PORTFOLIO by James Douglas

P O RT F O LI O JAMES DOUGLAS

TABLE OF CONTENTS

INTRODUCTION

CONSTRUCTION DESIGN

ARCHITECTURAL DESIGN STUDIO: AIR

ARCHITECTURAL DESIGN STUDIO: FIRE

INTRODUCTION

My name is James Douglas and I am a University of Melbourne graduate of the Bachelor of Environments in Architecture. Since I was young, an ability to visualise 3 dimensional objects in space drew me to not only architecture but to visual mediums in general. Outside of this, Iâ&#x20AC;&#x2122;ve also always had a strong interest in music performance, production and technology. Before commencing this course I completed a Bachelor of Applied Music, in Audio Production. This course first exposed me to a number of computer technologies which aided the recording and production process. Since then, I have become versed in a number of Architectural computer programs though my progression of this course. These include, AutoCAD, Revit, SketchUp and Rhinoceros 3D. I have also gained experience in the visual programming plug-in for Rhino, Grasshopper 3D which expanded my design language into the world of computational parametric design. The following portfolio includes a selection of my work in the final year of my degree, in both design and construction. A small selection of previous works can be seen on the opposite page.

VARIOUS WORKS BY JAMES DOUGLAS

C O N C E P T U A L I S A T I O N

CONSTRUCTION DESIGN CASE STUDY / WESTERN BACE BY SIX DEGREES ARCHITECTS

1:20 AXONOMETRIC DETAIL This subject provided us with an architectural and construction case study to interrogate. In order to properly understand the construction design of the Western BACE, a detailed construction axonometric drawing was produced for a small section of the building. All construction and finishing components are detailed in the drawing and described below. This drawing was achieved through a detailed investigation of the architectural, construction and services drawing sets provided by the architects and was completed using AutoCAD. The full 1:20 @ A0 version can be found at: https://drive.google.com/open?id=1qWQXz1MUiJec7n9UtLDVYakQe _ HG0Wvv

Components Footings/Slab 1.

Windows

PF1 Pad Footing 1 - 2000mm x 2000mm, 600 min. depth, socket into highly weathered basalt rock (100mm). N20 bars bottom @ 250 cts.

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max. each way. N16 bars top @ 250 cts. max. eachway. Min. Strength 32MPa

Framing system - AWS ‘Series 826 Thermally Broken FrontGLAZE Framing’ 150x60mm aluminium frame window and door system, double glazed, front glazing, square beading, anodised finish AN1 unless otherwise noted

SF1 Strip Footing 1 - 450mm wide, 600 min. depth. 4-L12 top and bottom. Min Strength 32MPa

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AN1 Anodised Finish 1 - Australian Aluminium Finishing. ‘EverShield External’ high grade anodising. Colour: Ebony, matt E26TM.

Mass Concrete - Unreinforced concrete of 15Mpa strength to be formed at footings to reach adequate bearing depth to basalt

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GL2B Glazing 2B - Seraphic opaque coloured. Viridian - Outside face: 6mm‘Seraphic Custom’ toughened glass with custom opaque colour.

Slab on Ground - 150mm reinforced concrete slab. SL 92 bottom, 30 cover, lap 1 grid + 25mm. Strength 32MPa

Polythene Membrane - 0.2mm water proof menbrane

Compressible cardboard void former - Slab to be formed over 100mm min. cardboard former

Veranda Strip Footing - 400mm wide, 600mm depth. 4-L12 top and bottom, lap 500, R6 ligs @ 750 cts. N-12 @ 400 cts. max. 300 min

Colour: Colourbond Monument . Gap: 12mm. Inside face: 6mm ‘Vtough’ toughened glass. Colour: Clear. Type B: Single glazing, laminated glass with colour on inside layer 32.

GL1A Glazing 1A - Clear. Viridian - ‘ThermoTech’ insulating glass unit, low E coated glass, double glazing. Outside face: 6mm EnergyTech Clear. Gap: 12mm. Inside face: 6mm EnergyTech Clear

into cage.

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GL4 Glazing 4 - Decorative Glazing. Viridian ‘DecorColour’ laminated coloured glass, 6.38mm thick. Colour: True Blue

Main Structure

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WH1/2 Window Head/Lintel - 150 Parallel flange channel (PFC)

1CB1 Precast Concrete Beams - 700W x 600D Precast Concrete Beams by Weston Precast. Strength - 50 MPa

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Window Header Insulation - 20 mm R0.2 Thermal break rigid insulation in header.

PC1 Precast Concrete Columns - 700 x 250 Precast Concrete Columns 50 MPa

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Insulation Spandrel (GL2B) - Spandrel panels (to achieve total R5.0 rating). "Kingspan ‘Kooltherm K5’ External Wall Board, 80mm thick,

10. Concrete Column Expansion Joint - 10mm Ableflex surround perimeter of column at connection with slab.

R4.0 minimum.

Roof 11.

Veranda

RB 1 Roof Beam 1 - Parallel Flange Channel (PFC) 380X100.

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12. RB 2 Roof Beam 2 - Exposed Laminated Hardwood Beams 600x115. GL18 Unilam by LTS. 30mm precamber. 10mm plate bracket to RB1,

RS4 Roof Surface 4 - Fibreglass Roof Cover - 1º fall, 300x100 box gutter. Ampelite ‘Webglass GC (Gel coated)’ polyester sheeting with woven mat reinforcement, ‘Klip-Lok 700’ profile, 3.66kg/m2, Colour: Pearl

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VB2 Veranda beam 2 - 380 parallet flange channel (PFC), Hot-dip galvanised.

13. RA1 Rafter 1 - Treated structural pine. 45X90 MGP12 @ 1200 cts. max. machine graded pine.

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VJ1 Veranda Joist 1 - C150 15 @ 600 cts. max. Hot-dip galvanised.

14. PU1 Purlin 1 - 240mm 90 mm PU1HJ24090 HU Joists by Carter Holt Harvey @ 900 cts. max. Min. 2 span continuous.

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VP1 Veranda Purlin 1 - C150 15 @ 800 cts. max. 8mm cleat plate.

15. RS1 Roof Sheeting 1 - Structural insulated roof panel. Versiclad 75mm R2.6 ‘Spacemaker’ structural insulated roof panels. Colour: Col-

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Equal Angle Bracket - 50x50x5EA bracket. 2-m12 purlin bolts each flange equal angle bracket. From VP1 to VJ1.

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Unequal Angle Bracket - 100x50x6 UA bracket. 2-M12 purlin bolts to joists. M12 purlin bold to purlin over. From VP1 to VJ1.

16. HR2 Hand Rail 2 - Parapet hand rail. Galvanised steel tube handrail. Paint finish: pf10f

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FB1 Floor Beam 1 - 150X100X6 Rectangular Hollow Section (RHS) C450L0 duel grade. Hot-Dip Galvanised

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FJ1 Floor Joist 1 - 150x50x3 Rectangular Hollow Section (RHS) C450L0 duel grade @ 450 cts. max. Hot-Dip Galvanised.

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TD1 Timbre Decking 1 - Urban Salvage 135 x 35mm nominal remilled recycled Spotted Gum (no red tones), Class 1 or 2 exterior grade,

2-M20 Bolts.

ourbond Dune.

Insulation: Roof - Tontine 190mm R3.5 batts minimum

18. PVP Photovoltaic Panel

Facade

seasoned and dressed all round. Seal: PF20 (clear penetrating seal)"

19. FC1 & FC2 Facade Column - 150 PFC, HOT DIPPED GALV. 8mm cleat plate to G2, 6mm cleat plate to G1.

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20. G2 Facade Girts - C150, 12 @600 CTS. max. 1 row bridging.

TC1 Timber cladding - 45x45mm hardwood battons @ 90 cts. typical. screw fix to joists. Western Red Cedar, seasoned and dressed all round, clear penetrating oil seal - Seal: PF20"

Finishes/ Joinery

21. Facade Battons - Lysaght Topspan 61 battens (or similar) to girts 22. FA1 Facade Beam - 150X75 parallel flange channel (PFC)

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23. BW1 Blockwork 1 - Concrete block. Boral ‘Designer Block’ hollow core concrete block, smooth face. 100 full block: 390W x 190H x 90mmD.

S32 EX GP Daintree Green Star. Mechanically hone 3-5mm off surface to expose aggregate as recommended by manufacturer, R10 slip

200 full block: 390W x 190H x 190mmD. 200 half block: 190W x 190H x 190mmD. Colour: Pearl Grey. Rolled mortar joints. Mortar Colour:

resistance. Finish: 30% gloss finish Seal: PF25. 48.

Grey. Min. strength should be 50MPa. 24. BW2 Blockwork 2 Feature blockwork pattern - Details as above. Blocks split on site to form pattern as drawn.

with perforated foil facing, R0.2 R0.25 min. 27. Insulation External Walls, Cladding - MC1 insulation. Kingspan ‘Kooltherm K5’ External Wall Board, 80mm thick, R4.5 min. MC1 cladding (to achieve total R6.0 rating) 28. Insulation External Walls, Brickwork - Concrete block "Foilboard ‘Ultra 20’ 20mm R2.4 wall board in cavity, install with recommended

CP3 Carpet 3 - Ontera ‘Envisions’ cut pile nylon carpet tiles with custom design. 457.2mm x 457.2mm x 7.3mm tiles. Polymer fibreglass reinforced backing with 40% recycled content. Base: Envisions Olive Nylon Tile. Dye Colour: Monsoon 9. Linear installation pattern

25. MC1 Metal cladding 1 - Steel Archclad ‘Express Panels with 294 Face’, 0.7mm thick folded Cor-ten panels. 26. MC1 Membrane - Thermal Break and Vapour Barrier Breathable Membrane. Kingspan ‘AirCell Insulbreak Permishield 80’ 8mm foam sheet

CN3 Concrete 3 - Polished concrete exposed aggregate. "Hy-tec Exposed aggregate concrete range, 32Mpa strength concrete. Colour:

Low-VOC adhesive with TVOC content not to exceed 50g/L and manufacturer’s recommendation. 49.

PB1 Plaster Board 1 - DW35. 1 x CSR Gyprock ‘EC08 Impact’ 13mm thick impact resistant plasterboard.

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PLY2 Plywood 2 - Austral Plywoods ‘A-C Exterior Grade’ hoop pine plywood with A face exposed, 19mm thick, butt joined. Seal: PF22

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FB1 Fabric: Bench Seat - Pelle Leathers ‘Spectrum ‘pigmented leather,1-1.2mm thick, 5.5sqm hides. Colour B: Vintage 7000 (olive)

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FP Form Ply - Carter Holt Harvey ‘Formrite’, 17mm thick. No sanding to faces, edges only. Colour: Black. Remove all sheet markings. Ensure careful sheet selection with good glossy side exposed. Edges to have minimal arris removed. Countersunk screw fixings to be black finish.

spacers.

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15 Parapet Hand Rail 137.00

17 26 Soil proﬁle @ Borehole No. 4

FRL 137.00

Clayey SILT, red brown / some BASALT gravel

Silty CLAY, red / brown, high plasticity Extremely / highly weathered BASALT (~50%) & silty CLAY (~50%), light brown

FCL 135.50

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80mmScreed Slab w/ anti shrink reinforcement mesh. 30MPa Strength

REFUSAL TO PROBE ON BASALT ROCK

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FFL 131.90

FCL 131.52

300mm Precast concrete hollowcore planks

30x3 Neoprene Bearing strip

FFL 127.90 Surveyed Ground Level 127.75

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45 3

7 Line of Inﬂuence from footing

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North-West

West

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1:20 SCALE MODEL

A 1:20 scale model was then built to further study and understand the construction design, in specific relation to various key performance and brief criteria and design choices. The model displays all building components, from the larger scale such as main structure to a much finer scale such as flashings, membranes and reinforcing steel within concrete. The model peels away these components to strategically display the essential aspects of the design.

Precast column showing connection to pad footing. Ground floor slab, cut away around precast column showing internal steel reinforcement. Concrete block finishes showing cement and steel reinforcement within

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Precast column showing steel reinforcement within and connection between column and pad footing. Concrete block finishes, including decorative rough cut patterns

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Precast concrete beam showing steel reinforcement within and connection to precast hollow-core planks

Roof and parapet finishes showing structure, flashings and membranes beneath

First floor ceiling finishes and structure

Veranda roof finishes showing structure and flashings beneath

Laminated hardwood roof beam showing connection to precast concrete column and to purlins above

Precast concrete beams and external window lintel, insulation and flashings

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Precast hollow-core slabs showing pre tensioned reinforcing cables within

In-situ screed with anti shrink steel reinforcement and under floor heating laid on precast hollow-core planks, tying them to the precast beams

Footings and mass concrete into basalt rock showing internal steel reinforcement. Slab on ground showing membranes, cardboard void formers and internal steel reinforcement. Concrete brick ground floor facade showing internal insulation and flashings

External first floor finishes, showing Cor-ten panels and the gradual expected change in rust colour over a number of years. Structure , membranes, insulation and flashings also shown

Roof structure and finishes, including safety mesh put in place during installation and insulation and membrane layers

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ARCHITECTURAL DESIGN STUDIO: AIR #BREAKARCHITECTURE

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ALGORITHMIC AND COMPUTATIONAL DESIGN Species A:

Constants: Input Crv: Input Srf:

Default Default

Section count (0-100): x,y,z extrusion (0-10):

Species B:

Constants Img Sampler Input: Input Srf: Srf Division (u,v):

1 1

Section count (0-100): Amplitude / Height (0-10):

Species C:

Constants Srf Division (u,v):

Section count (0-100): Amplitude / Height (0-10): Input surface: Image sampler input:

1 1

1 2

2 2

2 3

3 3

Section count (0-100): Amplitude / Height (0-10): x,y,z extrusion (0-100): Image sampler input:

4 2

Species D: Constants Input Srf: Srf Division (u,v):

Species E:

Constants Img Sampler Input: Input Srf: x,y,z extrusion:

1 1

Section count (0-100): Amplitude / Height (0-10): Surface division (0-100):

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EXPERIMENTATION Architectural Design Studio: Air exposed me to a number of new and challenging computational design methods. The subject was centred around parametric design and the use of the Rhino Plug-in, Grasshopper 3D. This program provides a visual programming language which links directly to the Rhino 3D interface. By using Grasshopper, one is able to write definitions and algorithms which define a 3 dimensional object. Through this, a number of parameters are able to be used to define various aspects of the design. This allows a far more flexible and endlessly adjustable computational design world. Iterative design becomes an important part of parametricism since a number of iterations can be created by adjusting various parameters in the algorithm/definition.

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4 5

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The matrix seen here is an example of the iterative design process that is being enabled by these computational techniques. The matrix clearly shows various outcomes in the iterative process. One is then able to rate these outcomes based on appropriate Key Performance Criteria. The following design outcomes are a product of this computational process.

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REVERSE ENGINEERING The Webb Bridge in Melbourne by Architects Denton Corker Marshall with Artist Robert Owen, serves as a real world and local example of computational /algorithmic design. In order to extend my ability in using Grasshopper 3D, an algorithm was developed, attempting to re create the design. A graphic representation of the algorithm can be seen to the right and the outcome and likeness below. Overall, although the process was challenging, the outcome was very successful and can now have its parameters adjusted to produce endless iterations.

Referenced Curve

Perp Frames

Circle

Scale Closest Point

Graph Mapper

Referenced Points Point Attractor - Circle Radius

Plane Surface

Construct Domain

List Length

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Series

THE ALGORITHM Point Attractor - Upper Arc ‘Z’ Scale Referenced Points

Sort Curves Along Crv

Tree Item

Scale NU

Tree Statistics

Closest Point

Graph Mapper

Join Curves

Tree Item Split w/ Brep

Extrude Planar

Interpolate Crv End Points

Amplitude Final Section Strips

Ruled Srf Interpolate Crv

Bridge Path

Evaluate Crv

Divide

Flip Matrix

Polyline

Explode

Flip Matrix

Ruled Surface Oﬀset on Surface

Addition Random

Loft (straight)

Deconstruct Brep Final Interconnecting Strips

Interconnecting Polylines

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#BREAKARCHITECTURE

Inspired by reading "Speculative Everything" by Anthony Dunne and Fiona Raby, our studio design concepts were centred around a speculative future where Architectural design principles are dictated by the celebrity, as the fashion industry often can be today. We were inspired by public figures such as Kanye West who proclaims himself as not just a musician but also a designer and architect. "I really do believe that the world can be saved through design, and everything needs to actually be 'architected'" - Kanye. What would happen if architectural design of the future was a 'fashion item'? What if it was something which was not dictated by function or symbolism but by surface level trends. Our brief and 'site' was to be Le Corbusier's Le Cabanon - the tiny, simple, minimalist cabin designed for his own use and based off his theories of human proportions. We were to design a 'bling accessory' for the cabin in order to attract young visitors as a holiday retreat.

The collaboration between Louis Vuitton and Jeff Koons was a large source of inspiration for our accessory design. This collaboration consisted of a series of bags which re-appropriated famous works of art onto their surfaces. The new bags are no different from their predecessors in terms of form and function. It is merely the ornament and borrowed imagery which sets it apart. The bags therefore gain their value from that of the original artwork.

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THE RELIEF CHAMBER

Basing our design for the accessory on the LV x JK bags, we noticed some starkly different qualities between the luxurious tacitly and imagery fashionable addition, attracting a demographic used to a life of luxury. It would act as a 'retreat from the retreat'; a place where users can go We saw some qualities of Baroque architecture in the bags, namely decadence and surface level ornament and texture. In order to make an arc ideas of rule breaking where existing rules were bent and twisted in a theatrical way. In the same way as the Baroque broke down the rules of and algorithmic design techniques, developing the final form.

The result is a vastly different and juxtaposed form which smashes into and grows from the orthogonal form. This new form reflects the Baroqu but was followed physically by exploring various fabrication techniques.

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of the bag and the sober use of materials and bare essentials of Le Cabanon. Therefore we wanted our accessory to be a luxurious, tactile and to gain relief from the harsh conditions of Le Cabanon. hitectural association, we treated Baroque architecture as a seed for further architectural exploration. Through this, we were able to play with Renaissance architecture, we took the modular rules of Le Cabanon and broke them down, twisted and melted them through computational

ue in the way it pushes in and out, creating moments of tension and release, dynamism and plasticity. This was mainly achieved computationally,

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Here, one can see how the Cabanon's set of rules a is different, dynamic and complex.

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are taken and twisted to produce something which

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THE ALGORITHM Formal Rules taken from Modulor Man and Le Cabanon and used as input

Rules are broken down and plasticise

Exterior Form Array

Array rectange in 60 degree increments

Extrude

Extrude rectangles individually in the Z-direction based on Modulor Man dimensions

Join

Join (boolean union) the rectangles and convert to mesh

Clean/Reduce

Clean and reduce MESH while preserving maximum accuracy

Golden Rectangle

Create rectangle based on golden ratio proportions

Input Form Extract Points

Extract diagonal points from rectange and shift in the Z-direction based the Modulor Man dimensions

Line/Divide

Join moved points with a line and divide into x number of points

Variable Pipe

Apply variable pipe to the line and further apply noise for added plastisiity

Divide Srf/Move

Divide surface into points and variably move each along their normal using graph mapper

Interior Form

The final developed algorithm is based around all of the concepts laid out on the previous pages. For instances, the algorithm starts by takin modular of the Cabanon is combined with Modulor Man dimensions. The geometries are then take, rotated from 90 degrees to 60 degrees, expressed in a much more dynamic way. Once the desired form is reached through parameter manipulation, the internal and external forms flexible in both the number and direction of sections.

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ed through a series of meshing tools

Reﬁne

Reﬁne Mesh faces so that faces are relatively regular

Noise

Add noise to mesh to plasticise

Diﬀerence

Boolean internal space from external form to create solid form

Trim

Trim mesh at ground plane and cap to create ﬁnal solid form

Section/Fabricate

Create x number of sections from the solid form and create necessary additions for join logic

Final Form Surface from Points recreate surface from moved points

Reﬁne

reﬁne mesh triangulation and cap naked edges

ng the rational and regular rules of the Cabanon and breaks them down just like the Baroque does. The golden rectangle which is used as the intersected with each other and joined. Through a series of meshing processes the forms, both internally and externally are plasticised and s are joined to create a solid with an internal void and can then we rationalised using the sectioning technique. At this stage the algorithm is

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The matrix above shows the variety of iterations created by this algorithm, from which the design is developed

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One of the more important aspects of the design is the internal condition extravagant luxurious, tactile space to immerse oneself in and get away f showing these more experiential qualities. The interior, lined with plush vel with theatrical imagery and atmosphere. It represents everything that the

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n of the Relief Chamber. The major concept of the accessory is to have an rom the rawness of the Cabanon. Through these rendered images, we are lvet cushion allows the user to lounge below an extravagant gold structure Cabanon is not.

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1:10 SCALE MODEL

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The final form was put through a contouring and sectioning algorithm in order to make it develop-able. The newly created sections could then be nested onto a flat surface and simply laser or CNC cut. Since we wanted a sort of skin on the outside of this structure, we began experimenting with other fabrication techniques. Vacuum Forming became an interesting method of skin fabrication which allowed us to further experiment with Baroque techniques such as tension and release. The gaps in the sectioned skeletal model meant that the VAC Forming created rather interesting scalloped shapes, rather reminiscent of Baroque architecture. Image transfer methods meant that the imagery could be placed on the VAC Forming plastic and would itself be plasticised, stretched and melded through the process. In line with this idea of fast fashion and the celebrity dictating the architecture, the fabrication techniques were chosen purposely to reflect this. That is, the sectioning techniques allow for a 'flat pack' style accessory which can be assembled / disassembled and discarded easily. Likewise, the VAC Formed skin with surface level imagery could act as a changeable component, allowing the users to swap to various imagery, depending on trends or desires.

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1:1 DETAIL MODEL In order to show how the structure and the three main components would work on a 1:1 scale, a detail model was constructed. Here, one can see how the wooden, CNC cut W sections are held together and linked with rods. The VAC Formed outer layer can also be seen on the bottom and the cushioned interior above.

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1:120 MASSING MODEL

A laser cut model of the Le Cabanon and 3D Printed massing model of the Relief Chamber were also created in order to show the over all massing of the design and it's connection to Le Cabanon.

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Retreat Yourself.

RELIEF CHAMBER Sold exclusively in Louis Vuitton stores. 866-VUITTON louisvuitton.com

A CURATED SERIES OF ARTWORK IN COLLABORATION WITH LOUIS VUITTON

LE COURVOISIER

Retreat Yourself.

RELIEF CHAMBER Sold exclusively in Louis Vuitton stores. 866-VUITTON louisvuitton.com

A CURATED SERIES OF ARTWORK IN COLLABORATION WITH LOUIS VUITTON

LE COURVOISIER

Provides decadent tactility Connects with architectural style Creates theatrical effects Flows in sumptuous curves Breaks the rules Adds new luxury zone

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ARCHITECTURAL DESIGN STUDIO: FIRE LIMINAL RESILIENCE

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UNIVERSITY HIGH SCHOOL EXPANSION AND MASTER PLANNING The brief for this project was to design a new VCE learning centre and Sporting complex for University High School. The sporting complex would be shared with the neighbouring University of Melbourne, a collaboration which would bring more funding to the project. The school's catchment zone has recently increased, pushing the schools capacity to its limit. Therefore, an expansion and master plan is in desperate need. As can be seen in the site map below, the main site for the new buildings is on the only large open, grassy area in the School. This presents some potential design problems. Considering the high density of the surrounding area, this space in the school is extremely valuable. Beneath this area is an underground car park for the neighbouring hospital. This could cause some other issues, however some of the existing car park may be removed within reason. In the following project I explored various design and presentation mediums including 3D CAD modelling and hand drawing.

RESIDEN

Story St reet

UNIVERSITY HIGH SCHOOL

Royal M park bel ventilat

SITE FOR

GTAC build be demolish purposed o

MEDICAL /RESEARCH PRECINCT

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SITE MAP 1:1000

Melbourne Hospital Car low site. Fire escapes and ion must be retained

R EXPANSION

ding can hed, reor retained

Royal P arade

NTIAL PRECINCT

THE UNIVERSITY OF MELBOURNE

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CONTEXT ANALYSIS THE SCHOOL REPRESENTS A JUNCTION B

THE SCHOOL REPRESENTS A JUNCTION BETWEEN THE PAST

- The school is surrounded on all sides by 3 distinct zones - University, Medical, and Residential - The three zones can be characterised by their architecture in height, fenestrations, historical signific - The school represents the boundary between the private heritage residential area and the state of th - “The school is constantly evolving, valuing the rich traditions of the past and the challenges of the fu

- 2-10 Stories - Many significant heritage buildings - Varying aged “modern” buildings - Medium grain - open space somewhat prioritised - Building materials and fenestrations vary depending on age

Building age Heritage

Fenestrations Windows Doors

Post 2010

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BETWEEN THE PAST AND THE FUTURE

T AND THE FUTURE

cance/age and materiality he art, ever evolving medical and university precinct utureâ&#x20AC;?

- 8-14 Stories - No heritage buildings - Very high density - next to no open space - Original 1950s hospital building is completely surrounded by newer additions

- 1 to 2 stories - Total heritage listing - Fine grain, high density - Red brick and rendered brick - Portrait shaped fenestrations

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LIMINAL SITE

T h e L i m i n a l - â&#x20AC;&#x153; Tr a n s i t i o n f r o m w h a t h a s b e e n t o w h a t w i l l b e â&#x20AC;?

Through the context analysis and the insight shown on the previous page, the concept of 'The Liminal' became a driving force in this project. The Liminal represents a transitional stage of a process or a position at a boundary or threshold. For me, this site represents the Liminal in both its physical location between 3 distinct zones but also symbolically for the students in their final years (VCE). These students are in an interesting boundry between regularity/safety and the unknowns of the future.

Private Liminal Space Public VCE Centre Sporting Complex 56

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SYMBOLIC LIMINAL

“ Va l u i n g t h e r i c h t r a d i t i o n s o f t h e p a s t a n d t h e c h a l l e n g e s o f t h e f u t u r e ”

Regularity/ Safety

“Rich traditions of the past” • • •

The Future/ Unknown

Liminal

Liminal Space

Safety , • security of the • known Building on the past 21st century learning spaces

“Challenges of the future”

Transitional • Space Risk taking pushing through to the next phase

Unknown and potentially intimidating future

Morphological Outcome These factors and the concept of the Liminal would become the basis of both the siting of the buildings and the morphology of the architectural designs themselves. The VCE building is split into two main outcomes, one which holds the classrooms and is a modern manipulation of a fairly regular and precedented form. It is a modern adaptation of the very regular main heritage building on campus. The other part contains all the vertical circulation and social areas. This area represents the Liminal and morphologically is a far more irregular, crystalline structure which pushes the boundaries. These ideas can then be replecated and repeated through the campus, as shown on the next page. D E S I G N

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MASTER PLAN 1:1000

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Sylvia Walton Building / Lyons Architects

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SPORTING COMPLEX GROUND FLOOR 1:500

The sporting complex is located on the North-East corner of the site and is placed underground so as to conserve as much open grass area as possible. Since the gym is used by the University of Melbourne and potentially the greater public, the entry and overall presence is aimed towards the far more public Royal Parade, while leaving the main school entry on the more private Story Street.

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Courts Below

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STRUCTURAL PRECEDENTS

Gymnasium of New Campus of Tianjin University / Atelier Li Xinggang

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The Saint George Collegeâ&#x20AC;&#x2122;s Gymnasium / Gonzalo Mardones V Arquitectos

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5 WAYS TO WELLBEING The other driving force for the project was in wellbeing and resilience. Presently, the school does not provide very open, welcoming or sociable spaces. The existing classrooms are also extremely outdated in terms of modern pedagogical practices. In order to achieve a building which promotes wellbeing and resilience, the well documented strategy '5 Ways to Wellbeing' was implemented. This is a strategy which is supported and affiliated with the neighbouring hospital, The Royal Melbourne Hospital. These 5 ways to wellbeing are translated into a spacial and architectural language. That is, all spaces in the building are designed with the intention of promoting at least one of the 5 ways listed to the right. The diagram below shows how and where these methods have been implemented. This is also a potential area of collaboration with The Royal Melbourne Hospital in the sense of Medical/ Architectural research.

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CONNECT - PLACES FOR SOCIAL CONNECTION AND GATHERING - VISUAL AND PHYSICAL CONNECTION TO NATURAL ENVIRONMENT

BE ACTIVE - ACCESS TO PHYSICAL EXERCISE AREAS - BUILDING CIRCULATION PROMOTING WALKING AND USE OF STAIRS

HELP OTHERS - FLEXIBLE LEARNING ENVIRONMENTS AND A VARIETY OF INDIVIDUAL, AND COLLABORATIVE LEARNING SPACES

BE AWARE - SPACES TO BE MINDFUL - ACCESS TO NATURAL ENVIRONMENTS

KEEP LEARNING - LEARNING SPACES DIRECTED TOWARDS COLLABORATIVE WORK - CONNECTION TO EXISTING SCHOOL PROVIDING A WELCOMING ENVIRONMENT TO ALL STUDENT AGES, FOSTERING POTENTIAL MENTORING OPPORTUNITIES

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THE DOUBLE CLASSROOM In order to cater for modern pedagogical practices as well as the 'Keep Learning' aspect of the '5 Ways to Wellbeing', the VCE building has been designed with three types of learning spaces - A lecture theatre, Double Classrooms and Classroom Pods. A number of VCE subjects will be run from the same building and therefore require a variety of learning spaces. The Double Classroom seen below is in essence a large double sized room, which incorporates four moveable and adjustable units. These can then be used to create two individual classrooms or one larger one with a multitude of division options. Examples of potential configurations are shown below.

Movable an adjustable joinery uni

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CLASSROOM POD The Classroom Pod is made up of two distinct classrooms which share breakout spaces. These include a soundproof breakout space and a small outdoor area. Classrooms can open up to one another to collaborate and supervision of both classrooms by one teacher is possible since the walls between the areas are glazed. In addition to these classroom typologies, the building provides various self and collaborative learning spaces outside of the classroom.

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Learning Space Soundproof breakout space Outdoor Space

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FACADE SECTION DETAIL 1:100

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SECTION AA 1:500 Student Common Room

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