensity may vary due to factors such as weather.

These forces are:

1) wEIghT OF ThE wAll ( force acting on the gravity centroid of the section) 2) PRESSURE OF THE RETAINED SOIl( force that the soil pushes the wall) 3) The PRESSURES ON THE FOUNDATION (linearly distributed in the form of a trapezoidal diagram) 4) The LOADS ON THE RETAINED SOIL 5) FORCEs duE TO wATER(If there’s a body of water on the back of the wall, there’ll be hydrostatic pressure acting on it. This can be prevented by installing adequate drainage.)

8) ExPANsIONs duE TO ChANgEs OF humIdITy ON ThE RETAINEd

SOIL On clay soils the expansions produce an increase of the pressures exerted by the retained soil on the wall. when the soil dries up, it contracts and the pressures decrease accordingly. IF THIS PROCESS kEEPs REPEATINg, IT CAN bE hARmFul FOR ThE wAll. ThIs EFFECT IS MORE INTENSE ON THE SURFACE, AND THEN IT DECREASEs wITh dEPTh. 54

For this week’s feedback on progress design, we were critiqued on not following the design path that remains from last week. The form of the building is more rigid than last proposal, yet seems to depart away from our idea of genius loci and continuous roof ramp. however, this week we looked at certain technical details which would benefit our later on exploration and final design.

For example, we looked at the possibilities of roof ramp materials and how the ramp can gradually loop down through the CAsA 360, we researched on technical details of retaining wall and found some famous projects that used retaining walls wisely, we thought about the embankment to absorb flooding water in respond to the lecture. These features benefit our final design in a detailed scale. but it indeed was a problem that we departed away from our initial idea in terms of design concept. So for the later on design, we went back and continued to focus on our original idea of forming a unified space through roof ramp. Our tutor suggested us to find ways to adjust the roof ramp gradient and make it comfortable for people to walk on. Thus our next step is to explore on different possibilities of roof ramp form.

55

ESQUISSE 3

CuT ANd FIll PhysICAl mOdEl •RElECTION ON FEEdbACk

ESQUISSE 4 GRADIENTS RAMPS AND EXPERIENCES

ESQUISSE 4

•PRECEdENTs-----------------------------P57 •gRAdIENTs •CAlCulATION-------------P58 •RAmP dEsIgN IssuE---------------------P58 •dEsIgN INTENTIONs--------------------P60 •PlANs + sECTIONs----------------------P62 •PhysICAl mOdEl------------------------P64 •3 d REPREsENTINg-----------------------P65 •RElECTION ON FEEdbACk---------------P64

56

According to the feedback given last tutorial that we should go further our design based on the idea of a continuous roof and the major problem in designing this roof ramp is the gradient of the slope is too deep, we looked at the SERRA DAS CAbRAs residence located in brazil.

Compare to kengo kuma’s design, both the house stroke within the existing terrace, but SERRA DAS CAbRAs’s ROOF is accessible with slow ramps and stairs to connect the ramps. The arm of the ramp embraces a cetral courtyard which is also accessible from the middle terrace. we like how the form of the roof ramp can functionaly combine with the roof ramp gradient.

57

ESQUISSE 4

•PRECEdENT IN PushINg ThE dEsIgN

•RAmP dEsIgN IssuE •gRAdIENTs •CAlCulATION

ESQUISSE 4 58

esquisse 4

The shifting platform idea comes from week 3 propodal where the direction of the platform suggest strong axial views towards the river.

59

•dEsIgN INTENTIONs

ESQUISSE 4 FLAT

- FOR ENTRANCE

SLOW SLOPE

- FFOR RECREATIONAL EVENTS

1:4-7 SLOPE

- FOR VEGETATION

DEEP SLOPE

- NOT FREQUENTLY USED

1:14-20 4-20 RAMP - FREQUENTLY USED

60

1;30 1:12

1:4, 1;7 1:2 1:20

INSTEAD OF THE ORIENTA-

ESQUISSE 4

TION , WIND BREAK ISSUE TALKED ABOUT IN PREVIOUS PRESENTATION, THIS WEEK WE FOCUSED ON HOW PEOPLE USE RAMPS AND HOW DIFFERENT SLOPES AFFECT ACTIVITIES.

LOWER RAMP UPPER RAMP( ROOF RAMP) COURTYARD BELT DIVIDE FUNCTIONAL AREA

61

•PlANs + sECTIONs upper terrace

ramp provides directional views towards river scenery

lower terrace

ramp frame the building for viewers from river side

ESQUISSE 4

SECTION A

SECTION B 62

ESQUISSE 4

MARIBYRNONG WEST RIVERBANK PAVILION

SCALE: 1:500 @ A4

63

•3 d REPREsENTINg

ESQUISSE 4

Feedback for this week can be categorized into 2 parts: 1, we still need to work on the shape of the ramp and try to stretch the ramp form in a poetic way.

Right now the ramp wing looks awkward and blocks the front view of the pavilion.

Our tutor’s advise was ‘to be bold’ and don’t be trapped by the limitation of 190mm *190mm site on a 1:500 scale.

Thus for our further esquisse explora-

tions, we will change the shape and angle of our ramp and rationise the form of the ramp, eg: on which part of the ramp should have a turn, what views will the turns provide, what kind of experiences will the slope of the ramp provide to the people.

2. how we can combine the previous extruding emotion into this ‘merging into landscape’ idea. In this week’s esquisse, 64

the building is totally sunken in the earth, though it is ‘merged’ in the site with a roof ramp connecting the two terraces, it somehow lost Farnsworth house’s elevated and floated characters. Our tutor’s suggestion was to use our first esquisse’s extruding emotion to create a floated ribbon above the site. This ribbon will in some part plunge into the site and in some part cantilever above the

ground. The roof ramp could become a second landscape working well with the site.

Summary for this week’s esquisse: I learnt how gradient of ramps could affect visitors’ experiences.

Ramp is not only used for its functional and esthetical aspect, but also engage in the design in creating various experience. It can control the pace of the viewers passively, for example, extreme slow slope

will enable viewers to walk faster, medium slow slope leads viewers to walker slower and enjoy the views around, deep slope will make the viewers to slow down their pace yet move their attention from views to their paces.

Also according to lecture, ramps exist everywhere in our daily life. They are important to drain water out from the structures. For examples: road is not always flat, they have 65

a crust in the middle and stormwater will be drained into grated pit located along the two sides of the road. building should be raised 20mm min above the backfill soil in order to drain water out.

ESQUISSE 4

•RElECTION ON FEEdbACk

•physical model

esquisse 4 66

ESQUISSE 4

•3 d REPREsENTINg

RENdERINg CREdIT: CAlVIN ChEOk

67

EsquIssE 5 DRAINAGE DRAIN OUT VS. RETAIN= BEING GREEN

ESQUISSE 5

•PRECEdENTs ------------------P69 •wATER & dEsIgN INTENTION--P70 •CAllIgRAPhy ANd ChINEsE gARDEN---------------------------P71 •PlAN-------------------------P72 •ChINEsE CulTuRE & mIEs---P73 •sECTIONs--------------------P76 •3 d REPREsENTINg----------P78 •RElECTION ON FEEdbACk--P79

68

•PRECEdENTs

ing topography and most of the gardens were undergone severe earthwork yet looked like never being interacted by human. Among those gardens, the most famous one: humble garden, sets a great example of how the water pond was dig out and the excessive earth was piled into mountains to raise buildings up providing overviews of the whole site. Also the local material works 69

well with its original settings. what we were interested in was the soil being piled up into mountains functions as catchments for stormwater and retain the water from running off.

The retaining pond located in front of the pavilion functions as a retaining pond that can collected overflow water from the nearby river in a flood event.

ESQUISSE 5

The main idea we developed was ‘ to engage with water’ and ‘ being green’.

According to the lecture where the importance of preserving water on site is talked about, we decided to engage the design with water. The precedents we looked at were Chinese garden ( Suzhou garden especially). These Chinese gardens were famous for its natural approach in manipulat-

wATER ‘DIGGING POND AND MOUNTING MOUNTAINS’ -provide interesting topography, rich spatial experience, -dealing with water.

Three aspects need to be examined in our research of precedents: 1, how to use topography to get water away from building (or structure) 2, how the dig ponds prevent potentially floods 3, how these artificial mountains help to absorb excessive rainwater and reduce runoff 3, how the water show as a celebrated event

ESQUISSE 5 soil catchem water retaini n

70

platform

•CAllIgRAPhy & ChINEsE gARdENs

The whole roof ramp as well as the artificial mountain ramp stokes down from the upper terrace to the lower terrace, creating a unified space.

Instead of using stones, we use local soils to mount our ‘artificial mountain’. This not only saves labour and cost, but also creates a natural landscape. Using local soil can also absorb stormwater and reduce imperviousness green roof ramp+ local soil ramp and runoff. decorated with stones+ pond=

71

ESQUISSE 5

a poetic stroke connecting the two terraces

Calligraphy always plays an important role in Suzhou garden design. This is because the designers of those Chinese gardens are always retreated intellectual people.

Leading a cosy middle class life and often depressed about their political career, these intellectuals would love to express their appreciation of life through their drawings, poems and calligraphy. when they design the residences for themselves, they are always willing to refer to the drawings and calligraphy they or their close friends created. The garden, the drawings and calligraphy speak out their political ambitions and life motto.

•PlANs + sECTIONs

B-B

ESQUISSE 5 72

•mIEs ANd ChINEsE CulTuRE

why ChINEsE gARdEN ? why CAllIgRAPhy?

ESQUISSE 5

mies van der rohe was deeply influenced by Asian culture, from which he developed his architecture of simplicity. His famous motto “the less is more” suggested an alternative thinking of design, which we adopted into our design project. To alter a lot may not be a good outcome on the site, especially on such vast grassland. hence we decided to follow some principles from ancient Chinese garden treatments; to him the idea of synthesis people and environment has always been the core concern and top priority.

B-B

MARIBYRNONG WEST RIVERBANK PAVILION

PURE CONTOURS SCALE: 1:500 @ A4 73

•PlAN

B-B

ESQUISSE 5 74

ESQUISSE 5

The water retaining lake is created for both humid and draught period of time. when it is raining, the water can contain the excess stormwater and reduce direct runoff into the river. when it is dry , the dry pond can be a recreational area providing seats and can be transfered into a rainwater garden.

B-B

MARIBYRNONG WEST RIVERBANK PAVILION CONTOURS WITH SCALE: 1:500 @ A4 ROOF & RAMP 75

•SECTION

CUT FILL ( mounting with local soil)

HORIZONTAL 1:500 VERTICAL 1:500 HIGHER TERRACE CUT

soil decorated with stone artificial mountian

esquisse 5 76

retaining lake

CUT ( absorbing overflow)

FILL ( embankment)

GENTLE SLOPE GRASSLAND

RIVER EMBANKMENT STRIP

77

esquisse 5

PATHWAY

•3 d REPREsENTINg

RENdERINg CREdIT: CAlVIN ChEOk

ESQUISSE 5

FEEDBACK ON THIS WEEKS’S ESQUISSE: 1, the shape of the ramp still needs some work, though the ramp arm had been moved outwards in order not to block the view of the pavilion. It can be stretched in a more dramatically way. look at the calligraphy precedent we were thinking about, and take a step back looking at our plan, one could easily find a gap in linking these two. Our ramp plan looks somehow like someone being trapped and could not stretch his arm.

2. we need more control over our 3d renderings. The rendering

photos don’t explain the design idea explicitly. 3D representing is powerful but easily misleads the reader. The renderings seem to tell a story about a grandiose casa for upper class while the feeling we wanted to create was a public cosy environment.

For the final design , we need to control our 3D representing.

3, we were talking about the influence that Chinese culture inserts on mies and how calligraphy was linked with Chinese garden design, but we didn’t talk about how we transferred our design from calligraphy. we need to do more research on calligra78

•RElECTION ON FEEdbACk

contours. This gives us a hint on the contour manipulation.

Also our tutor proposed a very interesting concept, which is to blow out a second landscape.

The water, ramp and the topography each meanders as a layer of landscape. Then these elements meet and depart within the site sporadically. In the following week we will work on this idea of second landscape and explode the whole design into several layers: the water as a landscape, the ramp as an artificial landscape, and the original topography.

79

ESQUISSE 5

phy and its spirit before exploring the desired ramp form ( which is transferred from calligraphy) In respond to these commends, our group was undergone a research of relationship between calligraphy and Chinese garden, and the spirit of calligraphy during different dynasties. Then we went on an exploration of calligraphy and possible ramp forms.

In terms of technical issue, such as water drainage, we are reminded not only to pay attention to the vertical drainage but also horizontal drainage. how the water will drain on the ramp? ( 2% slope generally) And water will drain perpendicularly along

THIS IS WHERE ALL THE FUN BEGINS

REFINEMENT WEEK 9+10

80

81

REFINEMENT WEEK9+10

former esquisse synthesis+ further exPloration

TRANSFORMING WATER RAMP

PLATFORM

As a responds to the previous esquisses, we researched on the spirit of calligraphy and summarised some main characters that a good calligraphy should have. 1, At the start of each stroke, there should always be a strong and firm stop.

Then this is followed by a fast and confident stroke leading to a concrete ending without hesitation. 2. A dry brush is always desired in representing the contrast between solid and void.

REFINEMENT WEEK 9+10

82

scale 1:500 @ a3 83

REFINEMENT WEEK9+10

For this week’s exploration, we wanted to import these two main calligraphy characters in our roof design. The roof ramp is divided into 5 strokes and each stroke starts confidently and suggests a viewing platform. we traced the form of the calligraphy as our basic roof ramp outline and then make the void space a water channel meandering under the roof ramp. Construction details are influenced by the water sundeck in the New york high line Park.

LANDING

REFINEMENT WEEK 9+10

84

refinement week9+10

85

This week in order to enable our viewers to experience the water falls effect in the water retaining pond area, we proposed a glass viewing platform. similar in the high line park construction phase 2 we were also thinking about the construction detail in the water sundeck part of the high line park. we had a blurry image of using grates, encasement concrete and layers of flushing and waterproofing layers, but it is not integrated yet.

REFINEMENT WEEK 9+10

86

THE HIGH LINE PARK

vegetation growing around the ramp.

This elevated platform is in the same situation oas our big cantilevered platform THE HIGH LINE PARK

CONSTRUCTION PRECEDENT -

the high line park uses the contrast of vegetaion and ramp material to show solid and void. In our design we use the texture contrast of water and ramp .

REFINEMENT WEEK9+10

THE HIGH LINE PARK

87

Feedback this week: 1. we should consider how to build the structure. Are we using heavy trusses system to support ramps or maybe we can look at the Diana memorial fountain in Hyde Park.

2. we should carefully and clearly annotate the height of the walking ramp, the water ramp, bottom of kerb and top of kerb in order to make the plan easy to understand.

3. we should consider the material we are going to use for the ramp.

Diana Memorial Fountain Kathryn Gustafson

REFINEMENT WEEK 9+10

The fountain was designed as a memorial to Diana princess of wales. It is a loop of finely sculptured granite. water enters at the highest point and flows into 2 directions towards downstream.

Then the water is recycled and pumped into the highest point.

The embodied meaning of the sculpture is the circle of life, the meaninglessness of endeavour, life and death.

88

Then in the following week we evaluated the two construction details and the effects they create.

High Line Park: create a still layer

of shallow water layer Diana Memorial Park: create a vigorous water effect both of the design requires water pump in the structure and probably the construction method of diana memorial sculpture will be heavier. because it not only requires for water channels but also thick finish floor claddings (for notching). After evaluating the two scenarios, we decided to go back to the construction details in high line park.

89

REFINEMENT WEEK9+10

we will look at how the surface of the whole blocks of granite is cut into patterns and how the water engages with these patterns. For example, these patterns can control the flowing speed of water and make sounds. Our tutor’s advice was to use a thick block of travertine as the finish floor of ramp and notch patterns on the surface.

Then water will be collected in the notched patterns in a raining scenario.

WK 11 11

12 GP

+11.60

12

+11.40 +11.20 +11.60 +11.40 +11.20

A04 D1

+RL 11.00

+11.40 +11.20

+RL 10.00

+11.40

L +NG .50 9

+11.20 L +NG 0 10.5

+11.60 +11.40 +11.20

GP

+

AG

12

+RL 9.00

K +B 8.30 K8 .14

GP

+T

GP

L +NG 0 11.5

+11.60 +11.40 +11.20

+RL 12.00

+ TK

+11.60 +11.40 +11.20

+RL 8 +11.20

SEP

AG

GP

9 10

+RL 8.14

FPL +8.00 TK + 8.00 BK + 7.62

AG

+ 7.60

+TW10.00 +BW 8.00

AG

A03

AA’

+ 7.60

AG

FFL 9.00 GP

+ 8.10

+ 7.60

+11.20

+ 7.00

7

+ 7.00

FPL 8.60 FPL +8.48 TK + 8.48 BK + 8.10 + 7.50

8.5 8

+B

K

00 0 +11.00

8.1 0

AG

EF

FPL +7.50 TK + 7.50 BK + 7.12 + 6.50

+RL 8.10

K

+TW12.00 +BW 11.00

+T

RW

ENTRY FLOOR PLAN

AG

WEEK 11

RW +TW11.00 +BW 8.15

RW +TW12.00 +BW 8.00 +11.20

+ 8.05

+ 8.05

A04 D3

+12.00

AG

RW +TW12.00 +BW 11.20

8

+ 8.05

+RL 8.13

11

+T K8 .60 +B K8 .13

11.50 FPL +

12

AG

+11.60 +11.40 +11.20

NO.1

+RL 8.13

+TW11.10 +BW 8.00 RW

SCALE 1:200

7

AG

90

+11.00

11

SEP

10 9

8

NO.2

FPL +8.80 TK + 8.80 BK + 8.42

6

FPL +7.00 TK + 7.00 BK + 6.62

6

LEGEND

GP

10

8

9

7

6

5

RL

RELATIVE LEVEL

NGL

NATURAL GROUND LEVEL

GRVL

SELECTED LOOSE GRAVEL

RW

RETAINING WALL

FPL

FINISHED PLATFORM/PATIO LEVEL

FFL

FINISHED FLOOR LEVEL

TW

TOP OF RETAINING WALL

BW

BOTTOM OF RETAINING WALL

12

EXISTING CONTOUR

12

PROPOSED CONTOUR

TK

TOP OF KERB

BK

BOTTOM OF KERB RAMP LANDING PLATFORM

4

PROPOSED TREES PROPOSED BUSHES EXISTING TREES ASPHALT GRAVEL

+ 8.10

+BK

K8

.30 8.1 5

HYDRAULIC FIXTURES + 8.10

+RL 8.05

AG

DP

DOWNPIPE

GP

GRATED PIT

SEP

SITE ENTRY PIT

AG

100mm DIAM. SLOTTED ARGRICULTURE DRAIN

AG

8.05

8.00

DRAINAGE NOTES

7

AA’ A03

6

5

4

MARIBYRNONG WEST RIVERBANK PAVILION

WEEK 11

NO LEGAL POINT OF DISCHARGE TO STREET. ALL STORMWATER DRAINS, SURFACE RUN- OFF AND AGGY DRAINS TO CONNECT TO SITE ENTRY PITS IN NOMINATED POSITIONS. SIZE PIT ACCORDINGLY TO RAINWATER LOAD AND BACKFILL WITH BRICK PIECES & 30mm GRAVEL SCREENINGS.

DRAWING TITLE

3

ENTRY & GROUND FLR PLAN GROUP: I lap CHEOK,lan qing QIAO,Di SONG lECTURER: Nano Langenheim TUTOR: Chenyu CHUI DATE: 16/10/2012

91

SCALE: 1:200 @ A2

DRAWING NO:

A02

12

GP

11

10

9

8

7

6

5

D1 A04 AG

AG

GP

AG

GP

SEP

NO.1

AG

GP GP

AG

AG

A04 D3

E2 4 A0 AG

GP

AA’

AG

A04 D2

A03

7

FALL

AG

OF RO

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DP

SEP

AG

NO.1

AG

AG

10 11

BB’ A03

9

SEP

NO.2

6

8 7

A04 D4

4 3

6

5

WEEK 11

5

DR

2

10 4

BB’ A03

1

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3

CC’ A03

8

1

7 CC’ A03

6

SSP SITE PLAN SCALE 1:500

5 4

12 11

10

9

8

7

6

5

4

92 3

2

2

LEGEND RL

RELATIVE LEVEL

NGL

NATURAL GROUND LEVEL

RW

RETAINING WALL

FPL

FINISHED PLATFORM/PATIO LEVEL

FFL

FINISHED FLOOR LEVEL

12

EXISTING CONTOUR

12

PROPOSED CONTOUR PROPOSED TREES PROPOSED BUSHES EXISTING TREES ASPHALT GRAVEL / RIVER BOULDERS SAND ROOF OF PAVILION WATER FEATURE APPROX LINE OF CLEARING DRAINAGE RESERVE

4

3

HYDRAULIC FIXTURES DP

DOWNPIPE

GP

GRATED PIT

SEP

SITE ENTRY PIT

AG

100mm DIAM. SLOTTED ARGRICULTURE DRAIN

2 1 APPROX LINE OF CLEARING

RAINAGE RESERVE

MARIBYRNONG WEST RIVERBANK PAVILION

WEEK 11

AA’ A03

2

DRAWING TITLE

SITE PLAN

DRAWING SCHEDULE GROUP: I lap CHEOK,lan qing QIAO,Di SONG lECTURER: Nano Langenheim TUTOR: Chenyu CHUI DATE: 16/10/2012

93

SCALE: 1:500 @ A2

DRAWING NO:

A00

WEEK 11

94

despite the changes we made mentioned in last chapter, this week we mainly focused on how to make a good grading plan with a consideration of line weights and colour background. And we tried to rationize our plan by adding car park and design the entry sequence.

95

WEEK 11

TEST PRINTING FOR LINE WEIGHTS AND COLOUR AND THE SIZE OF THE TEXT ON PLAN

GP

11

12

10

8

9

GP

+11.60

12

+11.40

+ 8.10

+11.20 +11.60 +11.40 +11.20

A04

GP

+TK 8 +BK .30 8.1 5

+RL 12.00

+11.60 +11.40 +11.20

+ 8.10

+RL 8.05

AG

+RL 11.00

+11.40

AG

+11.00 0

L +NG .50 9 +T K8 .3 +B K8 0 .14

+11.20

1.20

+ 8.05

AG

+11.40

GP

+RL 9.00

+RL 8.00 +11.20

SEP

NO.1

GP

8 RW +TW12.00 +BW 11.20

11

9 10

RW +TW12.00 +BW 8.00 +11.20

AG

+ 8.05

+ 8.05

RW +TW11.00 +BW 8.15 +TW10.00

+RL 8.14 AG

+ 7.60

FPL +8.00 TK + 8.00 BK + 7.62

THINGS NEED TO CHANGE AREAS THAT VEGETATION DETAILS ARE NEEDED 96

7 6

A04 D3

+12.00

+T K8 .60 +B K8 .13

11.50 FPL +

12

AG

WEEK 11

+11.60 +11.40 +11.20

week 11Plan feedback

THINGS NEED TO CHANGE: 1, the shape of the car park doesn’t match the whole design. It is not necessarily be this big and the sharp corner in the car park should be eliminated.

2. There is no need to have stairs providing direct entry from the top terrace to the +8.00 house platform. let the design force people to engage with the ramp.

3. The colour of the swatch hatching is too dark. In the final presentation, the hatching will be 50% opacity.

4.need to consider where to plant trees and what trees to plant.

As large trees will create axial view and they will function as a view guider, we need to consider make full use of the trees around the car park. better to block views of the car park for a people walking on roof ramp.

97

WEEK 11

we produced a 1:500 plan showing the placement of the pavilion and a 1:200 plan showing the entry sequence and the pavement materials. however, the 1:200 plan is confusing that it shows both the furniture arrangement in the house ( which is supposed to below +11.00) and the vegetation, roads, car parks and contours above 11. we found the suggestion our tutor gave us on the format of plan very useful that he proposed us to produce a set of plans with one 1:500 and two 1:200 plans. One 1:200 plan should cut above +12.00. Thus it will show mainly the entry sequence with the roof of the house( since the house is sunken in the ground). The other 1:200 plan will cut through +11.50. Then this plan will mainly show the ramp details with an indication of the furniture arrangement in the pavilion. I found this suggestion very useful not only it solves the question that confused me for a long time but will help me with a thinking in my future plan drawing.

FINALS & CONSTRUCTION DETAIL

98

WK 12

99

finals & construction detail

This week is the last week before presentation that we can refine our plans and sections. We focused on the construction details and landscape interface. We used sections as our diagram to show the sequence of the ramp.

GP

GP

E2 4 A0

finals & construction detail

GP

AA’

LEGEND RL

RELATIVE LEVEL

NGL

NATURAL GROUND LEVEL

RW

RETAINING WALL

FPL

FINISHED PLATFORM/PATIO LEVEL

FFL

FINISHED FLOOR LEVEL

12 12

EXISTING CONTOUR

GP

A03

BB’ A03

PROPOSED CONTOUR PROPOSED TREES PROPOSED BUSHES EXISTING TREES

10

ASPHALT GRAVEL / RIVER BOULDERS SAND

100

12

11

10

9

8

7

6

5

AG

finals & construction detail

AG

AG

GP

SEP

AG

NO.1

GP

AG

AG

A04 D3

APPROX LIN

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A04 D2

7

F ROO

F

DP

FALL O

AG

AG SEP

AG

NO.1

M R

DRAWIN AG

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10 11

9

SEP

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SITE P

6

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DRAWI

7 A04 D4

4 3

6

5

GROUP: I

lECTURER 5

TUTOR: C

2

0

SCALE: 1 4

BB’ A03

101

1

RL

RELATIVE LEVEL

NGL

NATURAL GROUND LEVEL

RW

RETAINING WALL

FPL

FINISHED PLATFORM/PATIO LEVEL

FFL

FINISHED FLOOR LEVEL

12 12

EXISTING CONTOUR

FINAL 1:500PLAN SHOWING LOCATION OF PAVILION

BB’ A03

PROPOSED CONTOUR PROPOSED TREES PROPOSED BUSHES EXISTING TREES

10

ASPHALT

finals & construction detail

GRAVEL / RIVER BOULDERS SAND ROOF OF PAVILION 9

WATER FEATURE APPROX LINE OF CLEARING DRAINAGE RESERVE

3

HYDRAULIC FIXTURES DP

DOWNPIPE

GP

GRATED PIT

SEP

SITE ENTRY PIT

CC’ A 03

8

SSP SITE PLAN

7

SCALE 1:500

6

5 4

12

3 11

10

9

8

7

6

102

5

4

FALL OF RO O

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7 AG

AG SEP

AG

NO.1

M R

DRAWIN 10 11

9

SEP

NO.2

SITE P

6

8

DRAWI

7 A04 D4

4 3

6

GROUP: I

5

lECTURER 5

TUTOR: C

2

0

SCALE: 1 4

BB’ A03

3

1

DRAINAGE RESERVE 2

1 MARIBYRNONG WEST RIVERBANK PAVILION

DRAWING TITLE CC’ A03

SITE PLAN BOTTOM HALF DRAWING SCHEDULE

GROUP: I lap CHEOK,lan qing QIAO,Di SONG lECTURER: Nano Langenheim 2

TUTOR: Chenyu CHUI DATE: 16/10/2012 SCALE: 1:500 2 @ A4 103

DRAWING NO:

A00

FINALS & CONSTRUCTION DETAIL

AG

AG

uPPer Part of 1:200 Plan THAT SHOWS ENTRY SEQUENCE

FINALS & CONSTRUCTION DETAIL

GP

+11.60

12

+11.40 + +11.20 +11.60 +11.40 +11.20

+11.60 +11.40 +11.20

60 +11.40 +11.20

GP

GP

1:200@ a4 +11.60 +11.40

104

+11.40 +11.20

+11.40 +11.20

8. 3 0 .14

+ NG L 9 . 50

+N 10GL .50

+N GL 11 .50

+TK 8 +BK .30 8.1 5

12 11

105

10

+ 8.05 + 8.10

finals & construction detail

9

+ 8.10

+RL 8.05

+11.40

southern Part of 1:200 Plan +11.20 +11.60 THAT SHOWS ENTRY SEQUENCE +11.40 +11.20&ROOF RAMP GP

+11.20 GP

+11.00

+11.60 +11.40 +11.20

FINALS & CONSTRUCTION DETAIL

+12

+11.20

AA’

FPL +1 TK + 12 BK + 11

A03

GP

+ 8.00

FALL OF

ROO

F

+11.20

EF

FPL +11.70 TK + 11.70 BK + 11.32

ENTRY FLOOR PLAN SCALE 1:200 106

11

SEP

NO.

+N +T K +B 8.30 K8 .14 SEP

NO.1

+RL 8.13

8

+ 8.05

11

RW +TW11.00 +BW 8.15

10

+ 8.05

+ 8.05

A04 D3

+RL 8.14

+TW10.00 +BW 8.00

7

FPL +8.00 TK + 8.00 BK + 7.62

+ 7.60

+ 7.60 + 8.10

7

+ 7.00

+ 7.60

FPL 8.60

+T

+ 6.50 FPL +7.50 TK + 7.50 BK + 7.12

FPL +8.48 TK + 8.48 BK + 8.10 + 7.50

6

+RL 8.10

K

8.5 8

+B

K

22 M@

8.1 0

1:2 7

+ 7.00

16M

@ 1:1

8 7 FPL +8.80

107

6

6 1:200@ a4

FINALS & CONSTRUCTION DETAIL

+B K

8.1

+T K8

.60

9 3

12

12.00 2.00 1.62

.2

+N 10 .

+

+RL 8.00

2.00

P

+ 8.05

final 1:200 Plan showing FURNITURES ARRANGEMENT +11.00 00 0 +11.60 +11.40 +11.20

FINALS & CONSTRUCTION DETAIL

+11.20 AA’

A03

1:200@ a4 108

+11.20 +11.00 +

11

+B K

8.1

+T K8

.60

9 3

12 +TW12.00 +BW 11.20

+12.00

0

10 +RL 8.14

+TW10.00 +BW 8.00 AG

finals & construction detail

RW +TW1 +TW11.00 +BW +B + BW 8 8.15

RW +TW12.00 2 +BW 8.00 8 AG

AG

FFL 9.00 + 8.10 + 8.00 +11.20

+ 7.60

FPL 8.60

+RL 8.10

AG

+T

K

8.5 8

+B

K

22

8.1 0

27

+

FPL +8.48 TK + 8.48 BK + 8.10 + 7.50

8 7

SEP +11.00 1

10 9

NO.2

109

FPL +8.80 TK + 8.80 BK + 8.42

6

FPL TK BK +5

FINAL 1:200 PLAN SHOWING RAMP DETAILS 1

finals & construction detail

FPL +1 TK + 1 BK + 1

10

17M @ 1:

14

FPL +10.40 TK + 10.40 BK + 10.02 +9.10

9

FPL +9.80 TK + 9.80 BK + 9.42 +8.32

12

11 1

110

FPL +9.80 TK + 9.80 BK + 9.42 +8.00

SEP

10 9

+11.00 1

6

FPL +8.80 TK + 8.80 BK + 8.42

FP TK BK +5

20

FPL +11.50 TK + 11.50 BK + 11.12 +11.04

5

1:4

0

@ 1:

+6.80

FINALS & CONSTRUCTION DETAIL

40

M@

20M

11

NO.2

11.00 11.00 10.62 FPL +9.30 TK + 9.30 BK + 8.92 +8.00

+6.50

1:200@ a4 111

FPL +9.80 TK + 9.80 BK + 9.42 +8.00

11 1 8

11M @ 1: 14

10

9 finals & construction detail

8

7

FPL +9.00 TK + 9.00 BK + 8.62 +7.32 FPL +9.00 TK + 9.00 BK + 8.62 +6.52

7

6

6

5

4

112

FINALS & CONSTRUCTION DETAIL

final 1:200 Plan showing ramP details 2, the BIG CATILEVELED PLATFORM 2 m oVerhang

1:200@ a4 113

11

AG

3

+B K

8.1

+T K8

AG

.60

9

+12.00 RW +TW1 +TW11.00 +BW +B + BW 8 8.15

RW +TW12.00 2 +BW 8.00 8

10

+ 8.05

+ 8.05

A04 D3

+RL 8.14

+TW10.00 +BW 8.00

FPL +8.00 TK + 8.00 BK + 7.62

AG

+ 7.60

AG

FFL 9.00 + 7.60

AG

+ 8.10

7

+ 8.00

+ 7.00

finals & construction detail

+ 7.60

FPL 8.60

6

8

16M @

AG

+T

+ 6.50 FPL +7.50 TK + 7.50 BK + 7.12

FPL +8.48 TK + 8.48 BK + 8.10 + 7.50

1:16

+RL 8.10

K

8.5 8

+B

K

22

8.1 0

27

+ 7.00

7 SEP

10 9

NO.2

6

FPL +8.80 TK + 8.80 BK + 8.42

FPL +7.00 TK + 7.00 BK + 6.62 +5.60

1

4M

+6.80

114

5

@1

:14

7

7 6

5

FPL +6.00 TK + 6.00 BK + 5.62 + 4.00

4

3

final 1:200 Plan showing RAMP DETAILS 3 1:200@ a4 115

FINALS & CONSTRUCTION DETAIL

AA’ A03

1 :14

+6.80

5

4

FINALS & CONSTRUCTION DETAIL

final 1:200 Plan showing RAMP DETAILS 4

1:200@ a4 116

1 4M @ 1 :14

FPL +5.00 BK + 4.62

2

12 M

@

1:1 2

FPL + 4.00

finals & construction detail

3

FPL + 2

117

COMPACTED SUBGRADE

STRUCTURAL STEEL

PANT SOIL/TOP SOIL

WATERPROOF MEMB

CRUSHED STONE AGGREGATE

D6

TURF ON PLANT B

FINALS & CONSTRUCTION DETAIL

DETAILED SECTION 1 SCALE 1:20

75mm 75m 7 mm m m PERFO P PERFORATED E FO OR O RA R A ATTE TEED D PV PVC PVC VC AERA AER A ER RA ATIO A TTI TIO ION IO ON N PIP P IP PEES P ES W WRA R RA AP A PEED PED PE D IN IN AERATION PIPES WRAPED FFILTER FILTE FILT LTE LT TEER ER FABRIC FFABR ABR AB BR RIC R IC SSAND SA AND DB BED ED D PLANTING PLANTIN P PL LAN ANT NTTTING IING GB BE BED ED

GEOT GEO GEOT OTE TTEX EX XTILE XT XTIL X TTIILLE LE LAYER LA LA AY YEER GEOTEXTILE

300mmTOPSOIL MIN MIN IN 3 300m mmT m mm mTOP m TO OPSOIL PSO PSO OILL OIL

PERFORATED PER RFORAT RFO ORA ATTEED SUBDRAIN PIPE PI IPE PEE 300

WATERPRO

20mm SA

GEOTEXTI 1150

P WAT

100

STRU BOLT STEEL

SLOPE 2%

280

1100

550

25 250 25

CUT PLANTFORM AND DRAINAGE DETAIL

CONCRETE RETAINING WALL AND PLANTER

118

REINFORCED CONCRETE

SAND LAYER

WATER FEATURE

PLASTIC GRATE

BARANE

LIMESTONE CLADDINGS

BED

FOR THE PURPOSE OF DOCUMENTING IN THIS JOURNAL THIS scale is1:40 (which is abnornal) the scale used in Presentation was 1:20

OOFING LAYER

ANDBED

ILE LAYER

PAVER SPACER TERPROOFING LAYER

UCTURAL I BEAM TED AND WIELD TO L ENCASEMENT

RAMP WALKING PAVER WATERPROOFING LAYER FIBER REINFORCED PLASTIC GRATE TRANSVERSE FIBER REINFORCED PLASTIC I -BEAM FIBER REINFORCED PLASTIC H -BEAM WATERPROOFING LAYER STEEL ENCASEMENT

RAMP WATER LONGITUDINAL FIBER REINFORCED PLASTIC I -BEAM M

RAMP PLACEMENT AND CONSTRUCTION DETAIL

119

FINALS & CONSTRUCTION DETAIL

detailed construction section 1:40 @ a4

finals & construction detail

D5

DETAILED SECTION 2 SCALE 1:20

RETAINING R RETAINI IN NING NI ING WALL W WAL ALLL PERFORATED PER PE ERF ER RFFO ORAT RA R RATE ATTTEEED ATE D DR D DRA DRAIN RAIN RAIN

TOP SOIL 15mm MORTAR JOINT LIMESTONE RETAIINGWALL VENEER TRENCH DRAIN

LIMESTONE SAW-CUT FINISH AND ROUGH SAWN SIDES

TURF ON PLANTING BED

REINFORCED CONCRETE WALL

TOP SOIL

CRUSHED STONE AGGREGATE

200 1750

400

300

1100

LIMESTONE EST RETAINING NIN NIN NG W NG WALL ALL D DE DETAIL ETTTA AIL IL AN A AND ND DR D DRA DRAINAGE RAIN A NA AI NAG AGE

120

295

HEDGE H ED DGE PLAN DG P LA AN N

NT NT DETAIL D DETA ETAI ET TAIL TA I

detailed construction section 1:40

FINALS & CONSTRUCTION DETAIL

FOR THE PURPOSE OF DOCUMENTING IN THIS JOURnal this scale is1:40 (which is abnornal) the scale used in Presentation was 1:20

SSECURE SE EECUR EC CURE RE ALUMI MI +ALUMINIUM +A + ALLU AL UMINIUM W RUBB RUBBER BER HOS HO + RUBBER 50mm 5 m LAY LAYE LLAYER YEER OF Y OF MULCH MUL ULC ULC CH C H FI FIN FFINISHED INISH NISSSH SHED ED D BELOW TOP PAVER 6mm 6 mm BEL B LO OW O W TO OP P OF OF P PAV AVE AVER A VER V VE ER R

ASPHALT PAVERS ASPH H

MINIMUM 610mm MIN INI NIM MU UM O OFF 6 610m 61 0m mm mO OF PLANTING PLANTIN TIN IN NG N G SSOIL OIL O

19mm SAND BED 1

COMPACTED SUB-GRADE COM COMP C COMPA OM MPA PACTE CTTTEEED D SSU SUBB-G -GRADE STEEL SSTEE T ELL EDG EDGING D AND INTE INTERNTERR

50mm 5 50 0 m OF OF M MULCH U AROUND AROUN OUND 965mm DE 965mm D DEEP EEEEP EEP EP ANTING MI M MIX PLANTING

COMPACTED AGGREGATES GEOTEXTILE LAYER

GROUND GRO OU UND ND COVE COV VER ERPLANTING ING N COVERPLANTING

RAISED RA AIISED AISED D SU SSUB-GRADE UB B-GR GRAD RAD DE PEDEST

BURLAP PA AND WIRE BASKET REMOVED D FROM TOP HALF OF ROOTT B BALL

COMPACTED SUB-GRADE

PAVER P AV VEER RESTRAINING REES ESTTTR RA AIN NING EDGE ED DGE DG GE DETAIL DETA ETAIL ET

PAVER P AV A VEER DETAIL DE DET DETA TAI AILL

121

TTREE R REEE EE PLANT P PLANT IN N PA PAV P PAVER AV VEER D VER DETAIL ETTA AILL

finals & construction detail

RETAINING R RETAINI IN NING NI ING WALL W WAL ALLL

295

PERFORATED PER PE ERF ER RFFO ORAT RA R RATE ATTTEEED ATE D DR D DRA DRAIN RAIN RAIN FINISHED 50mm 5 m LAY LAYE LLAYER YEER OF Y OF MULCH MUL ULC ULC CH C H FI FFIN INISH NISSSH SHED ED D BELOW TOP PAVER 6mm 6 mm BEL B LO OW O W TO OP P OF OF P PAV AVE AVER A VER V VE ER R

ASPHALT PAVERS ASPH H

MINIMUM 610mm MIN INI NIM MU UM OF OF 6 610m 61 0m mm mO OF PLANTING PLANTIN TIN IN NG N G SSOIL OIL O

19mm SAND BED 1

COMPACTED SUB-GRADE COM COMP C COMPA OM MPA PACTE CTTTEEED D SSU SUBB-G -GRADE STEEL SSTEE T ELL EDG EDGING D AND INTE INTERNTERR

965mm DE 965mm DEEP D EEEEP EEP EP ANTING MI M MIX PLANTING

COMPACTED AGGREGATES

GROUND GRO OU UND ND COVE COV VER ERPLANTING ING N COVERPLANTING

GEOTEXTILE LAYER COMPACTED SUB-GRADE

HEDGE H ED DGE PLANT DG PLA AN NT DETAIL D DETA ETAI ET TAIL TA I

PAVER P AV VEER RESTRAINING REES ESTTTR RA AIN NING EDGE ED DGE DG GE DETAIL DETA ETAIL ET

PAVER P AV A VEER DETAIL DE DET DETA TAI AILL

122

TTREE R REEE EE PLANT P PLANT

detailed construction section 1:40

FINALS & CONSTRUCTION DETAIL

FOR THE PURPOSE OF DOCUMENTING IN THIS JOURnal this scale is1:40 (which is abnornal) the scale used in Presentation was 1:20

SECURE SSE EECUR EC CURE RE ALUMIN ALUMINIUM MINIUM NIUM TTBA TBARS BARS RS +A + ALLU AL UMINIUM WIREE TH HREEAD H +ALUMINIUM THREAD + RUBB R UBBER BER HOSE HO RUBBER 50mm 5 50 0 m OF OF M MULCH U AROUN AROUND OUND TREE TREEE RA AIISED AISED D SU SSUB-GRADE UB B-GR GRAD RAD DE PEDESTAL PEDEST RAISED BURLAP AND WIRE BASKET PA REMOVED D FROM TOP HALF OF ROOTT B BALL

ROUGHENED SLOPE OF EXCAVATION RAISED RAISE ED D SUBGRADE SUBGRAD SU SUBGRAD UBGRA UBG BGRA ADE A DEE D PEDESTAL AL 50mm MULCH M LCH H AROUND D TREE

5% FALL AWAY FROM ROOT BALL

T IN N PA PAVER PAV P AV VEER DETAIL VER DETTA AILL

TREE TR REEE PLANT RE P PLA PL ANT ON ON SLOPE SLO SL OP O PE P DETAIL DEETTA AILL

123

D6

DETAILED SECTION 3 SCALE 1:10 @ a4

STRUCTURAL I BEAM BOLTED AND WIELD TO STEEL ENCASEMENT

34

100

90

100

30

50

PAVER SPACER

380mm

FINALS & CONSTRUCTION DETAIL

WATERPROOFING LAYER

RAMP WALKING PAVER WATERPROOFING LAYER FIBER REINFORCED PLASTIC GRATE

TRANSVERSE FIBER REINFORCED PLAST FIBER REINFORCED PLASTIC H -BEAM WATERPROOFING LAYER STEEL ENCASEMENT

124

LONGITUDINAL FIBER REINFORCED PLASTIC I -BEAM

TIC I -BEAM

125

finals & construction detail

RAMP WATER PAVER

finals & construction detail

126

Winter 9am

Summer 3pm

BASIC DESIGN ISSUE:

EVERy TuRNs OF ThE RAmP INdICATEs A sTOP ANd Thus VIEws ARE PROVIdEd AT ThEsE POINTs. ThE RAmP PROVIdEs PARANOmIC VIEws TOwARds ThE NEARby subuRb, ThE Cbd IN A dIsTANCE VIEw ANd ThE RIVERsIdE VIEw. PAssIVE dEsIgN THERMAL MASS: ThE PAVIlION Is lOCATEd AT ThE VAllEy bEINg CuT OuT FROm ThE EARTh. ThIs wIll Add VAluE TO ITs ThERmAl mAss whERE hEAT wIll bE sTOREd duRINg dAyTImE ANd RElEAsEd duRINg NIGHT. WINDBREAK: ThE ENTRANCE OF ThE PAVIlION Is PlACEd TO FACE ThE RIVER. ANd ThE ROuNd EmbRACINg shAPE OF ThE PAVIlION ACTs lIkE A wINd-bREAk TO blOCk OuT hOT summER wINd FROm NORTh ANd COld wINTER wINd FROm sOuTh.ThE ENTRANCE wIll RECEIVE COOl summER bREEZE FROm ThE RIVER AT sumMER TIME.

127

FINALS & CONSTRUCTION DETAIL

VIEWS

AG

SEP

AG

NO.1

AG

AG

AG

SEP

NO.1

FINALS & CONSTRUCTION DETAIL

THREE LAYERS OF LANDFORM

GRADING NATURAL LAYER WATER LAYER RAMP LAYER

ARCHITECTONIC - THE SECOND LANDSCAPE ThE ExPREssION OF VIsuAl FORm OF RAmP Is A sTRONg GESTURE IN DEFINING GEOMETRIC SHAPES. IT CREATES A uNIFORm slOPE sTROkINg wIThIN ThE sITE. ThE RAmP FRAmEs OuT ThE dIsPlAy FOR ThE VIEwERs FROm ThE RIVER sIdE. wIThIN ThE sITE, ThERE ARE 3 lAyERs OF ARChI PhENOmENON, OF whICh 1 Is ThE ORIgINAl EARTh gRAdINg, ThE OThER ThE ARTIFICIAl RAmP , ANd ThE ThIRd Is ThE wATER lAyER whICh mEANdERINg bETwEEN ThE TwO lAyERs.

128

FOllOwINg ThE sECONd wEEk’s PRECEdENT: kENgO kumA’s FOldINg hOusE whERE ThE ROOF OF ThE hOusE FOlds lIkE A sTROkINg COllIgRAPhy, wE COmE uP ThE IdEA OF CREATINg A uNIFIEd sPACE bETwEEN ThE uPPER TERRACE ANd lOwER TERRACE. THIS IDEA ALSO MERGE THE ARCHITECTURE ITSELF INTO LANDsCAPE ANd TRIEs TO ExPREss A sENCE OF gENus lOCI whERE ThE sPIRIT OF ThE PAVIlION bElONgs TO NOwhERE OThER ThAN THIS SITE.

129

FINALS & CONSTRUCTION DETAIL

uPPer ramP+ lower ramP = roof ramP (a unified sPace)

TECHNICAL ISSUE: sINCE ThE whOlE PAVIlION Is subsIdENCE IN ThE EARTh, ThE dEsIgN Is INVOlVEd wITh ThREE mAIN IssuEs: 1.RETAININg wAll Retaining walls are important design issue in this design as they locates at edges of the cut land, for example: the +11.00 to +12.00 land and the +8.00 platform edge. In order to drain water out, all bottom of wall should set 20mm above the ground and some places, agriculture drain trench should be located align with the bottom of the wall.

FINALS & CONSTRUCTION DETAIL

2.RAMP SLOPE

GRADIENT: ALL OF THE RAMP GRADIENT IN THIS DESIGN IS LARGER ThAN 1:14, whICh Is COmFORTAblE FOR wAlkINg EVEN FOR HANDICAPED PEOPLE. NO hANdRIlls: PlACEs whERE slOPEs ARE 1:20 ARE NOT CONSIDERED FOR HANDRILLS AS ACCORDING TO AUSTRALIAN STANDRAD. lANdINgs: ThERE ARE lANdINg PlATFORms PlACEd INTERVAlly bETwEEN RAmPs. VERTICAl ANd hORIZONTAl slOPE: FOR ThE ROOF RAmP whERE wATER Is dRAINEd INTO ThE guTTER IN FORmINg A FlOwINg wATER RIbbON, wE dEsIgNEd A hORIZONTAl slOPE OF 2% FOR wATER TO dRAIN TO A PREsCERIbEd sIdE OF ThE RAmP.

130

VEGETATION SELECTION:

1: lARgE TREEs PROVIdE sENCE OF PRIVICy ANd CAN VREATE AxIAl VIEws FOR VIEwERs. IT CAN lEAds PEOPlE’s PEOPlE’s VIEw TOwARds CERTAIN dIRECTION yET blOCk uNwANTEd VIEws. Eg: wE usEd lARgE TREEs As A wElCOmE yET mysTERIOus gEsTuRE IN ThE ENTRACE OF ThE ROOF RAmP. ThE TAll TREEs CAN blOCk ThE VIEw OF CARPARk FOR PEOPlE whO ARE wAlkINg ON ThE RAMP. 2.shuRbs ANd hEdgEs TO dEFINE bOuNdARIEs. wE dECIdEd TO usE shRubs ANd hEdgEs TO dEFINE ThE sPACE ANd FOR sOmE PlACEs whERE wE REFusE PEOPlE’s ACCEssIbIlITy, wE usE sense of enclosure and private space hEdgEs TO blOCk CIRCulATIONs. wE APPlIEd ThIs PRINCIPlE bOTh ON ThE uPPER RAmP ANd lOwER RAmP,Eg: ThE NORTh EAsT slOPE bEsIdEs ThE PAVIlION ANd ThE sOuTh wEsT gRAsslANd. ThIs wIll dEFINE PEOPlE’s CIRbulATION IN A PAsaxial view towards ramps and blocks carpark sIVE APPROACh. 3.usE VEgETATION TO FRAmE VIEws. wE usEd sOmE VEgETATION TO FRAmE VIEwERs’VIEw AROuNd lARgE lANdINg bushes and hedges define boundaries PLATFORM.EG: AROUND LARGE CANTILEand narrows down cirbulation choice VER VIEwINg PlATFORm.

131

FINALS & CONSTRUCTION DETAIL

CONsIdERATION OF sElECTION OF VEgETATION IN ThIs dEsIgN Is bAsEd ON ThREE PRINCIPlEs:

GP DRAINAGE

MAP AROUND PAVILION +11.20 GP

12

11

1.20

+12.00

+11.20

+T + +B

AG

FPL +12.00 TK + 12.00 BK + 11.62

GP

+ 8.00 +11.20 ROO

F

FPL 8.60

8.5 8

+B

K

8.1 0

FALL OF

K

+

+T

FPL +11.70 TK + 11.70 BK + 11.32

AG

FINALS & CONSTRUCTION DETAIL

RW +TW11.00 +BW + BW 8.15 8 8.15

AG

11 +11.00 132

SEP

10 9

NO.2

FPL +8.80 TK + 8.80 BK + 8.42

8

+T K +B 8 K8 .14

+R 8.00 +R +RL SEP

AG

NO.1

AG

9 8. 6 0

AG

7 6

TW10.00 BW 8.00

FPL +8.00 TK + 8.00 BK + 7.62

AG

+ 7.60

G

+ 7.60

7

+ 7.00

+ 7.60

+ 7.00

+ 6.50 FPL +7.50 TK + 7.50 BK + 7.12

FPL +8.48

BK + 8.10 + 7.50

5

6

7 6

FPL +7.00 TK + 7.00 BK + 6.62 +5.60

Slopes should slope down outwards building edges

133

finals & construction detail

+

+ 8.05 A04 D3

A AG

AG

AG

SEP

NO.1

AG

AG

AG

FINALS & CONSTRUCTION DETAIL

APPROX LINE OF CLEARING

AG AG

134

FINALS & CONSTRUCTION DETAIL RENDERING CREDIT: Calvin CHEOK

135

A AG

AG

AG

SEP

NO.1

AG

AG

AG

finals & construction detail

APPROX LINE OF CLEARING

AG AG

136

FINALS & CONSTRUCTION DETAIL RENDERING CREDIT: Calvin CHEOK

137

FINALS & CONSTRUCTION DETAIL

138

AG

SEP

NO.1

139

AG

AG AG

FINALS & CONSTRUCTION DETAIL

A AG

AG

APPROX LINE OF CLEARING

AG AG

APPENDIX & BIBLIOGRAPHY

study outcome summary week12 Thinking in retrospect, what I learnt in site tec through the whole semester can be summarised into several parts: 1 understanding about representing the site. we practiced how to represent the site through cutting contour models, digital modelling using Rhino, 3D max, represent through 2D plans and sections. During these practices, I concreted my understanding about scale, ( both horizontal scale and vertical scale) line weights and toning.

2. get to know some great contemporary landscape architecture project. As an architecture student, I felt this part very useful as the topic ‘merge architecture into landscape’ is very trendy. Throughout the semester I learnt lots of precedents from lectures, tutors, peer students as well as self research. This class raise my interest in landscape architecture.

3.looking into details. by designing our own project, our group had a change to think about the constriction details and through the research we were amazed at how elaborated these details were. These are mainly construction methods around waterfront, green roof gardens and fountains.

4.know the importance of slope and the how slope gradient can affect people’s experience.

5. The most important issue I think is ‘designing gradient for drainage’ and how to calculate and draw these change of gradient explicitly on plan.

Potential of improvement: ‘To know how to calculate the volume of excavated and filled earth in the cut and fill scenario.’

140

APPENDIX & BIBLIOGRAPHY

ROAd INTERFACE AROuNd ARChITECTuRE buIldINg REAL SECTION showing stratus of soil! obviously different layers of substrate soil, crushed stones, mulch and compacted soil !

I GET SENSITIVE TO SITE ENGINEERINGS AROUND ME!

141

APPENDIX & BIBLIOGRAPHY

142

APPENDIX & BIBLIOGRAPHY

143

APPENDIX & BIBLIOGRAPHY

144

APPENDIX & BIBLIOGRAPHY

145