Architectural Writing_The Collection_2016 by Dan Liddy

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ARCHITECTURAL WRITING

// DAN235

DANIEL LIDDY

N8285063

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CONTENTS

04 05 06 10 02

professional writing week 07

program writing week 07

persuasive writing week 08

descriptive writing week 08

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16 24 26 28

technical writing week 09

journalistic writing week 09

career planning week 10

reflective writing week 10

week 07. professional writing. Formal business letter to client fee proposal letter

FRCST Development Partners Pty Ltd Andrew Clough 742 Brunswick St New Farm, 4005 Dear Andrew, RE:

Hastings St, Noosa Heads

Thank you for the opportunity to submit our proposal for the provision of architectural and interior services on your project on Hastings St, Noosa Heads. We are excited by the opportunity that the project presents for a development on this part of the Sunshine Coast and we feel it could make a strong contribution to Hastings Street and the Noosa Precinct as a whole. The project is ideally positioned in terms of locations, brief and market for a unique and successful development that will create long term value. We feel our approach and particular experience in the development of design led, boutique residential development has us very well placed to create a unique response for this project that is also commercially sound. Some of our recent projects have been in direct response to this demand on the Sunshine Coast and South East Queensland, and have included; Charcoal apartments New Farm, Hibiscus at Peregian Beach and Wake at Kangaroo Point which was shortlisted for the World Architecture Forum award for housing whilst also proving to be a strong commercial success. We have a long association and familiarity with the Sunshine Coast and apart from Hibiscus, our projects have included the Weatherboard residence and House Four, which was awarded Sunshine Coast House of The Year. We are pleased to attach our fee proposal for both our Architecture and Interior Design packages, as well as outlining our Scope of Services and proposed Fee Schedule. We hope that you find the proposal acceptable and very much look forward to working with you on your project should we be successful. Please contact me if you wish to discuss any aspect of this proposal in more detail. Regards,

Dan Liddy Director Enc. (2)

week 07.

GANTT CHART: For this activity, a scenario was chosen that was seen to cover a range of project types that would be typical for a young, small firm (3 people): a small cafe fitout (A), a residential project (B) with a budget of $200,000 and a small, minimal impact house extension (C) totalling no more than $90,000. Resourcing is to be driven by project timeline. Initially one member would work solely on the cafe fitout (A) while the other two work on the front end development of the residential

project (B). With the third projects (C) engagment period scheduled to begin at the point of the houses (B) DA submission and the round up of the cafes (A) CD stage, there is able to be a 2 member design team working on the new house extension (C). Further, as the cafe (C) comes to a tender process and a close, the residential project (B) is able to maintain its two member team at all points of its timeline.

Please Refer to Apendix 1 for included architectural practice gantt chart

week 08. RAIA persuasive writing. Awards Submission 06

PROJECT SUMMARY:

Driven by the need to expand the amenities of Brisbane’s South Bank precinct, ‘the move’ is a 1500 seat theatre extension to the iconic, and recently heritage listed, Queensland Performing Arts Centre. Whilst serving predominately as the home of the Queensland Ballet, the theatre is designed using a unique, adaptability driven approach that provides the flexible platform for a broad range of theatrical and musical performances. Pushing the boundaries of traditional cultural centre design, the move encourages an artistically directed, holistic theatrical experience - one that sets the tone of a lively, connected and engaging civic facility.

In addressing the tight site bounded by heritage form, the response required a unique stacking approach – taking the traditional sprawling plan of a theatre, and lifting back of house and rehearsal spaces upwards to encircle the fly tower. The resulting release of space allows for large, engaging front of house spaces that celebrate the theatre of light through voided floors and robust, yet refined façade systems. The honest expression of materials and a strong minimalist design approach has assisted in forming a building which is economical to construct, yet elegantly expressive through form and finish.

PROJECT DESCRIPTION: Standing as an extension to the recently heritage listed Queensland Performing Arts Centre, The move is a 1500 seat theatre and function centre that is driven by a response to its iconic surroundings. Although inspired by a need to house the Queensland Ballet, a design approach focusing heavily on the freedom of adaptability has resulted in an engaging civic facility that provides the platform for a range of theatrical and musical performances. Informed by a brief to create a predominant entrance to the QPAC facility, the move is extremely well connected to the existing heritage form and its amenities. With respect to the original buildings design intent, the move focuses strongly on light mediation and softening pockets of vegetation to help control the impact of its modern brutalist form. The move is strongly shaped by its perceivable and emotional response to context. An expansive, activated ground plane creates a physical connection to the strong pedestrian network that Russell Street has to offer, whilst permeable façade systems ensure a teasing visual connection between the moves inhabitants and the surrounds that shape it. Initial discussions with the client revealed a need to maximise performance spaces and provide increased amenities in both the front and back of house, all the while dealing with the constraints

and challenges of a tight and difficult site. As a result, the move incorporates a unique planning system that stacks the briefs larger programmatic elements – the 1500 seat proscenium theatre, a secondary intimate theatre space and the staff office spaces – on top of each other. The result is a liberated ground and foyer plan, giving way to increased restaurant, function and dressing room space. The scheme’s holistic strategy expresses the singular programmatic elements as a collection of rectilinear volumes. However, to create a density in its architectural composition, the move ensures none of this geometry is free standing or isolated, instead they are thoughtfully overlapped, interconnected and notched into one another. Through this strategy, the moves vertical and horizontal circulation spaces climactically accumulate in a centralised atrium that, in combination with the buildings penetrated façades, provide a unique design language through varying spatial thresholds. The openness of this atrium and the vegetation at its base contrast with the more obscure, monolithic aspects of the building – providing softness at the level of public interface. Finally, the materialistic quality of the building is utilitarian in nature; seeking to find beauty in raw and structural materials that are often underrepresented in a modern age of cliché architectural habits. Allowing the construction of the building to be exposed internally is not only cost effective, but provides opportunities for its inhabitants that are different to the norm. The Move aims to show the benefit of letting honest materials, spaces and experiences speak for themselves within modern day built form.

SUSTAINABILITY: Environmental considerations include the use of building materials that require no or low maintenance, such as unpainted precast concrete as well as zincalume fins for screens. These materials also have long life spans, which help reduce maintenance costs during the life of the building. Concrete also provides thermal mass for stabilisation of internal temperatures. For the interiors environmentally sustainable materials were chosen for the stone flooring, paint, timber veneer theatre walls and amenity ceiling cladding. Within the performance spaces and stage areas, materials that are not of value have been intentionally used in order to encourage repeat usability; surfaces can be drilled into, cut through, broken down and painted over at limited cost. High-grade glazing has been installed to reduce glare and heat gain of the building. Screening to the eastern facade is mechanically adjustable to amend glare and be adaptable to multiple climate situations. Finally, the large penetrated faรงade to the west blocks harsh sun conditions and creates an acoustic barrier to the adjacent traffic of Grey Street.

week 08. descriptive writing. 01

Wooloowin House Bureau^Proberts

In the inner northern suburbs of Brisbane, a humble species of residential dwellings that give life to the term ‘character housing’, can be found in abundance. During the 1900’s, 10’s and 20’s, the Queensland workers dwelling act helped the now iconic workers cottage rise to prevalence thanks to its simply reliable; impressively affordable, design and construction. Famously ‘tin and timber’, sometimes symmetrical and sometimes not, often foregrounded with a porch-andgable profile, these generally unassuming creatures lay dormant throughout the murmuring streets of Brisbane’s inner suburbia. Sitting proud on their vernacular plinth, they are prepared to withstand the best a humid Queensland summer can muster, and as history will tell, they have rarely flinched at that challenge. In more recent years, driven by growing families and the never-ending search for space, many of these quant cottages have been fortified with expanded kitchens, living rooms and extra sleeping quarters. With the finesse of a sports ground storage shed, these extensions provide their residents with extra room to

breathe, but seldom a home that is open and comfortable. So when the Clients and also architectural / interior design team for Wooloowin house, Terry and Charlie McQuillan bought one of these refurbished 1906 cottages in late 2012, they were sure they didn’t want to create yet another contributor to the trend of modern forms blue tacked to their heritage hosts. Although most wish it to be more common, It is a rare occasion when a residential project is led by an architect who is also the developer and the client. This scenario encourages a holistic maturement of the project from design, to documentation, to detailing. This in-depth involvement allowed Terry and Charlie the luxury of immersing themselves in the journey; by first analysing and understanding how the original house worked, and what it offered. In seeing its historic character, they understood both its existing delights; its materialistic quality, its quite, peaceful surrounds and its large sloping site, but with this they also recognised its encumbrances.

01 The elegant detailing of the home is exemplified through the master bedroom and its concealed window edge bath. 02 The homes Eastern facade maximises connection between inside and out, while utilising operable panels to maintain privacy control.

Quite early, It was realised that an unsuccessful previous renovation to the back of the house in the late 60’s had created a closed in, impractically small space that detached itself from its context. Before them stood a humble structure, yearning for a design extension that brought together new and old seamlessly – whilst celebrating the connection between inside and out. Over a year long period, that intervention involved recladding and refurbishing the existing character house, demolishing the ageing 1960’s extension, and constructing a new two storey add on at the rear. There’s something memorable about houses that are hidden; rare in their deliberate discreteness. Honest in its external expression, Wooloowin house saves its architectural experience for the lucky few who pass its white picket fence. Within the confines of a humble street façade, lies an extension of bespoke living and sleeping spaces that as a collection, express themselves as one complete entity. Spatially, the house is divided down its length. Living, kitchen and dining spaces thrive in their northern aspect. To

the south, the sleeping and study spaces enjoy the peaceful benefits of an extended setback. The house provides the ability to split the public from the private, using concealed sliding panel systems to close the sleeping quarters off, leaving the open plan living and dining spaces to function independently when entertaining guests. Below this, a garage, laundry and gym space occupy the homes lower level; all strongly connected to the its backyard. The open planned nature of these spaces help give Wooloowin house a sense of ‘future proofing’ – providing the flexibility for the home to adapt in response to the ongoing process of family growth and change. Distinguished in their importance within the Queensland setting, the kitchen and master bedroom open to the backyard, ensuring their enhanced views, breezes and natural light – resultantly, both of these spaces stand proud as highlights in an already aesthetically distinguished piece of architectural design. Unique in its layout, the kitchen perfects elegance in its detailing and materialistic expression.

03 The original cottage street frontage deceptively hides the new architectural intervention 04 The homes entertaining spaces are visually and spatially connected to present as one complete entity

LOWER FLOOR

UPPER FLOOR

Similarly, the generous master with completed ensuite and extended robe is a package to behold. Combined, the deceptive simplicity of these spaces really highlights the success in the houses ability to conceal the complexity of its intricate components – homage to its historical workers cottage roots. The original cottage turned its back on the North-Eastern yard, yet within the new extensions arrangement, there is a unique connection with the sites outdoor spaces that allow them to become part of the Terry and Charlies everyday lives. This connection is only amplified through the creation of special spaces, such as a hidden master bath that overlooks its landscaped setting. The inclusion of aspects not common of a traditional residential setting helps to indulge interest by bringing a unique twist of the familiar. Delightfully, the architecture frames glimpses of ‘what is beyond’ – a slice within the kitchen unit celebrates the front entrance and living room from the veranda, whilst entry into the master bedroom is sequential, with the

ensuite and robe teasing the bed and the backyard beyond. In maintaining the relationship between old and new, the materiality of the original cottage is carried throughout its new extension. In this manifestation, Terry and Charlie were able to express their materialist preference through their simple yet contrasting material palette - a palette only amplified through an extension of high ceilings and the influx of natural light they provide. The subtle control that Terry has over light and materials is a skill well perfected through experience. When asked about the beauty of the humble weatherboard, he expressed his content in the decision to feature it internally – stating it not only helped ground the homes historic context, but helped to express a unique textural relief through a familiarity. It seems that as a whole, Wooloowin house is quite successful in this venture of the relationship between unique and familiar. Based on a build of tradition and heritage, the it holds

within with it 100 years of history, a concept that would daunt many. Yet, quite successfully, Terry and Charlie have been able to not just manage this antiquity, but harness it. The result is a home driven by an architecture that is bold and enticing – a strong precedent for extension design that does not just increase space and function, but also create a well-considered whimsicality that treats those who are lucky enough to experience it.

Architectural Practice: bureau^proberts Project Team: Terry McQuillan & Charlie McQuillan Gross floor area (m2): 162 sqm Builder: Vimtek PTY LTD Consultants: Acoustic: Palmer Acoustics Structural: BE Collective Certifier: McKenzie Group Date of construction completion: Feb 2014 Project Address: 19 Kent Road, Wooloowin, QLD 4030 Images: All images courtesy of Alicia Taylor (2015). Images the propert of Bureau^Proberts Architects.

05 Minimalistic simplicity is expressed through the homes contrasting material palette 06 Views are framed to help tease at what lies beyond the threshold

07 The far from traditional kitchen layout helps to provide unique experiences through familiar function

week 09. technical writing. Architectural specification and email requesting professional perusal From: Dan Liddy To: Jimmy Fake Subject: Shearwater Residence – Architectural Specification information – External Screening Project Name: Shearwater Residence Project Number: 17001 ATTN: Architectural Specification Specialist RE: Extruded aluminium panel louvered screen architectural specification Dear Jimmy, We wish to engage you in assisting our specification process for the above stated project – The Shearwater Residence. At this point, our bespoke External Screen system has been approved by the client and has been included within our architectural tender drawing set under the code of SCN-FX-01, and tabled in the accompanying architectural finishes schedule as per the information outlined below: Code: SCN-FX-01 Type: Screen type 01 - extruded aluminium panel louvred screen – fixed Location: Refer Drawings Description: Fixed aluminium louvred screen made up of metallic powder coated aluminium elliptical louvres; louvres fixed at 45 degree angle. Screen mounted in custom structural steel frame (ssf) to structural engineer’s details, with fixings to concrete slab edge to structural engineer’s details Finish: Steel frame finish as per Dulux specification, Louvre finish as per Dulux specification (dark charcoal grey) Comments: Install in accordance with Manufacturer’s recommendations. To comply with all relevant regulatory authority requirements. Ensure separation of dissimilar materials. Refer to drawings for typical extent. Surface finish not to exceed 1mm thickness and to have a spread of flame index of not great than 0. Refer to details for direction of louvres. One full sized prototype is to be provided for review by the Architects prior to commencing fabrication of the final screen. Prototype to include sliding track and fixing mechanisms for testing. Powder coated steel fixings to be set out from an as-constructed site survey of the structural slabs - not to be set out from architectural drawings. Set out varies on each floor. In order for us to finalise our D&C Tender Issue, could you please review the attached draft specification information for this system and provide / outline any relevant feedback or changes you believe necessary. For ease of coordination, within any changes made please continue to refer to the external screening system as SCN-FX-01 (External Screen – Fixed – Type 1) Kind Regards, Dan Liddy Director

DRAFT SPECIFICATION: EXTRUDED ALUMINIUM PANEL LOUVERED SCREEN â&#x20AC;&#x201C; FIXED SCREEN CODE: SCN-FX-01 GENERAL 1.1

RESPONSIBILITIES

General

General: Provide external screens, as documented and as follows: - Plumb, level, straight and true within the building tolerances of the structural system. - Undamaged and free of surface defects or distortions. - Fixed or fastened to the building structure. - Able to resist wind and other actions without vibration or permanent distortion. 1.2

CROSS REFERENCES

General

Requirement: Conform to the following worksection(s): - General requirements. 1.3

STANDARDS

General

Aluminium framed sunscreens, awnings and shutters: - Stress analysis of members: To AS/NZS 1664.1 or AS/NZS 1664.2. - Horizontal screen loadings: To AS/NZS 1170.1 Table 3.2.

Electrically operated external louvres and blinds: - Drive motors: To AS/NZS 60335.2.97. - Access for maintenance: To AS 1657. Glazing

Glass type and thickness: To AS 1288, if no glass type or thickness is nominated. Other glazing materials: To AS 1288. Installation: To AS 1288. Quality requirements for cut-to-size and processed glass: To AS/NZS 4667. 1.4

INTERPRETATION

Abbreviations

General: For the purposes of this worksection the following abbreviations apply: - BMS: Building Management Systems. - PVC: Polyvinylchloride. Definitions

General: For the purposes of this worksection, the following definitions apply: - Screen: Includes sunscreens, trafficable sunscreens, external louvres and blinds, shutters, awnings and pergolas fixed to building facades or openings to control sunlight and/or provide

privacy, to screen plant and equipment, or to provide an architectural feature. It applies to fixed, adjustable, operable and automatically controlled types. - Louvres: . Horizontal: Louvres that span between frames stiles, mullions or vertical supports. . Vertical: Louvres that span between frame heads and sills, or horizontal supports. . Continuous: Louvres that run continuously past, and are supported by, concealed framing or brackets. - Membrane: A thin and flexible sheet of fabric material. - Tensioned membrane: A thin cloth or sheet that is held in a predetermined 2- or 3-dimensional shape under permanent tension. The shape and the tension are interrelated and designed to safely carry the permanent and imposed loads (such as those resulting from wind actions) in a predictable manner. 1.5

INSPECTION

Notice

Inspection: Give notice so that inspection may be made of the following: - Prototypes constructed and ready for inspection. - Fabricated screen assemblies at the factory ready for delivery to the site. - Fabricated screen assemblies delivered to the site, before installation. - Commencement of installation of screen assemblies. - Completion of installation. 1.6

SUBMISSIONS

Maintenance manual

Requirement: At completion, submit the screen manufacturerâ&#x20AC;&#x2122;s recommendations for operation, care and maintenance. Prototypes

Provide prototypes of each typical screen type incorporating at least one example of each component in the system, including attachments to the structure, flashing, caulking, sealing, infill materials, operating hardware and controls, for approval prior to manufacture of remaining screens. Samples in prototypes: If approved, incorporate required samples into prototypes. Samples

General: Submit samples of the following: - Sections proposed for frame members, louvres, accessories, cover panels and trim. - Joints made, using proposed techniques. - Colour samples of prefinished production material (e.g. anodised or organic coated extrusions or sheet, glazing, infill panel material or fabric), each at least 200 x 200 mm, showing the limits of the range of variation in the selected colour, if any, for each component of the screens specified. - Accessory and hardware items documented descriptively or by performance (i.e. not proprietary items). Include handles, operators, controls, switches, sensors, motors, fixing clips, anchor brackets and attachments, fixings, gaskets and weather seals.

Labelling: Label each sample, giving the brand and product name, manufacturerâ&#x20AC;&#x2122;s code reference, date of manufacture and intended building location. Sealant compatibility

Compatibility statements: Submit statements from all parties to the installation that certify the compatibility of sealants with screen components, finishes and all substrates.

Shop drawings

General: Submit shop drawings to a scale that best describes the detail, calculations and specifications conveying the following information: - Layout of the screen assembly (sectional plans, vertical sections, and elevations of each building face where screens are to be installed). - Full size sections of typical members including mullions, transoms, subheads, sills, subsills, louvres, infill panel material or fabric, beads, bearings, linkages, exposed fixings, sealant beads, glazing gaskets, splice plates, trays and cover strips, with notes specifying the proposed materials. - Lubrication requirements for adjustable or operable screens. - Method of assembly, including isometric or axonometric and exploded views of typical framing junctions, showing panel to panel joints (for modular systems). - Method of installation, including the following: . Location and magnitude of reactions to be accommodated by the support structure. . Type and location of fasteners and other attachments to be cast or otherwise built into the building structure. . Erection tolerances. . Accurate locations and full size details of machined slots, keyholes and other penetrations in frame extrusions for lifting and installing the units. . Junctions and trim to adjoining surfaces. . Caulking and flashing. . Locations of visible heads of fasteners. - Provision for differential vertical or horizontal movements, including the following: . Thermal expansion and contraction. . Frame deflections. - Details of motor and operating mechanism enclosures. - Method of draining the assembly, including details showing the following: . Pressure equalised drained joints. . Location, number and size of weepholes. - Connection points to rainwater or stormwater systems. - Hardware, fittings and accessories including window cleaning restraints and visible heads of fasteners. - Infill panel stiffening. - Location and power requirements of motors, sensors and controls. - Wiring diagrams of control systems and how they connect to BMS. - Scale drawings, descriptions and statements of the prototype sunscreen. Subcontractors

General: Submit names and contact details of the proposed manufacturers and, if the manufacturer is not the installer, the installers recommended by the manufacturers.

PRODUCTS

MATERIALS GENERALLY Structural steel

Design and materials: To AS 4100. Welding: To the AS/NZS 1554 series. Galvanizing: To AS/NZS 4680. Cables

Requirement: Preload cables by cyclic loading to achieve a uniform modulus of elasticity and a linear stress/strain relationship within the working range. Use a swaging system to achieve a breaking strength of terminals not lower than the minimum design strength of the cable system. Materials: Stainless steel Grade 316 or galvanized steel. 2.1

FINISHES

Surface preparation

Standard: To AS 1627. Anodised

Standard: To AS 1231. Thickness: â&#x2030;Ľ 15 microns to 20 microns. Hot-dip galvanizing

Coating mass/thickness minima: To AS/NZS 4680. Powder coating

Standard for architectural coating applications: To AS 3715. Powder coating type: Refer to finishes schedule 2.2

FIXED PANEL TYPE SCREENS

General

Requirement: Provide weatherproof infill panel materials mounted in a metal perimeter frame or sub frame which will: - Withstand imposed actions and wind actions for the location without failure or permanent distortion, and without panel flutter. - Shed water without pooling. Expansion joints

Requirement: Provide for expansion and contraction in continuous sections at spacings not exceeding the manufacturerâ&#x20AC;&#x2122;s recommendations, or 6 m, whichever is the lesser. Fixing: Provide a fixing system appropriate to the panel material that will retain the panel without distortion or dislocation.

Framing materials

Requirement: Provide frames fabricated from solid or hollow metal sections. Fix to fastener brackets or arms mounted on the face of the building, and brace as necessary with stays, including tensile elements such as wire cables and turnbuckles. 2.3

LOUVRE TYPE SCREENS

General

Requirement: Provide metal louvre blades mounted in a metal perimeter frame or sub frame and able to withstand the permissible-stress-design wind pressure for that location without failure or permanent distortion of members, and without blade flutter. Expansion joints

Requirement: Provide for expansion and contraction in continuous sections (e.g. continuous louvres, interlocking mullions) at spacingâ&#x20AC;&#x2122;s not exceeding those recommended by the manufacturer, or 6 m, whichever is the lesser. Fixed metal louvres

Requirement: Provide metal louvre blades mounted in a metal perimeter frame or sub frame, or on carrier frames, installed horizontally or vertically. Blades can be rolled or extruded metal, or extruded metal blades swaged together with cross bars to form selfsupporting panels. Adjustable louvres

Requirement: Provide an adjustable louvre system including louvre blades clipped or fixed into blade holders pivoted to stiles or coupling mullions, linked together in banks, installed horizontally or vertically. Operation: Provide an operating system, incorporating a locking or latching device for each bank of louvres. 3

EXECUTION

3.1

FABRICATION

Aluminium fabrication and construction

Standard: To AS/NZS 1664.1 or AS/NZS 1664.2. Fasteners

Requirement: Provide fasteners of sufficient strength and quality to perform their required function. Joints

Requirement: Make accurately fitted tight joints by methods such that neither fasteners nor fixing devices such as pressure indentations are visible on exposed faces. Where heads of fasteners are unavoidably visible, finish them to match the adjacent finished surface. Protection

Corrosion protection: Provide protection against corrosion which may be caused in metals by products or processes normally employed on a building site or by normal atmospheric or other ambient conditions and by-products including rainwater, potable and non potable water, airborne salt and airborne pollution.

Durability: Provide materials resistant to exposure to weather and UV radiation so that their colour, surface finish, flexibility and water resistance are maintained. Temporary measures: Do not use adhesive tape, film or paper, or applied coatings liable to bond to the substrate, when exposed to sunlight or weather, as temporary measures to protect screen components during the course of the works. If temporary measures are used, remove all traces, particularly from contact mating surfaces before joining up. Operation

Requirement: Provide moving parts which operate freely and smoothly, without vibration, rattling, binding or sticking, and at correct tensions or operating forces. Lubricate if appropriate. 3.2

WELDING

General

Quality: Provide finished welds descaled and free of surface and internal cracks, slag inclusion and porosity. Provide continuous welding unless permanently concealed. Restrictions: Do not weld as follows: - On site. - On finished surfaces. - Next to a finished surface or glass, unless the adjacent surface is protected from damage. 3.3

EMBEDDED FIXINGS

General

Fixing: Fix screens to the building structure by one of the following methods, and as documented in the Fastener fixing schedule: - Fasteners cast into the concrete of the building structure. Do not displace reinforcement, when locating embedded items. - Chemical fixings, expanding bolt sockets. - Bolting or welding to brackets or structural framing.

Submission: If other methods of fixing (e.g. preformed pockets or explosive tools) are proposed, submit details. Standard for embedment

For concrete: To AS 3600. For masonry: To AS 3700. Fixing brackets

Requirement: Provide fasteners and other methods of attachment of the screens to the structure with the following characteristics: - Three-way adjustment to accommodate fabrication and construction tolerances. - Provision for building movements while fixing the screens in their correct positions. - Adequacy for structural design actions. Protection

Cast-in items: Prevent the entry of concrete slurry into bolt holes, channels, and other openings for the fasteners. Fill the openings using an easily removed water repellent material before casting in.

Placement

Tolerance: - Maximum deviation from correct position: 13 mm.

Fastener channels embedded parallel or perpendicular to the edge of a concrete structural member: - Minimum length of embedded anchor: 200 mm. - Minimum distance from the concrete edge to the nearest part of the anchor: 100 mm. 3.4

INSTALLATION

Installation tolerance

Alignment: - Maximum deviation of any member from its true alignment (plumb, level, or line of slope): 1:1000, up to a maximum of 9 mm in a continuous run of members in one direction. - Maximum misalignment between adjoining members: 1 mm.

Position: - Maximum deviation of any part from its true position: 9 mm Marking

Requirement: Before the separate parts of the screens are delivered to the site, provide suitable and sufficient marks or other means for identifying each part, and for showing its correct location and orientation, when installed. Reference lines and marks

Requirement: Provide on each floor, in agreed locations, accurate perimeter offset reference lines, plumb with corresponding lines on other floors, and height benchmarks. Cleaning

Requirement: During erection, promptly remove foreign matter from the screens without damage to finishes. Do not use abrasive cleaners or acid. 3.5

COMPLETION

Cleaning

Method: Clean all visible surfaces with soft clean cloths and clean water or approved cleanser, finishing with a clean cloth. Do not use abrasive or alkaline materials. Warranties

Screens: Submit the manufacturerâ&#x20AC;&#x2122;s published product warranties.

SELECTIONS

Refer Architectural Finishes & Materials Schedule for selections.

END OF SECTION

NATSPEC (2016)

week 09. journalistic writing. Within the modern trends of iconocism and monumentality, it seems architecture has lots its ability to: “fit into, respond to, and mediate its surroundings” - (Rossi, 1966)

When analysing a building, almost instinctively the average person will be quick to judge its ‘sense of place’. The relationship and connection a person develops with a place, and in turn, the experience that place gives the person are fundamental aspects of design that determine whether it is enjoyed or rejected. Interestingly enough, however, it is a concept that is often removed from critical conversations surrounding the success of architecture and design in today’s contemporary setting. Take for example the Antwerp’s Port Authority building by Zaha Hadid Architects. Since opening mid-September 2016, the buildings has been critically acclaimed with many off the comments presenting similar to this: “With constant references to the Scheldt, the city of Antwerp and the dynamics of its port, married with the successful renovation and reuse of a redundant fire station - integrating it as a fully-fledged part of its headquarters - the new Port House will serve the port well through its planned expansion over future generations.” – (Archdaily, 2016) Whilst evocative and captivating in their description of the buildings appearance, the critiques show a complete disregard of the buildings responsiveness to the place it provides, the experience it gives it users and the effect it’s had on its surroundings. Whilst since its completion, the large, intrusive form has been condemned by the public and its inhabitants as being contextually intrusive, aesthetically awkward and uncomfortably uninhabitable.

Sadly, this contrasting interpretation between ‘the industry’ and ‘the public’ has become the norm. In modern times, architecture is being critically acclaimed on a level where form and façade are idolised whilst the intimacy of the architecture is ignored. Within these culturally influential critiques, there is a failure to explore the way buildings interact with their users on a relative scale, the experiences they create and the sense of place they provide. With the introduction of the term ‘star architect’, the contemporary trends have shifted, with an modern emphasis on dominating buildings and expansive public realms that overpower their city surrounds. Evaluated by critics as objects of art on a blank canvas - and nothing more, these so called pillars of architecture are falsely acclaimed as iconic, unique and brave. Despite concentrated rejection of iconic architecture by some architects, writers and theorists, the trending infatuation with grand gesture design has demonstrated its strength. The situation it seems has reached a critical point, with many recently acclaimed designs beginning to exemplify a ‘modern brutalism’ - evoking a form of non-responsive architecture that treasures monolithic expression over connection to context and people. Further to this, modern trends these forms to incorporate hanging vegetation and ill placed ‘sky gardens’ that are post justified as ‘sustainable’ and ‘green’ design.

Whilst this evaluation seems critical and bleak, it is by no means saying that architecture that works to create a sense of place does not exist; not all iconic buildings have fallen into this modern trap. Many contemporary architects have been creating design that through their ability to create a sense of space that benefits their community, have naturally formed to serve as an iconic place. One such example of this is the CH2 (Council House 2) Building in Melbourne. The general population, however, often don’t get to see buildings such as these, as architecture that is derived in grand, gesturing forms is pedestaled above all others and as such is foregrounded. Clearly, a shift is necessary. Just as the rise of ‘iconic architecture’ came from a cultural relevance driven by conversation, so too can that be its downfall. There is a need to shift the global discussion of design towards the concept of place. Importance should be given to architecture that praises its connection with people on a personal scale in order to create enjoyable and approachable public spaces and destinations. Respect needs to be given to context and the influence it has on sculpting the building as a sustainable response, not a post justified intrusion. And of course, value of the collective experience needs to be once again regarded above the collective building form. In order to achieve this, communities around the world need to holistically recognise that creating places of worth should be at the forefront of their agenda. By challenging the common conventions and being strong in their criticisms, the power

of the great will far outweigh the motive of the less. Capitally driven architects, developers and designers will have no option but to recognise the need to stop designing for the industry and start designing for the public; creating places that give the community the ability to adapt the architecture to their unique yearnings and cultures through their personal sense of ownership. Clearly, this movement from the ‘iconic’ to the ‘responsive’ would push the limits of architecture far beyond its current form and glamour driven constraints. And while within it, self-focused designs such as Zaha Hadid’s Antwerp’s Port Authority building may very well continue their status as visual elements of grand gesture, due to the nature of their unresponsive design, they will

“Respect needs to be given to context and the influence it has on sculpting the building as a sustainable response, not just a post justified intrusion.” always remain disconnected. Continuing to offer little to the livelihood of their community, they will inevitably reach a point where they are no longer desired after – their novelty running out just like that of an over experienced theme park. Perhaps then, critics will finally understand that contemporary architecture is much more than just pretty, shiny things. Perhaps, miraculously, they’ll even start to comment on the importance of a buildings ‘sense of place’.

week 10. career planning.

Address

resume

"RISBANE #ORSO &AIRlELD 4103, Brisbane. QLD.

Contact

DAN?LIDDY HOTMAIL COM 0428 788 875 DAN?LIDDY

PERSONAL BIOGRAPHY

EXPERIENCE

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

Dan Liddy has recently completed his Masters in Architecture at QUT, within which he focused heavily on materiality, form, spatial arrangement and their responsive relationship to architectural condition and experience. Previous to this, he also completed his Bachelor of Design (Honours); whereby he excelled in his major of architectural studies and his minors of collaborative digital design and lighting studies, accumulating in him graduating with second class (A) honours. Understanding that an architectâ&#x20AC;&#x2122;s work is multi disciplinary, Dan has worked extensively across a UDQJH RI FUHDWLYHO\ GULYHQ ÄºHOGV GXULQJ KLV VWXGLHV WR PD[LPL]H D KDQGV RQ OHDUQLQJ H[SHULHQFH 7KLV H[SHULHQFH DQG NQRZOHGJH OHG 'DQ WR IRXQG DQG GLUHFW KLV RZQ *UDSKLF 'HVLJQ ÄºUP JLYLQJ KLP WKH RSSRUWXQLW\ WR ZRUN ZLWK D UDQJH RI FOLHQWV LQ WKH ÄºHOGV RI LGHQWLW\ EUDQGLQJ LOOXVWUDWLRQ DQG print layout. This venture has also given him valuable experience in business management and client relations; skills that would strengthen any creative team. Since June 2015, Dan has been an employee at bureau^proberts architects, where he has worked mainly within front end design teams on an extensive range of projects.

May 2015 to Present. Architecture Student - Senior bureau^proberts January 2014 to Present. Founder // Designer // Fabricator FRCST DESIGN March 2011 to May 2014 Rowing Coach St Peters Lutheran College - Skull Racing Specialist - Grade 9 1st Quad - Open 2nd XIII

Apart from Danâ&#x20AC;&#x2122;s technical talent â&#x20AC;&#x201C; his vibrant enthusiasm, pro-social approach, supportive nature DQG KLV GLOLJHQFH ZRXOG LPSURYH DQ\ ÄºUPpV FXOWXUH 'DQpV SURGXFHG WKHRUHWLFDO DQG SUDFWLFDO ZRUN ERWK WKURXJK XQLYHUVLW\ DQG WKH SURIHVVLRQDO VHWWLQJV RQO\ KHOS WR H[HPSOLI\ KLV FDWHJRUL]DWLRQ DV DQ RYHUDFKLHYHU ZKR XWLOL]HV KLV SHUIHFWLRQLVW QDWXUH

June 2013 to January 2014 Administrative Work Philip Bacon Galleries

While Danâ&#x20AC;&#x2122;s true passion is architecture, he has a great love for all things design, and, as such, takes great pride in all his creative ventures. Following in the worlds of Albert Einstein, Danâ&#x20AC;&#x2122;s design approach is that everything should be made as simple as possible, but not simpler. Dan would bring to any team a creative process that would holistically channel this mantra to develop design that allows people to experience, share, learn and enjoy.

MY SPECIALITIES

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

2011 to 2012 Marketing and Distribution Katarzyna Group

EDUCATION

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

2016. Master of Architecture Queensland University of Technology 2011 to Mid 2015. Bachelor of design (Honours) - Architectural Studies Minor in Collaborative Digital Design Minor in Lighting Studies Queensland University of Technology

Architectural Design

BIM

Infographic / Diagramming

2003 to 2010 Junior and Senior School St Josephs College, Gregory Terrace - Graduate with OP3 - College House captain

Photo Editing / Rendering

Print / Publication layout

DESIGN SKILLS ..............................................................................................................................................................

RECOGNITIONS

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

Organic Luminaire Design External Contest. Shortlisted IES: The Lighting Society Queensland Student Luminaire Design Competition

01 Computer

02 Knowledge

!DOBE 0HOTOSHOP

$ESIGN 4HEORY

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)MAGE EDITING

University Achievements Bachelor of design - Second Class (A) honours Masters of Architecture Queensland University of Technology

7EB USABILITY

School Achievements Member of 2010 Rowing 1st XIII Dux of Graphics 2009 Academic Achievements (2005-2008) St Josephs College, Gregory Terrace

)NTERFACE $ESIGN

.AVISWORKS (4-, #33 *AVASCRIPT *QUERY

QUALITIES

HOBBIES & INTERESTS ..............................................................................................................................................................

Graphic

Fabrication

Photography

Books

Phantom

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Rugby

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Diving

Fishing

Travelling

#OMMUNICATOR

week 10. career planning.

Dan Liddy has recently completed his Masters in Architecture at Queensland University of Technology, within which he focused heavily on materiality, form, spatial arrangement and their responsive relationship to architectural condition and experience. Previous to this, he also completed his Bachelor of Design (Honours); whereby he excelled in his major of architectural studies and his minors of collaborative digital design and lighting studies, accumulating in him graduating with first class honours. Understanding that an architect’s work is multi disciplinary, Dan has worked extensively across a range of creatively driven fields during his studies to maximize a hands on learning experience. This experience and knowledge led Dan to found and direct his own Graphic Design firm, giving him the opportunity to work with a range of clients in the fields of identity branding, illustration and print layout. This venture has also given him valuable experience in business management and client relations; skills that would strengthen any creative team. Since June 2015, Dan has been an employee at bureau^proberts architects, where he has worked mainly within front end design teams on an extensive range of projects.

personal biography

“

Apart from Dan’s technical talent – his vibrant enthusiasm, pro-social approach, supportive nature and his diligence would improve any firm’s culture. Dan’s produced theoretical and practical work, both through university and the professional settings only help to exemplify his categorization as an overachiever who utilizes his perfectionist nature. While Dan’s true passion is architecture, he has a great love for all things design, and, as such, takes great pride in all his creative ventures. Following in the worlds of Albert Einstein, Dan’s design approach is that everything should be made as simple as possible, but not simpler. Dan would bring to any team a creative process that would holistically channel this mantra to develop design that allows people to experience, share, learn and enjoy.

”

week 10. reflective writing. “working for free”

“Worst even is that we, the collective industry, do nothing about it; if anything we assist its manifestation”

dear diary...

Last week I found myself in a somewhat forced conversation with my Uber driver home from another late night at work. Quickly I learnt that even with a bachelors and masters in project management, the last year of turned town job applications was forcing him to move to Sydney to pursue an unpaid internship. Whilst the conversation, being typical late night chat, was fleeting, it did lead me to think of the large group of people I once studied with and still know who, faced with the same situation, are now working long, intense hours, for free. Quickly my trail of thought took me to ask why this is still an issue, will it ever change? Through many facets, I am continuously being led to believe that the architectural industry as a whole believes the concept of unpaid internships to be both ethically wrong and even verging on illegal. Teachings of my Masters Degree, interpretations of various members of the AIAs beliefs and even conversation with numerous Brisbane directors have all preached a condemnation of the retention of unpaid staff. Yet, it seems, that despite this, we all know that some under or post graduates work for free, are underpaid, or even work overtime without compensation. Worst even is that we, the collective industry, do nothing about it; if anything, we assist its manifestation. It seems to me that sadly, the factors that encourage this behaviour are strongly linked to the culture of modern architectural practice within our current economic setting; and as such it has become part of the norm. And this is not just for well-established professionals and business owners, but also for young aspiring architects who have accepted this as part of the process; and that’s the part that concerns me the most.

I understand that, due to the nature of the building industry, highs and lows flow in waves that reflect our economic environment. Periods come where graduates must think outside the box to compete in the inevitably scarce job market. Just as they must think outside the box when employers are flourishingly busy, looking to hire the person who benefits their business the most (sadly often the one who is the cheapest). Regardless I strongly believe that the coinciding context that guides unpaid work is irrelevant, because the ethical position is clear: unpaid work may be enticing to offer and tough to turn down, but in the end it’s not in the best interests of anyone involved. Extending beyond just fairness and rights for some, I see it as an issue of dignity and self-worth that affects the industry as a whole. By neglecting the worth of some, we are hindering the future of architecture. In a time where the profession is frequently being externally undervalued and underappreciated, It seems mad to me that we see it fit to do the same to members of it internally. I feel that there is a need to break the cycle, to promote a financial precedence whereby, in the interest of protecting the profession for ourselves and for its future members, its workers are given what they deserve for what they have achieved. I’ll be the first to admit that I don’t know exactly how that can be achieved; it is a monumental task that seems daunting at best. But I do know that it needs to start internally and it needs to be enforced holistically. It’s a shake up that the profession needs to help architects earn what they deserve, ensure graduates and students are compensated fairly and allow us to invest our interests in the built environment and how we can serve it.

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......................................... .................................. ..................... ...................................................... ....................................................... .................. ................................... ....................................... .............. ....................................................... .... ................................................. ......................... ............................ .............................................. ....... ....................................................... ........... .......................................... ................................ ..................... ..................................................... ....................................................... .................. ................................... ....................................... .............. ....................................................... .... ................................................. ......................... ............................ .............................................. ....... ....................................................... ........... .......................................... ................................ . . . . .AIA. . . . . . . . Acumen. . . . . . . . . . . . October . . . . . . . .2016, . . . . . . .http://acumen.architecture. .................................... . . . . . . .(2016). . . . . . . . . . .Retrieved . . . . . . . . . . . 02, . . . . . . .from .................... .................. . . . . .com.au.ezp01.library.qut.edu.au/ .............................. ....................................... .............. ....................................................... .... ................................................. ......................... ............................ .............................................. . . . . . . . Taylor . . . . . . . . . . . . .(2015) . . . . . . . Road . . . . . . . . .Retrieved . . . . . . . . . . . 05, ............... ........... . . . . .Alicia . . . . . . . Photography. . . . . . . . . . . . . . Kent . . . . . . .House. . . . . . . . . . . October . . . . . . . 2016, ......................... . . . . .from . . .http://www.aliciataylorphotography.com/interior/ ............. ..................................................... ....................................................... .................. ................................... ....................................... .............. ....................................................... .... . . . . .Archdaily. . . . . . . . . . . Antwerp . . . . . . . . .House . . . . . . . . Hadid . . . . . . . . . . . Retrieved ...... ......................... . . . . . . . . . . . (2016) . . . . . . . . . .Port . . . . . . ./ Zaha . . . . . . . Architects. ....................................... . . . . .September . . . . . .30, . . 2016, . . . .from . . . http://www.archdaily.com/795832/antwerp-port-house.......................................... ........... . . . . .zaha-hadid-architects ..................................... ................................ ..................... ..................................................... ....................................................... .................. ................................... ....................................... . . . . . . . . . . . (2013) . . . . . . Melbourne . . . . . . . . . . Council . . . . . . . . . 2. ./ DesignInc. ............................... .... . . . . .Archdaily. . . . . . . . . . . CH2 . . . . . . . . . . City . . . . . . . . House . . . . . . . . . . . . . Retrieved ... ......................... . . . . .September . . . . . . .30, . . 2016, . . . .from . . . http://www.archdaily.com/395131/ch2-melbourne-city....... .............................................. ....... ....................................................... ........... . . . . .council-house-2-designinc ..................................... ................................ ..................... ..................................................... ....................................................... .................. ................................... ....................................... . . . . . . . . . A., . . . . . . . J.. .M.. (2008). . . . . . . . . . .About . . . . . . . . . . . . Mastering ............................ .... . . . . .Lange, . . . . . . &. Lange, . . . . . . . . . . . . . Writing . . . . . . . . .Architecture: . . . . . . . . . . . . . . the . ......................... . . . . .Language . . . . . . of. .Buildings . . . . . .and . . Cities. . . . . .New . . York: . . . Princeton . . . . . . Architectural . . . . . . . . Press. ............................. ....... ....................................................... ........... .......................................... ................................ . . . . .NATSPEC. . . . . . . . . . . .Architectural . . . . . . . . . . .cation . . . . . . . . . . .Retrieved . . . . . . . . . . . . . 26, ....................... . . . . . . . . . . .(2016) . . . . . . . . . . . .sepcifi . . . . . . . . templates. . . . . . . . . . . . . . September ........... .................. . . . . .2016, . . . . . . .http://www.natspec.com ....................... ....................................... . . . . . . . . from ...... ....................................................... .... ................................................. ......................... ............................ .............................................. . . . . . . . .A.. (1966). . . . . . . . .Architecture . . . . . . . . . . . City. . . . . . . . . . . . Massachusetts ....................... ........... . . . . .Rossi, . . . . . . . . . . The . . . . . . . . . . .of. the . . . . . Cambridge: . . . . . . . . . . . . . . . . .and ......................... . . . . . London, . . . . . .UK: . . Oppositions . . . . . . . . Book, . . . The . . .MIT . . Press. .............................................. .......................................................

REFERENCES

// DAN235

DANIEL LIDDY

N8285063