Portfolio 2016-19 Jade

JADE TAN PORTFOLIO OF WORK 2016-2019

UNIVERSITY OF MELBOURNE B. E N V I RO N M E N TS M . A R C H I T EC T U R E

CONTENTS academic

1 _ b ath h ou s e i n s o uth ya r r a

2 _ s y m b i ot i c h o u s e

3 _ u n i ve r s i t y h i gh a d d i t i on

4 _ a cou st i c p od

competitions

6 _ p av i l i o n fo r s e c r et s

7 _ L a t v i a Te a M a ke r s Ca b i n s

8 _ Rome Co l l e ct i ve L i v i ng

5 _ a a l t o b o a th ou s e

other design work

9_blur

1 0 _ const r u ct i on d e s i g n

more than skin deep Masters Semester 2 Individual Work, Merit

This studio was centred upon fashion, body and aesthetics culture. By reflecting upon how architecture pushes the limits of bodily experience, a contemporary bathhouse emerged through an investigation of self-care trends. A bathhouse for the millenial generation, it arises due from site-specific analysis of the demographic of South Yarra and aims to introduce a less materialistic type of therapy and to introduce a new bathing culture for the younger generation.

Strong precedent research into Roman bath culture as well as historical research into self-care rituals inspired the form while following a functional organization of the bath spaces. Bath users are encouraged to become both voyeurs and exhibitionist, dissolving the division of internal/external through circulation that cantilevers out of the main structure.

Water becomes a key material, as it influences the colour, quality of light, smell and sound of the space.

diagrammatic timeline/finding concept

back perspective view/courtyard pool/open ramp walkway

1

MAIN CIRCULATION PATH

ROOF SKYLIGHT

TOP FLOOR

THIRD FLOOR view of main pool

E

UR

T TEX

T

CRE

ALL DW

N

A SS

LA E (G

S

ON DC

)

EEN

CR ES

AD FAC

MN

RA

OLU LC

U UCT STR

SECOND FLOOR

GROUND

locker area and reception

PERSPECTIVE SECTION

2

Heavily inspired by Peter Zumthor’s Therme Vals, the bathhouse spaces are each designed to enhance a specific sensory element.

The dome shape was chosen to better reverberate sound to facilitate meditation, but also serving as a transitional space leading to the main pool. In the tea room, the smell and taste of the mineral pool mixes with the smell of tea. Water greets visitors at several vantage points, and guides them through each of the spaces. site study

FLOOR PLANS

1. infinity pool 2. courtyard pool 3. covered walkway 4. relaxation pool 5. massage rooms 6. meditation room 7. shower and sauna 8. toilet 9. cold plunge pool 10. existing shops 11. ramp access 12. wait area 13. lobby reception and lockers 14. change rooms 15. drink station 16. tea room

16

2.

11

6.

5.

1.

7.

10

10

4.

12

3.

TOP FLOOR (INFINITY POOL)

meditate

8.

9

THIRD FLOOR (MAIN BATH AND AROMATHERAPY)

tea ceremony

13

SECOND FLOOR (SAUNA AND WAIT AREA)

view of pool underside

14

15

FIRST FLOOR (LOBBY)

3

MATERIAL PALETTE/ATMOSPHERE

Detailing considerations were made to ensure that the extensive use of concrete could complement the high humidity of the bathhouse. A perforate screen wall transforms a series of peepholes into weepholes to expel moisture and release mist onto the street, shrouding the bathhouse externally to create atmosphere.

On the street level, this helps to create greater privacy for the occupants of the bathhouse. Being in a highly urban area, along the main street of Toorak and Chapel, the bathhouse becomes an opportunity to engage with retail mall go-ers and provide an area for them to rest and recharge.

The front of the bathhouse intervention is made of frosted double glazing, minimal steel and tinted glass curtain walls, whereas it is only in the back that the classical language of the groin vaults are revealed.

direction of mist circulation

fibreglass laminates woven roven glass cloth water resistant resin layer

skimmer

gel coat

36-40°C high-strength, marine grade plexi-glass

external double glazing darker concrete for outdoor applications

concrete tile flooring to mimic natural stone

more reflective, light coloured concrete to deflect sunlight, used on south side, perforated screen

PFC to support pipes and steel bracket

sprinklers

front/street corner facade/modern

4

Symbiotic house Ma ster s S emester 1 I ndiv idua l Wor k, D istinction

This studio was an exploration of the intersection between philosophy and contemporary domesticity. Through the lens of Catherine Malabou’s text on plasticity , an abstract site was formed upon which I inserted a series of domestic objects which the home relies upon to be meaningful to the user. The architecture was formed from an interrogation of the relationships between the human body, space and object.

A summarized version of plasticity by Catherine Malabou is how humans are prone to transformation of themselves while they transform others. In short, capable of both giving and receiving form. What I wanted to replicate in an architectural sense from this philosophy was a sense of a malleable space, capable of changing the inhabitant as the inhabitant also shapes it to his own liking. Malabou’s philosophy in a domestic setting can be understood as users (clients) having agency in defining their own domestic identity.

5

CONCEPT

SITE PLAN 1:500

The domestic programme is static and unchanging, but the objects can transform the house. I chose objects that could create effects of light, air and movement, to evoke the house transforming.

ENTRY SECTION

EDGE SECTION

TRANSITION SECTION

1)

2)

Prior to design conception, a set of abstract site parameters was informed by mapping plasticity across time. The blob-like, membranous form represents a malleable space, which first undergoes growing, followed by rupture and splitting and finally successive expansions and contractions.

Each moment 1) entry 2) edge and 3) transition was designed around domestic objects: 1)entry: the fan and air conditioner create an interior climate, separating the home from the site. Thus this is “entry”, the home begins.

3)

2) edge: the wifi modem , television and other electronic devices lie on the edge of the home. Our many daily rituals are controlled by these devices. When they are disconnected from power, they will lose their domestic meaning.

Thus rupture occurs.

If the house is a timeline, the gaps and intervals between surfaces and volumes separate different events. These transitional spaces such as the cavity where service ducts run through, is a threshold for new events. These in-between spaces are often concealed in a home, seamlessly integrated but kept away from sight. In my design I have chosen to reveal them, as a way of marking the beginning of “time” in the home.

REVEAL/CONCEAL

3) transition: contemporary living is often transient. As a single person home grows into a family, or when guests are invited, the “membrane” of the home expands and contracts, as signified by the chair, fridge and table.

6

SITE PLANS AND SECTIONS

The chosen typology is the single person studio apartment, where inhabitants change often, and spaces are repurposed. Even if it seems as though every unit is isolated, they are constantly affecting each other. Symbiosis occurs, where two homes find themselves interdependent on each other to find meaning, challenging the insularity of contemporary living.

The plan and sections show the configuration for three modular units, mirroring each other such that the living room and bedroom spaces interlock. In some units the kitchen instead of the living room share a common wall, so that when the wall partitions are moved, the function can change.

A

A

B

B

Each apartment unit is organized by heat and temperature. Following the rules of convection, the hottest area, the bathroom is at the top level, followed by the living room, kitchen, bedroom and laundry in this order, setting up the hierarchy of spaces by climatic environment.

ENTRY HINGE DETAIL

SITE SECTION A-A

SITE SECTION B-B

7

At entry the user gives form to the home by generating a sense of interiority. The revolving doors direct each individual to their unit and act as an airlock. The user’s temperature is regulated by an overhead fan and dust collected at his feet. The user then has to step over the slightly raised doorway to enter the space. The pantograph door hinge pushes the door inwards instead of swinging it open, creating a more airtight environment. The ritual here is cleansing, so that the internal environment is uncontaminated.

Outside, the services are encased in glass and displayed. As the user moves across the door, the services are increasingly concealed, but for a small void revealing the pipes below the floor. The user slowly acclimatizes to his environment visually and physically.

8

At the edge moment, a rupture is formed in the ceiling to create a skylight. The skylight is artificial, encased in the residual space of the apartment above. Its frame is recessed and concealed in the ceiling so that there appears to be a seamless void above. The electricity to power this skylight is triggered by the apartment above, when the washing machine is in use. The skylight then projects an image onto the space below.

The space is designed for rest and contemplation, as the concrete floor sinks down to allow the user to sit and feel the subfloor heat. The television and other devices are kept away for this ritual. The interaction between the two apartments generates this new programme.

At the transition moment, when the kitchen is not in use in a single person apartment, it can be contracted using the grooves and tracks embedded in the subfloor, and walls folded in. The furniture can be pushed back into the cavity space. The kitchen is separated by another airlock, so as to redirect air and heat so that the climate of the two apartments do not mix. By removing the kitchen, the user physically transforms the space into a communal passageway, thus affect and being affected by the change, embodying plasticity.

9

OPEN STAGE AT UNI HIGH Year 3 S eme ste r 2_St udio Fire I ndi vidua l Work, Dist inct ion

T h e pr o j e ct i s an e xte ns i o n of Un iversit y Hi g h Scho o l . T he s cho o l is a plac e of d iver s e cu l tu re s and e xperien c es a c on s ta nt fl u x o f acti vi ty . As suc h t h e d es ig n u s e s the me tap ho r of a st age to c a p tu re the e ve ryd ay even t s in U n i H igh and to e s tab l i s h a learn in g c ul tu r e b e twe e n p as s i ve an d ac t ive l e a r n ers thro u g h s p e ctat orsh ip an d c ol l a b o rati o n. T he “s tag e ” of Un i H igh ,

c omprises of a learn i ng c om p l ex a nd a library. Bot h “st ages ” ha ve d i s ti nc t c h arac t erist ic s, borr owi ng hea v i l y f rom t h eat re t ypology, i n p r ogr a m m e an d f orm, espec ially thr ou gh f l ex i b l e arc h it ec t ural elemen t s , m a ni p u l a ti ng ligh t , v ideo projec t ions a nd a m ov i ng f ac ade. Th ese serve as a n ever c ha ngi ng bac kdrop f or t h e vario u s events a t Uni H igh .

10

CONCEPT: PARALLELS WITH THEATRE TYPOLOGY PASSIVE VS ACTIVE STAGES

VIEWING PLATFORM SCREEN/TRANSLUCENCY

SOCIAL COLLABORATIVE

MULTIDIRECTIONAL LIGHT

NATURAL DAYLIGHTING NATURAL LIGHT

QUIET STUDY SPACES

FLEXIBLE STAGE ELEMENTS

increasing upwards in renaissance centre

increasing outwards in general learning centre

F u rt he r m or e i t i s i mp o rtant i n thi s projec t t o prov ide as muc h c ommun a l s p a c es a s p os s i b l e, g i ve n d i s c u s s i on s wi th re p re s e ntatives of t h e sc h ool about wh at is lac kin g i n thei r c u l tu r e. T he co nce p t of a th e atre thu s ans we rs t h e n eed f or spac es t h at c elebrat e dive r s i ty a nd enc ou r a ge info rm a li ty , w h e re s tu d e nts can fi nd n ew uses f or un programmed spac e.

T he l i b r a r y a n d the l e arni ng co mp l ex use c on t rast in g mat erials, t o f urt h er the i d ea of c r ea ti ng di ffe ren t e x p e r i e nce s and narrati ves. Th e Ren aissan c e C en t re ( library) is c om p os ed of hea v y, mo no l i th i c r a mme d e arth wal l s o n th e groun d f loor, an d ligh t weigh t t imber s c r eens on the u p p er le ve l , c r e a tin g a g rad i e nt o f l i ght as on e moves up t h e levels.

PRECEDENTS>>

t i mbe r s cre en ra mmed earth

Ber lin Cha pel of Reconciliation, a r chitects: Peter Sa ssen roth and R udol f Reiterman n

ste e l

t i mbe r ( i nter ior )

concrete Kyushu Geibunka n (Fukuoka Museum of Ar t) by Kengo Ku ma & A ssoc i ates

12

T he op en s ta ge a i m s to c r ea te i nter na l f l ex i b i l i ty thr ou gh va r i o us p r o j e c t a n d c ol l a b or a ti on wor ks p a c es . I n the l ea r ni ng c om p l ex , f ol da b l e do o r s c r e a t e d i f f er ent typ es of c l a s s r oom s p a c es , whi c h c a n ex tend i n t o t h e o ut do o r s , b etween c l a s s r oom s a nd b etween c l a s s r oom a nd b r ea kou t s p a c e s .

13

OPEN FACADE

ACOUSTIC TREATMENT

CLOSED FACADE

The f a c a d e b oth a ni m a tes a nd m oves , to enga ge wi th the s tu d ents beyond the wa l l of the c l a s s r oom s . I ns i d e, a c u r v i ng ti m b er c ei l i ng hel p s t o c ontr ol noi s e l evel s i n i m p or ta nt d i s c u s s i on s p a c es .

14

COCOUSTIC POD Year 3 S eme ste r 1 _ S t ud io A i r G rou p Wor k

T he d es i gn of the a c ou s ti c p od b ega n wi th r es ea r c h i nto p r ec ed ents of good a c ou s ti c d es i gn a nd ex p er i m enta ti on wi th p a r a m etr i c tool s s u c h a s G r a s s hop p er a nd K a nga r oo.

T he ea r l i es t p r ototyp e wa s a ha nd c r a f ted m od u l e of wi r e a nd f el t, a nd thi s wa s then r ever s e engi neer ed in G r a s s hop p er a nd s u b s equ ent p r ototyp es

m a d e to t e s t di ffe r e n t e ffe c t s .

T he f i na l fo r m i s i n s p i r e d b y a c oc oon , h e n c e t h e n a m e “ c o c ou s ti c � p o d, t o s y m b o l i s e a p l a c e f o r i n c ub a t i o n o f i de a s a nd c ol l a b o r a t i o n i n t h e s e t t i n g of a d e s i g n o ffi c e . Ex t e n s i ve m a ter i a l t e s t i n g l e d t o o ur f i na l p r o duc t o f a do ub l e s k i n ( p l ywood a n d fe l t ), p e r fo r a t e d u ni t hel d t o g e t h e r b y 3 D -p r i n t e d hi nges .

15

PRECEDENTS AND RESEARCH

or ig i na l ha nd c ra fted m odu le l e f t t o ri g h t : El b ph i l h ar m on i e b y H er zog an d De M eu r on , Cl ou d D i v i n a b y S t u di o Bou r ou l l ec, an d ou r own ver si on cr af t ed wi t h wi re a n d f e l t

SOUND STUDY DIAGRAMS

REFLECTION

A BS O RBTIO N

DI FFU S IO N

ASSEMBLY

3 D P R IN T H IN G E JO IN T

P O P LA R P LY W O O D M O D U LE P A N EL

3 D P R IN T H IN G E JO IN T

FELT

3 D p ri n t e d h i n g e wi t h pi n t o l ock i n pl ace

16

GRASSHOPPER ALGORITHM

STEP 1 Create base arc

STEP2 Scale and move arcs

STEP3 Loft surface in cocoon - like form

l +--

STEPS Find normals, sort normals that face inwards

STEP5 Draw diagonal valley fold lines

STEP4 Map hexagonal cells (lunchbox) planarize cells

l

STEP7 Move vertices of hexagonal cells along normals, redraw lines

Project Perforation

MATRIX

17

The form of the pod was found through reverse engineering of the precedents we identified. By tweaking a few parameters we eventually found a form that was modular and planar enough to be laser-cut and assembled. Subsequently perforations were added to lessen the weight of the structure as well as improve sound absorption by the felt behind the panels.

Extensive testing was carried out by several prototypes, using felt to muffle sound, as well as playing with pattern through perforation, and concealing the hinge joint. Renders were used to test the lighting of the acoustic pod as it sits in the centre of the site (office).

18

AALTO BOATHOUSE Year 2 Semester 1_St udio Wate r I nd i vidual Work, Me rit

The b oa th ou s e al o ng Yarra Ri ve r i s i n s pi re d b y the s tu d y o f S a y n a ts a lo T o wn Hal l b y A l va r A a lto and i ts i nfl u e nce o n c r iti c a l re gi o nal i s m. T he bo a th ou s e i s i nte nd e d to b e a ci v ic pl a z a , a p l ace o f s o ci al g a th e r i n g . T h e b ack o f the s i te i s a c tiva te d b y a co u rtyard , co n tr a s ti n g a mo re p u b l i c t e rr a c e in the no rth and an

ac c essible roof t op above t h e museum/ c af e spac e. Th rough t h e f luc t uat ion s in groun d levels, dif f eren t sigh t lin es t o t h e Art s Prec in c t an d c it y skylin e are c reat ed. Th rough out t h e sit e, t h e mot if of a wave is seen in t h e roof lin es. M at erials like c h arred t imber c laddin g an d red bric k are used f or t h eir durabilit y an d n at ural t ac t ilit y.

19

SITE ANALYSIS 1 . figu re ground/topography

3 . ke y v iews a nd su npath

s kyl i ne

arts precinct p rop os ed siti ng of n ew bui ld i ng ex ist i ng bui ld i ng s

2 . tree cover/roads

pede st r i an pathway ro ad d i ver sion

1. boatstore 2. gym /wor k shop 3 . corridor 4. rive r s ide re stau rant 5. ramp f rom jetty 6. pool 7. cou r tyard 8. mu s e u m and cafe 9. kiosk

s katepar k

view entry p oint

say nat sa lo

public/ ci v ic function pri vate function elevated courtyard / open ci rculation abstracted roof li n e upward s procession / terraci ng L- sh aped plan

bo athouse

axi s SP

skate park

SP

SP

20

SUBTERRANEAN SECRETS Yea r 2 Semester 2_St udio Ea rth I nd i vidual Work, Me rit

21

concept/collage A p l a c e fo r secrets, th e p avilion p re s e n t s m an y o p p o rtu n ities f o r d i s c o very an d p erso n al r e fl e c t i o n . T h e site is excavated to c re a t e a n u n d ergro u n d sp ace w h i c h i s r evealed th rou gh t a d i a l o g u e with th e u p p er level w i t h s l i t s o f lig h t th at ch an g e in t e n s i t y t h rou gh ou t th e d ay.

Vi s i t o rs a re in vited to p lace a se c re t o b j e ct of th eir own in th e s u b t e rran ean sp ace, an d

an i mage of i t i s proj ec t ed above for ot hers t o obs erve and i nt erpret . The exi s t i ng fl at ground i s s c ul pt ed t o form s everal hi l l s for c hi l dren t o hi de and pl ay, al ong w i t h a few “fol i es � c ons i s t ed of c ol l i di ng l i nes and pl anes .

Toget her t he t w o l evel s pres ent j uxt apos i ng experi enc es of l i ght and darknes s , ac t i vi t y and refl ec t i on.

22

proposed siting of pav ilion

fo otpaths

pu blic a rea s

s c u lpt u re

s e c luded a rea s

conceptacle: testing va r iat ions of l ine s me et pl a ne s

23

cabins fo (r) rest Group

Entry

into

Beebreeder’s

Tea

Makers’

Inspired by the spiritual elevation of one’s consciousness during meditation, Cabins Fo(r)-Rest are a series of flatpack cabins raised on tree branch-like stilts, blending into the surrounding forest. The journey towards enlightenment begins from the ground where one is invited to reconnect with nature and experience the natural world from an elevated perspective.

Drawing inspiration from the Latvian landscape, the project also borrows influences from

Guest

House

Competition

(2018)

the Japanese philosophy of wabi-sabi, to embrace the transience in nature’s imperfections, impermanence and incompleteness.

Celebrating the aesthetic elements of asymmetry, simplicity and the integrity of natural objects, the building is realised through the use of local Latvian spruce .

24

Commonground Group Entry into Beebreeder’s Rome Collective Living Challenge 2019 (final shortlist)

An all inclusive space for young and old, CommonGround is an ideal co-living space for the up and coming neighbourhood of Testaccio, Rome, and a testing ground for communal living with close connections to the culturally diverse city of Rome. As Testaccio undergoes gentrification, this model will be far more sustainable and also generate a sense of place for the locale. Creating direct laneways and views towards key institutions such as the IED Institute of Design, Testaccio Market and most importantly Mattaio Modern Art Museum, CommonGround

will become a fertile place to showcase local artists such that the community can grow alongside the home. Balconies and a central art studio space become highly public zones for activity, thus continuing the tradition of the duomo/courtyard where transition occured.

Flexible accomodation options are provided, allowing single nuclear families/couples to expand their families overtime and encourage multi-generational living of a high quality and constant energy and interaction.

25

CO-LIVING PRINCIPLES HOUSING UNIT TYPOLOGY

NO. OF RESIDENT

AREA

CO- LIVING PROFILE

5

123 m 2

Single young adults+ Elderly couple+ single person with need for accessibility

4

118 m 2

Single young adults+ Single elderlies

6

118 m 2

Young couple with two children+ Elderly couple

ul

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up

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8

180 m 2

@J

Young couple with one child+ Elderly couple+ Single elderly+ Single young adults

2

50 m 2

Elderly/ young couples

UT

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Private courtyard/balcony Circulation

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Artists co-working studio Communal room

Co-living dwelling cluster

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Transition dwelling cluster

Co-living dwelling cluster

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Transition dwelling cluster

Liftcore

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26

BLUR Digital Design and Fabrication, Individual Distinction

An experimental form where the body becomes the site. Being in public areas, one often feels the need to shield and protect oneself against the view of others . Blur is a mix of parametric design and origami techniques to create a portable structure that can be self-supported from the neck without the need for joints and fixings. rhino model testing perforations and patterning

testing form and interlocking techniques

Building Components Footings

CONSTRUCTION DESIGN

1.

32MPa pad footing, N20 bars top, N16

2.

Mass concrete, GreenStar Approved

bars bottom

3.

450 wide strip footing

4.

N16 tie bars

5.

R10 Ligatures

6.

4-L12 Trench mesh, top and bottom

Floor Slabs

7.

Edge beam

8.

150 Slab on ground. SL72 top, SL92

9.

Polythene Membrane

bottom, 30 cover

Individual Work, Distinction, Year 2 Semester 2

F.F.L.137.00

70

10. 100mm compressible cardboard void former 11. Clay backfill/impermeable material 57

12. Bar chairs 13. Hydronic pipes, 75 mm horizontal cover

58

14. Services duct

39

15. Hollowcore concrete slab, to be sealed/caulked 16. 80mm screed 17. Two-way span, N12 and N20 bars

Documentation of Western BACE Building + Physical Model (Sectional)

18. 4-RB25 bar to Reidbar coupler 68

60

19. 4-RB25 bars

39 69

20. Hairpins 55

21. Ligs

59

22. Precast concrete beam

The Western BACE Building by Six Degrees Architects is a business incubator for startup businesses in Melton, Victoria. Through 12 weeks of lectures and documentation, a detailed sectional model of each stage of construction was produced, as well as an axonometric blueprint in the first week.

Critical knowledge about construction strategies and technologies was

Precast concrete columns and walls

acquired through this rigorous process. Particularly in the detailing ,waterproofing, as well as particular aspects of the building for sustainability and site specific responses, such as hollow-core, post-tensioned concrete slabs and deep foundations and footings. A detailed material schedule was also drawn up. All documentation was completed using Autocad.

F.F.L. 134.30 41

40

23. Chamfered edge 24. R10 ties 25. 50mm diameter grout tubes

54

26. N24 bars at corners 43

27. N20 cage bars

56

45

55

28. Corbel for support 44

36

66

Masonry

6

29. 390x190x90 external blockwork, grout filled 30. N12 starter bars 31. Weepholes 17

32. Masonry flexible anchor

40

42

33. 390x190x190 blockwork

43

34. Flashing 61

Structural steel 22

F.F.L.131.90

35. PFC Header with welded steel plate

19

36. Folded Colorbond capping 37. 150 PFC, hot-rolled 38. Girts, cold-formed 39. Bracing, 25x1.00 BMT strap brace

46

20

F.F.L.130.30

40. 92 mm steel stud 15

21

16

73

51

41. 3-M12 screws

F

42. 6-M20 bolts 43. Plate bracket

18

Thermal and Moisture Protection 38

35

44. R0.2 Rigid Insulation Thermal Break 45. Drip

site grade, min 1:100

26 37

46. 75 mm acoustic insulation

62 64

27

47. R2.4 Foilboard 63

48. 50 mm rigid insulation around perimeter

28 53

49. 90mm agri-drain

46

8

72

Windows 67

50. Series 826 Thermally broken Frontglaze 50

R.L. 127.40

52

11

@0.15M, CLAYEY SILT

10

Framing, 150x60mm aluminium frame,

9

anodised finish

31 23

13

51. Insulated Mullion

65

52. Sill

12

F.F.L.127.90

3

@0.8M, SILTY CLAY

47

53. Viridian thermotech Insulating glass unit, low-e coated, double glazed, 6.38/12/6.5 Energytech glass

HIGHLY WEATHERED BASALT ROCK

33

32

10

24

11

48 2

29 4

34

71

30

R.L. 127.38

Roofing

54. 380x100 PFC 55. 600x115 GL 18 Unilam 73

5

56. 240x90 Hyjoists by Carter Holt Harvey 57. 45x90 MGP 12 battens

6

58. Versiclad Spacemaker Insulated Roof

14

Panels

7

59. Sump 25

60. Flashing

1 Claddings, linings and finishings

61. Corten steel cladding on continuous R1.1 Thermal Break

6

F

62. 16mm thick impact resistant plasterboard 63. 10mm plasterboard 64. 19mm acoustic plywood, hoop pine,

R.L. 127.47

Austral Plywoods, 'A-C exterior grade' 65. 12mm Echopanel on 25mm battens 66. Formply pelmet, clear seal to all edges

2

67. Ontera Nylon Carpet Tiles, in pinewood finish, 15mm setdown 68. 13mm thick Gyprock perforated plasterboard 69. 13mm thick Gyprock EC08 plasterboard

49

Detailing

70. Handrail, galvanised steel tube, paint finish 71. 17mm Formply skirting 72. Mastic Seal

Location

73. Plasterboard stopping angle

Name/Number Jade Tan/ 752875

WESTERN BACE BUILDING

Subject ABPL 30041_Construction Design

N

SCALE 1: 20 @A0

Tutor Jiyoung Choi